Research Writing and Documentation (2015-2020)

Design Research Writing & Documentation 2015-2020

H a r l e e n D h awa n In ter io r D e s ig n e r

Having an analytical undertone to her poetic perceptions of the world, I intend to explore and decode the essence of space into its elemental aspects - of what aids to its meaningfulness. My driving force is to promote and acknowledge varied opinions, stories and perceptions to widen our sense of the world.

A work in progress, the content encapsulates personal research, theories and ideas through the academic journey, which support my design inquiry over the various studios.

These research, ultimately, not only provides a foundation for concepts, narratives, strategies and framework for methodlically carrying out the process of each project, but also helps keep a personal touch with the design projects through constant journaling.

First impressions and readings from various visiting sites, case studies and any impactful ideology of the architects holds a precious moment of a bond creation with a built form.

The compilation of creative writing are excerpts from such travel journals, attempting to articulate the inter-relationships, experiences, and learnings in a metaphorical and descriptive form.

This journal shall remain a work in progress, with new additions as I go about exploring various ideologies and concepts.

Contents 1

RESEARCH THESIS - A SYNOPSIS Choreographed Spaces: An inquiry into the subject-observer relationship through a controlled assembly of spatial tectonics

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PERSONAL INQUIRIES AND VIEWS • Inside The World Of ‘The Studio’: Questioning the ideals of the hustle life of architects and designers • Presentation Sheets - How Much Is Enough?

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DOCUMENTATION AND APPRECIATION OF FIRST IMPRESSIONS - EXCERPTS FROM TRAVEL JOURNAL • • • • • •

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Sangath: An Orchestrated Experience Mill Owner’s Association, Ahmedabad High Court building, Chandigarh Kochrab Ashram, Ahmedabad: A Forgotten Historicity Bhadra Fort and Azam Khan sarai, Old Ahmedabad Jewish Museum, Berlin

CASE STUDIES : CULTURAL & SOCIAL IMPLICATIONS OF ARCHITECTURE Synergizing Art and Applied Art- Architecture and Dancing in the works of Sheila Shri Prakash The Revival of Phulkari Craft in The Urban Context The Impact of Social Media and Social Commerce on the Redevelopment of the Craft Comparative Study of Regionalist Interpretations in Architecture Kisho Kurokawa (Japanese) and Geoffrey Bawa (Sri Lankan) Understanding The Transformations through Adaptive Reuse • Selexyz Dominicanen - Church turned into a bookstore • Cinnamon, Bangalore

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Research Thesis Choreographed Spaces:

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An inquiry into the subject-observer relationship through a controlled assembly of spatial tectonics

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Choreographed Spaces: An inquiry into the subject-observer relationship through a controlled assembly of spatial tectonics Guided by - Prof. Ratna Sutaria Shah May, 2020

Synopsis The study began with a personal inquiry based on the observation of the current era of interior and architectural projects composed of flattened visual frames with a static composition, made prominently and consciously to be merely captured by the lens of a camera, having a clear detachment of the space as a subject and the observer. Although resulting in a photogenic space, with the growing use of platforms such as Instagram and Facebook for the promotion of an interior project, it remains frozen in time. The inquiry was to delve into the evocative aspects of perception of a space in real time that is not wholly giveable from a static point of view, but sensitizes the observer in space to the surroundings, which was essentially the unique standpoint of Modernism.

To start off comprehending the role of perception in Modernism, it was crucial to reflect on the evolution of space conceptions, how through the ages, the concept of spaces came to evolve as a spatio-temporal form of expression, with dynamic relations between subject-observer and the creator, exemplified in the age of Modernism.

The study is largely divided into three parts, Conception, Theorization and Implication - Application.

In the first section, predominantly, a theoretical-reflective approach is adopted to derive a contextual essence and standpoint of Modernism’s conception of space, deducing the relevant lens and framework before attempting to theorize it in the second section and analyse its implication in the third section. Understanding Modernism through a theoretical approach also helped in understanding the intent and approach of the various eras of space creations and their influence from the relevant shifts in societal norms.

