Segments 02 I January 2022 by Avanipublications

#02 | JAN 2022

WORKSHOPS Participatory Planning Module Collaborative Design Workshop, FOV Bangalore A Responsive Environment for Kozhikode: Critical Vernacular ‘Revisited’ Design Studio Workshop

EVENTS DISHA 2021

AVANI Annual First Year Orientation Program

Avani Heritage Archive Cell : AHA Thesis Diaries

ACHIEVEMENTS Ar.Meenakshi Dubey, Ar.Thushara Koraprath, Ar.Krishna Salim, Ar.Ujjayant Bhattacharyya, Students Council , Aneez Mohammed, Janet Bridget Joyson, Renna Fathima, Afrin Falim K, Mohammed Nihal Kuruppam Thodi, Hiba Kattissery, Ayisha Shadha, Reesha Faizal, Devika Parvathy

STUDENT ACTIVITIES A platform for inclusive excellence Koothu 2.0 : Cultural Night

EDITORIAL NOTE “It is during our darkest moments that we must focus to see the light.” At Avani, we have embraced this famous quote by Aristotle during the toughest period of our lives. It’s been unprecedented. We have never even dreamt in our wildest dreams that humanity will go through such a crisis in our lifetime. A micro-sized virus has challenged all of us. Many have lost lives. Millions lost their livelihood. To make things worse, we have gone through some of the extreme climate behaviors in the entire world. From wildfires to earthquakes, to incessant rains & floods, tsunamis, hurricanes & typhoons, we have seen it all. The rays of hope lie within us. Our knowledge systems, humanitarian concerns, sensitivity to ecology & universal brotherhood. The rays of hope lie within our future generation and how they are molded to respect the earth, life on earth & its fellow living beings. Rays of hope lie in our passion & commitment to using our knowledge to the benefit of humanity. Students, Faculty & the entire AVANI community have stood together during these challenging times, focusing on our mission enabling us to reach out faster to the light at the end of the tunnel. We haven’t let the pandemic nor the climatic challenges affect us. We have embraced the challenges and made it our opportunities to rethink our studio methodologies, studio briefs, core research areas & the overall well-being of the entire community. We made sure to connect with each other, stand for each other, and extend our connections beyond those in need. We believe architecture, design, urban planning & environment consciousness have a key role to play in reinstating the ecological & social balance of the world. In an era of amplified digitisation we strive to be sensitive & true to the fundamentals while making sure we stay relevant to the changed routines & technology. We are proud to bring out our second edition of the newsletter, “Segments“, with contributions from both our students & faculty members. Segments 2.0 stands as a testimony of the collective effort of the Avani community to tide through these tough times and be a ray of hope for our neighborhood & humanity in general. - Ar Vivek P P -

Associate Professor and Governing Council Member

WORKSHOPS Pa r t i c i p a t o r y P l a n n i n g M o d u l e Collaborative Design Workshop FOV, Bangalore A collaborative game workshop was organised by NGO Fields of View (FOV), Bangalore by engaging students of semester 7 and semester 9 as a part of their Design Studios, each addressing different narratives of community participation. The collaborative design workshop spread across 3 days from 24th to 26th of November 2021, introduced students to various aspects of participatory planning processes. Day 01 started with a collaborative game session titled ‘City Game’, where students engaged in conversations about the city that they want to live in, taking turns to position the urban blocks expressing group/individual’s preferences about the city. Emad Ahamed from semester 9 elaborates, “We did have an interesting session, where both the classes were asked to develop a master plan for an imaginary urban city. It was exciting as we approached it with innovative and reformative ideas. I believe that the platform was helpful to explore without any given boundaries and to chase out our wild thoughts.” Further the same day, FOV organized another interactive game session titled ‘Kattu Kathe‘, drawing out stories of the city the students presently live in. Collecting people’s personal stories, the game was structured to demonstrate the city’s unique narrative away from the generic one. Emad adds, “It was an intriguing session where communication served a major role among different sectors like language, housing, food, amenities, security etc and the city people.”