The understanding of concept of art and architecture in the Medieval age provided with a background of how Man, with limited resources and knowledge, began to stabilize the uncertainty and chaos around him by leaning towards the concept of a Divine power, appealing and limiting him towards geometry and regularity through the implications of art and applied art.

The static and uni-dimensionality of the nature of spaces continued in the Classical era. With the Gothic churches, a shift in the relationship with the rigidity of the Divine power is observed, wherein the relationship between Man and God became more confrontational, exemplified in the spatial qualities of the churches where the Man walks through the linear passage, looking in awe at the monumentality of the Divine, acting as a subordinate character in space. Further, with the development of masonry, heavy walls and ceilings were articulated so as to decrease the load, creating floating buttresses and potentials of spaces with high verticality and other complexities.

Renaissance further progressed the perception of reality and brought about a divorce of the institution of art and science from the rigidity of religion, causing gradual realisation of visual dynamism in art, which could be observed in the nature of spaces, wherein the mathematical proportioning began to be influenced from the human form. This began the dawn of an anthropometric space, with architects such as Francesco Geiorgio’s belief in ‘Man is the measure of all things’. This independence from the rigid divine orders allowed for architects to reflect on the surroundings and creations, generating an interpretative proportioning system with conscious efforts in designing visual frames, which were to be observed from a desired point in space.

Hence encouraging a person in space, who was a mere subordinate viewer before, to become an observer or spectator of the powerful perspectival visuals of the architects and artists’ vision.

Baroque further led to newer nuances of dynamism, allowing compelling visual techniques to explore the theatricality of space. Though the visual frames or instances in space were still static, elements like elaborate staircases broke the shackles of independently and discreetly present volumes and systems.

The Age of Enlightenment brought about a rational and analytical approach to compositional values, strengthening the role of the creator in exploring the interpretations of space configurations.

A key factor of the age of enlightenment was the realization of void or negative space as an equally crucial and malleable factor in composing spatial systems.

With the invention of motion pictures or cinema in Where earlier the relevance of an artist was based on how well they could capture reality, by the 19th century, with the inception of cameras as a tool for documenting, artists moved towards visualization and interpretation as a new way of seeing.

Paul Cezanne developed crucial concepts of artistic inquiry, based on acknowledging and capturing the multifacetedness of objects. This gave rise to concepts of Cubism, causing a representational or symbolic art to transform into Interpretative art.

Due to such significant shift in the way artists approached art, applied art too, gained influence from it with architects inquiring the possibility of highlighting multivalence of spaces with key concepts such as Simultaneity, Phenomenal Transparency, which questioned not only the earlier norms of composition and assembly of systems, but the very investigation into the act of perception itself.

Modernism, with the direct influence of Cubist concepts, saw changes in the conception of space, with an immediate loss of centrality as a response to constantly shifting the viewer’s perspective. and bringing about reinterpretation of all previously existing norms and limitations of forms and their interrelationships.

The effect of montaged visual frames with space as a constantly shifting labyrinth of concealments and revelations allowed for a threefold relationship between Man, the creator and the space or the subject, with a constant interplay into the act of perception of space, now the role of man is shifted from an observer to an active participant or an explorer in space. From the static to now shifting and floating viewpoints and no clear visual axis, Modernism explored architecture as a continuum of space and time, to be best explored by the observer only while moving through the spatial tectonics.

The second section inquires about the choreography of subject-observer relationship by the Modernist architects through conscious manipulations of the derived lens of movement and

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perception in the space-time context.

The comparative argument of the use of kinesthetic perception in the case of traditional indian architecture, explained by Yatin Pandya in his book Concepts of Traditional Indian Architecture highlights the key distinction of Modernist’s intent, approach and application of the same concept of involving kinesthetics, wherein the distinction between a choreographed and an orchestrated movement is discussed highlighting the key and active interplay of subject and observer in space in case of a Modernist architecture through the example of Le Corbusier’s implication of modernism.

Movement and perception is theorized as Visual, Compositional and Spatial, each of which are further discussed with their ramifications on the subconscious in orienting the observer in space along a certain direction.