Written by Ar. Athira Balakrishnan

#01

FOV organised the day 02 session for semester 7 students as part of their design studio titled ‘Speculative Community Futures - Exploring Game and Architecture’. Workshop team worked with students to develop framework and tools to better understand participatory processes in their respective studio proposals. Last day of the workshop was organised for semester 9 design studio titled ‘Cities and People - Whose backyard is it anyway?’. To aid the studio investigating the changing relationships between city, citizens and urban water commons of Calicut city, FOV introduced a simulation training tool ‘Hanigalu’, engaging students in understanding the aspects related to water security planning. [ Bharath Moro and Srinidhi Santosh lead the workshop from the FOV team. Fields of View is a not-for-profit group based in Bangalore, undertaking research at the intersection of technology, social sciences and art to design participatory tools for policymakers and people. https://fieldsofview.in/about/ ]

S t u d i o Te a m S e m e s t e r 7 : A r. A t h i r a B a l a k r i s h n a n , A r. M i t h u n B a s i l , A r.V i n e e t h T K S e m e s t e r 9 : A r. A b i ra m i Pra b h a k a ra n , E r. N i m a Vi s w a n at h a , A r . R a j i n a R a h i m a n V, D r . S o u m i n i R

Written by Ar. Athira Balakrishnan

S teumdei o Ter a9m S ste : Semester 7: Semester 9:

A r. A b i ra m i Pra b h a k a ra n , E r. N i m a Vi s w a n at h a , A t hj ii nr aa BR aa lhaikmr iasnh nV,a nD, rA Mui tmh iunni R B a s i l , A r.V i n e e t h T K A rr .. A Ra . rS. o A r. A b i ra m i Pra b h a k a ra n , E r. N i m a Vi s w a n at h a , A r . R a j i n a R a h i m a n V, D r . S o u m i n i R

A Responsive Environment for Kozhikode: A meevni ts if toer dK’ o z h i k o d e : C rRi e t iscpaol nVs ei vr e n aEcnuvliar ro n‘ R A meevni ts if toer dK’ o z h i k o d e : C t gisncpaSolt nuVsdeii ovr e nWaEocnr ukvsliharoropn‘ R D erRsi ie C c aSlt uVdei or nWaocr uk sl ha or p ‘ R e v i s i t e d ’ D er si it gi n Design Studio Workshop