The Compositional perception is manipulated uniquely in the era of Modernism with the concept of Phenomenal Transparency, so as to incite speculation of the observer in space, wherein the spatial play and inter-relationships are arranged so as to allow for a simultaneous reading yet concealment of information. This conjures an ambiguity or contradiction of spatial dimensions, not allowing the observer to read the building from one static point of view.

The spatio-temporality is further enriched with the constant shift in the pace of movement of the observer in space, choreographed consciously so as to allow for a moment of pause to observe or encounter spatial relations, speed up the motion or walk cautiously with deliberate efforts in interpreting the direction of the path through sensorial, experiential or associative perception.

Section three finally discusses the implication of the aforementioned theories and the application of thus implied framework of strategies, as observed in the works of Le Corbusier.

Keeping in mind the essence of encountering spatial frames in a sequential order, a framework of experience path is attempted which helps better understand the conscious placement of stages as a method of encountering juxtaposed contradictions with spatial experience of tension and ambiguity, which is guided by sensorial perception.

Mill Owner’s Association, Ahmedabad and The High Court building, Chandigarh are first studied to understand the implications of cubist and modernist concepts in the organizational approach of Le Corbusier. From this, common key strategies are deduced which help in enriching the experience path in the continuum of space and time. Further, the essence of sequentiality of visual frames are discussed which highlight the importance of serial vision or episodic vision in consecutively unfolding the spaces and their interrelationships.

The application and effect of the key strategies and theories adopted for the case of Palace of Assembly, Chandigarh are discussed under the lens of movement, perception and pace of movement. The reinterpretation of enclosure, structural, spatial and circulation system and their role in manipulating the perception of the overall space can be observed wherein the role of each can be summarised as follows: Enclosure System acting as nodes of focal points around which the major movement path circumambulates.

Structural gridded system forming a reference of sense of place to hint at the orientation of the observer and provide instinctual movement.

Spatial System breaking down full volume into layered sub-volumes, superimposing, overlapping

and interlocking with each other - composed of floor space, mezzanines, bridges, and linear corridors.

Circulatory system composed of long ramps provides an accentuated and prolonged threshold to interpret spatial context by slowing down the pace of movement at the beginning and end of the looped circulation path. Staircases strategically dispersed on various points to be ‘discovered’ and ‘encountered’ and not visually seen from afar.

Spatial manipulations have been implemented with size, form, placement and orientation of the elements, so as to guide the movement forward without a clear visual or physical axis. Visual manipulations have been implemented using varying visual depth, tones of surface to guide visual hierarchy, and surface details of lines to speed up (long linear lines) or slow down (hatched surfaces) the spatial flow. Compositional manipulations have been implemented with the varying proximity of elements, and their relative inter-relationships.

Concludingly, this research allows for an insight yet over another approach at designing spaces with a higher order of sensitivity towards the assembly and configuration of systems and their interrelationships. From approaches of designing functionally first, or prioritizing the implementation of structure, systems, programmatic requirements, or details, one can adopt yet another approach of designing inside-out, and further moving outward to choreograph the movement path where a consciously assembled inter-woven web of networks are composed keeping in mind primarily the vision and perspective of the observer in space, allowing the observer to transform into an active the explorer and participate in the reading of the spatial relationships. This allows for a timeless experience of spatiality where the observer in space is made to be sensitized to the surroundings rather than merely passing through them.

Spatial Composition

Visual Composition

Emphasis

Surface details - directionality principles

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Sequential Experience Path

Disorientation

Critical Threshold

Prolonged Threshold Introduction

Questioning

Reorientation

Culmination

Recalling

Figure 3.1 Sequential experience path

• • • • • • • •

Stage 1 - Introductory suction by depth of punctures on facade Stage 2 - Prolonged Threshold - Gradual ascent to perceive spatial volumes Stage 3 - Critical Threshold- Strong passive overlooking at a range of spatial information Stage 4 - Disorientation and sensitizing towards exploration Stage 5 - Questioning of path and anticipation of climax Stage 6 - Reorientation through slow sequential spatial unfolding Stage 7 - Culmination and ecstatic union and attainment of an overall view Stage 8 - Recalling the experience, going back through the spaces in reverse