Avani Semester V Design Studio, Monsoon 2021, titled A Responsive Environment for Kozhikode: Critical Vernacular ‘Revisited’ (a studio on architecture-city-space-landscape) examines transformations Avani Semester V Design Studio, Monsoon 2021,the titled A Responsive of the cultural of Critical the trade and commerce core of the Environment forlandscape Kozhikode: Vernacular ‘Revisited’ (a studio Avani V Design Studio, Monsoon 2021, titled A Responsive city ofSemester Kozhikode, through the lens of ‘critical vernacular’ by closely on architecture-city-space-landscape) examines the transformations Environment Kozhikode: Vernacular ‘Revisited’ (a studio mapping the for aspects of land, life,trade people place tocore rediscover of the cultural landscape of Critical the andand commerce of the on architecture-city-space-landscape) examines the transformations the ‘architectural identity the and contemporary design language’ city of Kozhikode, through lens of ‘critical vernacular’ by closely of the cultural landscape of the trade andand commerce of the interlaced in aspects the city’s landscape. Theplace studio set out to mapping the of cultural land, life, people tocore rediscover city of Kozhikode, through the lens ofand ‘critical vernacular’ by closely interpret these material expressions cultural ideologies of the the ‘architectural identity and contemporary design language’ mapping the aspects of methodology: land, life, people and to– Translation rediscover region using Documentation interlaced in the thetrifecta city’s cultural landscape. Theplace studio set out to the ‘architectural identity and contemporary language’ –interpret Responsive project. these material expressions and culturaldesign ideologies of the interlaced in the thetrifecta city’s methodology: cultural landscape. The studio– Translation set out to region using Documentation material expressions ideologies of the Studio V these Monsoon 2021 organizedand an cultural Integrated workshop in –interpret Responsive project. region using the trifecta Translation collaboration with Prof. methodology: Roger ConnahDocumentation (Ex- Associate –Professor at – Responsive project. Azrieli school of architecture and Urbanism at Carletonworkshop University in Studio V Monsoon 2021 organized an Integrated Ottawa, Canada) onProf. Translations & Relational Thinking. Professor at collaboration with Roger Connah (Ex- Associate Studio school V Monsoon an Integrated in Conceptualized as 2021 two organized stages: Pre-film/ Visualworkshop treatment Azrieli of architecture and Urbanism at Carleton University in collaboration with Connah (Ex- Associate at presentation, where aRoger relative narrative detail Professor from the Ottawa, Canada) onProf. Translations & Relational Thinking. Azrieli school of stage architecture and Urbanism at Carleton University in documentation is translated inPre-film/ a cohesive visual narrative Conceptualized as two stages: Visual treatment Ottawa, on Translations &which Relational with the Canada) help ofwhere relational couldThinking. bedetail translated a presentation, a matrix relative narrative frominto the Conceptualized as fortwo stages: in Pre-film/ Visual treatment strategic ‘open idea project’ through relational drawings in documentation stage isthe translated a cohesive visual narrative presentation, a matrix relativewhich narrative frominto the the form of a 16 Panel Portfolio. with the help ofwhere relational could bedetail translated a documentation stageforisthe translated a cohesive visual narrative strategic ‘open idea project’ in through relational drawings in withform the help of Panel relational matrix which Portfolio could be act translated into a The visual and the 16 Panel as a catalyst the of narrative a 16 Portfolio. strategic ‘open the ideainferences for the project’ relational drawings in in translating from through the documentation stage to the form of anarrative a 16 Paneland Portfolio. producing unique tool of re-analysis and representation which The visual the 16 Panel Portfolio act as a catalyst leads to spatially inferences in designing in/for in translating the appropriate inferences from the documentation stage the to The visual the 16 Panel act as a catalyst cities, addressing theand contemporary andPortfolio future challenges, hence producing anarrative unique tool of re-analysis and representation which in translating the appropriate inferences from the documentation stage the to proposing responsive environments/ architecture which generates leads to spatially inferences in designing in/for producing adialogues unique of representation which sustainable with there-analysis place. andand cities, addressing thetool contemporary future challenges, hence leads to spatially appropriate inferences in designing in/for the proposing responsive environments/ architecture which generates cities, addressing the with contemporary sustainable dialogues the place. and future challenges, hence proposing responsive environments/ architecture which generates S t u d i o Te a m sustainable dialogues with the place. S e m e s t e r 5 : A r. A d i t y a N a m b i s s a n , A r. A f i f a N u z h at , A . d A im i l ia Sm, A r . M e e n a k s h i D u b e y , A r . T h u s h a r a K , S tr u o bTe A S ir n. hAad, i tAyra. S S er .mSeast tyearj e5e :t A Naanmj abyi sVs ea en r, aAk ru. mAaf ir f a N u z h a t , S tr u o bTe A . d A im i l ia Sm, A r . M e e n a k s h i D u b e y , A r . T h u s h a r a K , S er .mSeast tyearj e5e :t A Naanmj abyi sVs ea en r, aAk ru. mAaf ir f a N u z h a t , A S ir n. hAad, i tAyra. S A r. A m b i l i S , A r. M e e n a k s h i D u b e y, A r. Th u s h a ra K , A r. S at y a j e e t S i n h a , A r. S a n j a y Ve e ra ku m a r

Written by Ar Thushara K P Written by Ar Thushara K P Written by Ar Thushara K P

#02 #02 #02

EVENTS #01

DISHA 2021 A V A N I A n n u a l F i r s t Ye a r O r i e n t at i o n Pro g ra m

The sixth edition of the AVANI Annual Orientation Program was conducted from December 01st to 09th. The curated program attempted to weave the cultural geographies of the terrain with a festive celebration of Art and Architecture. The 10-day program was integrated with expert talks by eminent architects & artists; and workshops and activities that instilled the “Reconnections” with the context for the first years, who have experienced education for the past two years on an online platform. Taking the Student group through mind, body, and space connection, Theater Artists, Sam George and Nidhi S Sasthri from APT, A Place for Theater Performance and Art, executed an intense two-day dynamic workshop (‘Fourth Wall’) with body movements and retelling of folklores. To familiarize with the locally available material that is coconut leaves (‘Ola’), Artist Asho Samam was keen to engage with and develop a sustainable sense of living by using degradable materials for daily means. The workshops concluded with our in-house Artist, Usman Pakkath, initiating the Tie & Dye workshop (‘Vivid Revelations’).

On regional and contextual sensitivity, AVANI Annual lecture was also conducted as part of DISHA. It was delivered by the prominent architect Prof. Rahul Mehrotra. To engage the students on the various aspects of Art in Architecture, a vibrant introduction was delivered by Artist Bose Krishnamachari, Director and Founder Kochi Muziris Biennale. Being a friend, mentor and guide. Prof. Neelkanth Chhaya directed an interactive session on Studio Culture and the various aspects of a foundation studio. Apart from the above, other sessions like a collective panel discussion with alumni students were arranged to ease the first years into the curriculum. To instill the trend of exploration of one’s surrounding city and architecture, the annual traditional activityscavenger hunt, was also conducted. The program concluded with a fun, interactive music session by Ar. Mathew James.

S t u d i o Te a m : S e m e s t e r 1 & 2 : A r. A n j a l i S u j a t , A r. D e v a k u m a r T, A r M o n i s h a V Ku n j u m o n , A r. S h a ra n K r i s h n a n R , A r. U j j a y a n t B h a t t a c h a r y y a , A r t i s t U s m a n Pa k k a t h , Ar William George Kennedy

Written by Ar Anjali Sujat

Thesis Diaries And just like that, after an intensive, but rather prolonged semester, which saw the final year students going on and off campus erratically, amid all the pandemic mayhem, finally reach the critical juncture of their 5 years in architecture education: graduating as the next generation of young architects. The season definitely came with its own challenges, especially, considering that the students were stepping into the campus after a solid year and half from it, owing to both the lockdown as well as an internship semester. Therefore, with no time to lose, a thesis committee was formed with the sole reason to provide guidance to students as well as facilitate the smooth conduct of the thesis semester. An orientation week was envisaged to help students transition back to the academic realm while equipping them with the technical know-how to carry out research and the initial study necessary for their respective thesis programmes, that manifested in the form of various master classes, writing workshops, and presentations by both faculty members and professionals alike. At the very onset, it was decided to have a selected combination of both external and internal reviewers to help students better formulate their research and design, which greatly helped in bringing about a sense of depth and variations to the different methodologies adopted over the course of the semester. The first round of externals being Dr. Pratheek Sudhakar, Ar. Lakshmi Manohar and Ar. Arun Shekhar.

It would be unfair to say that everything went like clockwork, as there were times when a general dearth in rigor or attitude took over, owing to the largely online mode of learning, thus strategies such as intensive design workshops held by Ar. Goutham, Ar. Vishnu, and Ar.Madhushitha, helped students to refocus, recalibrate and incorporate their research findings into the conceptualization of various design forms, layouts, plans, thereby foraying to the creation of several iterations and combinations that then enabled them, if not catapulted, to a much stronger trajectory of design formulation. It goes without saying that the constant mentor discussions coupled with the aid of FSG (Focus Support Groups), and Thesis Mentor, Prof.Neelkanth Chhaya, greatly expedited the process. Also, truly thankful to both Ar. Vidhya Mohankumar and Ar. Biju Kuriakose, for taking the time and effort to travel to campus for the final jury of this batch. In conclusion, there were some pretty outstanding projects, from a larger pool of relatively honest works and a couple of mediocre ones; that said, the pandemic times have certainly taught us that we Written by Ar Kevin Mathew are yet to master the online/ hybrid mode of education and the possible consequences one can expect from this form of a pedagogical mode are yet to be seen.

The projects predominantly came out of relevant concerns, spanning across the nation, which ranged from the ongoing environmental crises to the loss of dying crafts and habitats to the `preservation of heritage rich streets to the recognition of significantly historic linguistic groups and so on. Hence, undoubtedly, safe to say that the topics were well-grounded in the type of sensitized approach the students rendered to them. Thesis Committee : Ar Kevin Mathew, Ar Meenakshi Dubey, D r S o u m i n i R , A r Va r u n G o p a l , A r Vi v e k P P

#02

Avani Heritage Archive Cell

#03

Logo Designed by Akshay A (Batch 2020)

Ar. Afifa Nuzhat, Ar. Ar. Devakumar T and Meenakshi Dubey, under the guidance and support of Dr.Soumini Raja, Head of the Department at Avani Institute of Design.

Preamble The Avani Heritage Archive (AHA) cell is envisioned as a multidisciplinary academic community of students, heritage scholars, educators, activists, and practitioners, to question what heritage means to each of us, in the Indian context. With an understanding of built heritage, conservation, and current global challenges, the Cell envisions to focus on all activities related to documentation, conservation, capacity building, promoting awareness amongst stakeholders and young professionals, through public outreach, workshops, and publications. AHA will also operate as a repository of existing knowledge through archiving.

discourses on heritage. The AHA cell took shape under its Convenors,

Avani heritage archive cell is one of the flagship initiatives of Avani

Institute of Design, envisioning to engage in non-hegemonic & critical

The

AHA

Cell shall work towards collaboration between heritage

professionals, cultural anthropologists, local institutions, and government agencies developing an interdisciplinary, multiscale model of knowledge and thus aims at re-defining heritage praxis and extend its focus on regional & local indigenous building practices, material & technological knowledge systems. The heart of AHA cell addresses decolonizing the perspectives around heritage in our design pedagogy and academic practices while promoting global and critical heritage discourses, thereby evolving into a platform for addressing identity, social justice, equity and climate change with respect to heritage sites and cities.

Avani celebrated its World Heritage Week with the Launch of the AHA cell

on November 25th, 2021, with Architect Vinod Kumar MM (dd Architects Thrissur) as our Guest speaker for the event. Ar. Vinod discussed the ideas of Identity/Roots, Climate, Ecology and Archaeology through his

conservation projects over the course of his architectural practice over 20 years.

Written by Ar Meenakshi Dubey

ACHIEVEMENTS

F A C U LT Y

Architecture Language and Methodologies of Cultural Landscapes

#01

I C O M O S Pa p e r Pre s e n t a t i o n Ar Meenakshi Dubey

Ar.Meenakshi Dubey (Associate Professor, Avani) and Ar.Thushara Koraprath (Assistant Professor , Avani) co - authored and presented their ongoing research titled “Re-interpreting the Cultural Landscape of Kozhikode: Spice as an agent to decipher the material and Cultural expressions of the city : An academic approach; under the theme “Architecture Language and Methodologies of Cultural Landscapes“ at the ICOMOS India’s Annual Scientific Symposium 2021_”Cultural Landscapes: Transformations and Emerging Ideas” held on 19th-20th November (hybrid event).

Ar Thushara Koraprath

The rationale of the research came from two unsettling experiences as academicians, pedagogues, and also as urban practitioners that engage constantly with the built environment , both contemporary and of the past. First, the hegemonic and colonized narratives of historic cities and precincts, some of which overlook the holistic relationship of people, place, land, and life .Second being the non holistic conversation in B. Arch design education, where Heritage becomes a niche conversation and is mostly reduced to the idea of conservation, protection, and documentation projects . Thus, we envisioned to look at future trajectories of building in the city, while critically looking at the Vernacular. The methodology largely focuses on creating translational tools as a part of the design pedagogy that does not mimic, however, responds to the existing built vocabulary and the settings. This experimental pedagogy sits on a three-pronged theoretical premise of Responsive, Relational & Intersectional design approach. Thus, the paper argues for an evaluation of the regional practices (‘revisiting’ the vernacular) and specificities in terms of materials, techniques, and spatial practices to innovate the ‘critical vernacular’ solutions for contemporary yet contextually responsive projects. Written by Ar Meenakshi Dubey

The Time Has Come

#02

Publishing of Poem

A poem “The Time Has Come” was published in the anthology series “Tears of Joy” by writers order for their November 2021 print and e-book releases. The poem tells of the journey of a Ar Krishna Salim

woman who is battling her marriage realities and how she has fought so hard so far to keep the relationship afloat and how it has finally broken down. Despite being madly in love with the man of her dreams, she realized she had no other option but to walk away. It becomes clear to her that staying in this relationship would result in much greater damage and pain than walking away. Written by Ar Krishna Salim

Tectonics of Sacred Synthesis Award-Winning Drawing This drawing was shortlisted for the Architecture Drawing Prize as one of the best hybrid drawings in the globe to be exhibited at the John Soane’s Museum, London. The design thesis intends to understand the idol-making community in Kumartuli and

subsequently

propose

careful

injections into the site in the form of dwelling reforms, ancillary, infrastructure and urban guidelines in the wake of craft, heritage and celebrations. A tactical and collaborative approach is adopted for the community development to stay true to the essence of the precinct.

Written by Ar Ujjayant Bhattacharya

and analyze the contextual phenomena of

#03

#04

A Sanctum of Narratives and Memories

Ar Ujjayant Bhattacharya

VV V VV V VV V V VV VV V VV V VV V V VV VV V VV V VV V V VV VV V VV V VV V V VV

VV VV V VV V VV V V VV VV V VV V VV V V VV VV V VV V VV V V VV VV V VV V VV V V

Award-Winning Project

The project is a multi-faith cemetery whose intent and design is based upon core aesthetic, volumetric, phenomenological and ritualistic principles in an attempt to understand the cohesive inter-relationship between faith and sacred architecture. The project is the winner of the World Architecture Award, 2019. The project has also been published widely which also includes it’s selection in the prestigious UNBUILT VOL. 2, which celebrates the best Unbuilt Architectural Marvels in the country. The site is in Thane, Maharashtra, India. The site sits along the banks of the River Ulhas. Thane is left with few places for burying the dead. Over 25 active proposals to repair and renovate crematoria in the city have been pending with the civic body for over two years. To meet the increasing demand of Thanekars for more burial grounds, the design allots space to different communities and religious faiths. The design seeks to radically challenge the notions related to Architecture that deals with the future of death. The design aims to simplify the basic interpretation of volumes for the four faiths involved, namely Hinduism, Islam, Christianity & Zoroastrianism with the help of narratives that transform the cemetery into a memorial. The objective is to create encounters, impressions, and a narrative through various intangible and sacred phenomena in perfect harmony with physical volumes. Repetitive and subtly relatable elements of form and processes, minimum characterization and volumetric narratives aid in framing a familiarized space that in turn eliminates the taboo and uncertainty behind the process of death. Instead, the space tends to compliment the sublime and sacred nature of the event.

The design intends to give birth to serene narrative environments. A multi-faith cemetery becomes an unusually beautiful case. A space that identifies holy perimeters where the soul coalesces with the celestial vastness. Pure forms illustrate ritualistic, sacred, and spatial margins and become the mediums of exchange. The fact that death is to be dealt as an initiation for memory, and not as the end of all that is physical, is a key train of thought that can indeed bring about a change in perception of such spaces and precincts today. Smaller landscapes are utilized to generate a bigger context altogether. The design treats these landscapes as pavilions that do not appear physically exclusive. Pavilion 1 is the Hindu crematorium, Pavilion 2 acts as the Islamic complex on the site, Pavilion 3 caters to the Christian faith & Pavilion 4 aligns with the Zoroastrian faith and their beliefs. Along with the spaces that are exclusively dictated by the rituals of each faith, a metaphorical aggregation occurs at the museum of memories or the Pavilion 0. A speculative space where death is seen as a memory and not farewell. This volume isn’t a forced imposition of space but instead a space that is accessible by choice as an organic development of transitions, than a crafted consequence. The digital memorial inside the Pavilion allows the user to experience the accumulated/ submitted digital footprint left behind by the departed. Pavilion 0 receives its elevations from the already tangible volumes that mark its surroundings. In order to preserve the relevance of the same, the built form is unbuilt, underground, and absent from the line of vision. Written by Ar Ujjayant Bhattacharyya

Student Achievements Imbibing the Mantle of Leadership Student Council Investiture Ceremony

Being a student representative is a rewarding experience, especially when you see the change and impact you have on your peers. The diversity, the different backgrounds, and the adverse range of people and the array of professionals you meet in the college, enhances your experience, forming long lasting bonds and friendships. The Avani college elections are held annually to form a Student Council who manage the affairs of the college under the guidance and supervision of our Principal, Ar. Tony Joseph. It enables students to develop and strengthen their leadership skills and contribute to high- level decision making. A democratic training was offered to the students which began with the “Meet the Candidates program” where the candidates spoke about their abilities and shared their vision for the future endeavors. The contestants explained the purpose of their candidature. An intensive campaigning was seen in the following days. Several strategies and skills were applied to lure voters. It was followed by a ballot voting and the results were announced soon giving rise to much jubilation. The Investiture Ceremony for the academic year 2021-22 was held on 17th December 2021. The Chief Guest for the event was Shri. A. Pradeepkumar (ExMLA, Kozhikode North). He was welcomed by the Council Staff Advisor, Er. Nima. Dr. Soumini Raja, the HOD of our college, addressed the audience and wished the elected leaders. This was followed by handing over of the badges and oath taking ceremony. The minutes were tendered followed by felicitations by Ar. Vinod Cyriac who spoke about the seriousness of the responsibility entrusted to the elected leaders. Fasil Majid, the newly elected Student President, addressed the audience and thanked the administration for providing the students an opportunity in decision making and an invaluable insight into the wider university and institution scenario. The winners of the NASA MSL Award were congratulated on the dias. Vote of thanks was proposed by Michelle Manoj, the General Secretary of the college. Written by Michelle Mariam Manoj Batch 2020

#01

#02

Intertwine : The story of Canoli Canal

ZONASA 2021 Special Mention

Streaming across the land from Vadakara to Beypore in Kerala, the Canoli Canal runs rich with history and life. Constructed in the year 1848, The Robinson-Cannoli Waterway for trade in the past has had a prominent role in shaping the socio-economic history of Calicut City. Over the years, the canal has gradually started losing its importance and has been in a state of neglect with silt accumulating and piles of waste increasing. With the design brief encouraging to explore the act of balance between art, science and nature, a landscape intervention meaningful for the people involved, The project ‘intertwine’ aims to revive the importance of the Canoli Canal by bringing more attention to its present state and by providing public activities and programs for a wide demographic along its edges. The revitalization of the Canal can even help mitigate the flooding in Calicut City to an extent. The project has been designed as modules that can be applied anywhere along the stretch of the canal to make pockets of public interaction with the waterbody. We commenced our project by acknowledging the past, understanding the present and prescribing the future of the Canoli Canal. The project, done by a vertical team from various batches, helped the students to interact and learn from each other while designing the project. The project was an attempt to bring an abandoned and forgotten Canoli Canal back into the city’s memory and share its history with the people, with an aim to bring back its old glory back into the life in Calicut. Team Members: Aneez Mohammed, Janet Bridget Joyson, Renna Fathima, Afrin Falim K, Mohammed Nihal Kuruppam Thodi, Hiba Kattissery, Ayisha Shadha, Reesha Faizal Written by Renna Fathima Batch 2018

Capturing a Dream Being a part of NASA

#03

Nihal Kuruppam Thodi, of batch 2019, writes about his experience in being able to be part of NASA’s Design and Editorial Team. Being a part of NASA has always been my dream as an Architecture student. I have always ensured to engage with friends who are a part of NASA and have also participated in various events and competitions every year. Apart from that, having the opportunity to work with the Design and Editorial Team (DET) of NASA was a great acquaintance to me. Getting into the DET (Design and Editorial Team) of NASA is a massive process, as it requires a simple and well-presented graphic design portfolio. The portfolio should express how great you are in that field of design. DET mainly focuses on posters, publications, social media posts, and publication covers; and the team works closely with the executive council. My experience with DET of NASA helped me advance my design skills in many aspects like formatting, organizing, and composing the contents of a publication. I largely focused on the publication area of Louis I. Kahn Trophy and MSL Trophy and was involved in Design, Content Organisation, Proofreading, and other processes of publishing a publication. As part of this, I also obtained the chance to design a cover for Louis I. Kahn Trophy. Most importantly, working with NASA gave me an insight into how a professional works concerning time and effort. Moreover, I also had a wonderful time working with students who were greatly skilled designers.

Written by Mohammed Nihal Kuruppam Thodi Batch 2019

The Drowning Girl Painting Competition - Winning Entry

#04

Devika Parvathy, from batch 2019, writes about her experience on bagging the winning entry for the painting competition held by NASA 2021. The image I chose to draw was that of a drowning girl through which I could convey reality to the mere imagination of the viewers. The painting was not just about a drowning girl but the dream and wishes of a girl that has been pulled down into nowhere. Wherever she has been taken into,the beauty that she spreads brings life into it. The selection of this particular painting was a challenge to myself and my skill as an artist. Discovering through the process of how painting an object under water would be different under all means, in terms of the colors, the tints and shades. The amalgamation of colors with water generating shadows and a lot of additional forms. Yet another experiment with oil colors tested the patience in me to complete the whole painting in more than a week. Oil paints take a longer time to dry and each layer can be further added only once the surface layer gets dry. Adding on colors layer by layer, gave a chance to improve wherever it was found necessary. Minute details were added towards the end of the whole process. This painting was published in the Zone 6’s 1st Newsletter of NASA. (Page 15, October - November 2021 Issue.)

Written by Devika Parvathy Batch 2019

III III III II

II II II IIII II II IIII II II IIII II I II II II IIII II II IIII II II IIII II I

II II II IIII II II IIII II II IIII II I Student Activities

A platform for inclusive excellence

Student Activities K

#01

Koothu 2.0 : Cultural Night

oothu, is one of the inventive aspects at Avani Institute of Design. It is a

A platform inclusive excellence platform to hearten for promising talents in the field of cultural events. Initiated

#01

Koothu 2.0 : during Cultural by the students the Night pandemic in 2021, has successfully completed its second occurrence with passion and lively colors.

Koothu, is one of the inventive aspects at Avani Institute of Design. It is a K oothu, to is intended to not onlytalents support students to cultural identify events. their concealed platform hearten promising in the field of Initiated

talents, but also during assist students to develop them. Their sustainedcompleted involvement by the students the pandemic in 2021, has successfully its in more occurrence than one activity reflectedand their talents and potential. A colorful extravsecond with passion lively colors. aganza of music, dance and drama marks the high point of our academic year,

creating environment. It workstotowards social K oothu,aispulsating intended college to not only support students identify nurturing their concealed inclusion, enhancing confidence and to overcoming their talents, butcapacity-building, also assist students to develop them. Their sustained involvement stage fear. in more than one activity reflected their talents and potential. A colorful extrav-

aganza of music, dance and drama marks the high point of our academic year, It is a much-awaited for everyone in theItAvani It etches a mark on creating a pulsating day college environment. worksfamily. towards nurturing social the calendar and students look forward confidence to this date.and With to particiinclusion, capacity-building, enhancing toregards overcoming their

pationfear. in the organizing process, faculty and students always work together. stage It is a learning process for both of them. And the most unforgettable part of

pation in the organizing process, faculty and students always work together. Pulsating lights,process loud music andof dancing crowd on your tunes, that It is a learning for both them. And thetripping most unforgettable part of day filled with extreme energy and enthusiasm. With no hierarchy between any cultural event are its practice sessions. It is always the rigorous late night, age gaps, we Avani family come with mixed-up dances and other aslast-minute practices lighting up on thestage whole campus atmosphere. tonishing performances. And how can we culminate a cultural event at Avani without a lights, DJ? Terminating KOOTHU, with tripping a mashup a unique Pulsating loud musicevery and dancing crowd oncreates your tunes, that and time, energy with memories that will last for no a lifetime. day unforgettable filled with extreme and enthusiasm. With hierarchy between

age gaps, we Avani family come on stage with mixed-up dances and other asCollege are oneAnd of the first for students whereevent theyat are put tonishingfestivals performances. how canarenas we culminate a cultural Avani together from various streams. This taste of a real-world experience can build without a DJ? Terminating every KOOTHU, with a mashup creates a unique a variety of skills intime, them. And here’s tothat the will nights into mornings and unforgettable with memories lastthat for aturned lifetime. with the friends that turned into family.

College festivals are one of the first arenas for students where they are put

together from various streams. This taste of a real-world experience can build a variety of skills in them. And here’s to the nights that turned into mornings with the friends that turned into family.

Written by Radhika Written Krishnan by Radhika Krishnan Batch 2020 Batch 2020

any event areday its practice sessions. is always the It rigorous night, It is acultural much-awaited for everyone in theIt Avani family. etches alate mark on last-minute lighting up forward the whole atmosphere. the calendarpractices and students look to campus this date. With regards to partici-

info@avani.edu.in Avani Institute of Design, Ambayathode, Koodathai Post, Thamarassery,Calicut, Kerala 673573, India Credits | Graphics team: Anan Antony Paul, Ar Athira Balakrishnan, Abhay Rajesh, Nihal Lalu | Content Curation & Editorial: Abhay Rajesh, Ar Anjali Sujat, Radhika Krishnan, Lavannya K | Critic at large: Dr Soumini Raja info@avani.edu.in Avani Institute of Design, Ambayathode, Koodathai Post,

#01

Koothu 2.0 : Cultural Night

Koothu, is one of the inventive aspects at Avani Institute of Design. It is a platform to hearten promising talents in the field of cultural events. Initiated by the students during the pandemic in 2021, has successfully completed its second occurrence with passion and lively colors.

Koothu, is intended to not only support students to identify their concealed

talents, but also assist students to develop them. Their sustained involvement

in more than one activity reflected their talents and potential. A colorful extravaganza of music, dance and drama marks the high point of our academic year, creating a pulsating college environment. It works towards nurturing social inclusion, capacity-building, enhancing confidence and to overcoming their stage fear.

Pulsating lights, loud music and dancing crowd tripping on your tunes, that day filled with extreme energy and enthusiasm. With no hierarchy between age gaps, we Avani family come on stage with mixed-up dances and other astonishing performances. And how can we culminate a cultural event at Avani without a DJ? Terminating every KOOTHU, with a mashup creates a unique and unforgettable time, with memories that will last for a lifetime. College festivals are one of the first arenas for students where they are put together from various streams. This taste of a real-world experience can build a variety of skills in them. And here’s to the nights that turned into mornings with the friends that turned into family.

Written by Radhika Krishnan Batch 2020

It is a much-awaited day for everyone in the Avani family. It etches a mark on the calendar and students look forward to this date. With regards to participation in the organizing process, faculty and students always work together. It is a learning process for both of them. And the most unforgettable part of any cultural event are its practice sessions. It is always the rigorous late night, last-minute practices lighting up the whole campus atmosphere.