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Personal Inquiries and Views on Current Norms

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Harleen Dhawan | Interior Architect

Inside The World Of ‘The Studio’ Questioning the ideals of the hustle life of architects and designers

Architecture and design is a field which seamlessly merges diverse skills, ideologies, methods and through the course of the education journey, even proliferates freshers to branch out to other creative fields such as film and art direction, photography, writing/ journaling, animation, etc. It is a field where one truly discovers, navigates and channelizes their creative instincts in a process-based journey to realise their true strengths and potentials in this typical 5 year course.

With all such assets and idiosyncrasies of this unique field, the routines and lifestyle of a typical architecture student stands uniquely as compared to the other fields of education.

Architecture and design students often carry the reputation of crazy work cultures and lifestyle which includes pulling all-nighters, having their models and sheets damaged during intense discussions, disappearing into the mysterious and often intimidating to other non-architect friends called ‘The Studio’, glued to their laptops and forever being stressed out about deadlines and submissions.

The often raised questions on these cultures are suppressed by the pressure of the standard that one has to uphold as a student of these universities, leading to an unhealthy lifestyle, slowly deteriorating eyesight and a constant back-pain.

The question is, is the glorification of unhealthy routines, constant stress, spending excruciatingly long hours without breaks and constantly receiving demotivation, the only way to end up with a successful, meaningful project?

The world of the 21st Century is a valuable age of ​questioning ​the order of the existing, whether it be age-long systems, culture, norms, music, art, or even our daily routines. Here are a few common controversial issues often faced by architecture/ design students that might help in spurring a discussion for the same.

Academic Studio Time is a constantly endangered resource Be it near deadlines, which are almost every other day, or just another day in the life of an architecture student, time is never enough. The mind is trained since the day one of entering the university, to be constantly in panic of losing precious time over short breaks, or even over the much-necessary yet neglected reflection on the discussion earlier with the faculty.On top of this, working in the same room through the day and night, with there being no difference between work time and leisure time, students often fail to fix a routine for the day.

With the studio being the common place for both leisure time and work hours, one persistently tries to focus on the work while constantly falling prey to easy distractions around. This culture of non-stop work often creates the illusion of hard work, when it is often realised by students that the same amount of work could have been produced in much less time and more effectively in a private and calmer zone, than the more-public and less introspective studio ambience.

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No world outside of the studio ‘No pain, no gain’ is the general tone of the hustle life of architecture students.

Excruciating hard work, efficient or not, and all-nighters are often given far more value than smart work. The very thought of any time spent in doing other activities such as family events, festivals, physical activities, hobby activities, etc. is frowned upon and the student is quickly claimed as ‘not serious/ interested in work’. Since the very nature of the evaluation system is based on hierarchy and power of the tutors over grades, the students can’t help but give their sole time and energy only to the academics, persistently confined to one room so as to not indulge in conflicting relations with the faculty.

Unavailability of Practicing Architects as Teachers The ratio of permanent and visiting faculty is prescribed by the Council of Architecture, however, this is not followed by most institutes. ​Such a scenario makes the students' exposure and studio discussions more theoretical and conceptual despite architecture being a practical field. The disparity of practical and theoretical balance in education leads to students feeling lost during the training/ internship period, with many realising that the practical field might actually not be for them.

Artists Vs Designers | Fantasy vs Sensitivity | Process Vs Presentation Design process is as important as the final outcome of the project, in both the quality of the project and the presentation method applied. However, with the commencement of digital media, it is lately seen that the focus has shifted to working day and night to work on the aesthetics of the final presentation sheets, impressive 3d renders and graphic qualities of the project proposal than solving the issues or extracting finer details for the project.

Along with this, architecture students are expected to ‘talk like artists’, ‘create like graphic designers’ and ‘sell like salespeople’, leading to a lot of demotivation and lack of confidence of students on their work, based on these side-skills.

Apart from this, faculties are often heard encouraging the students to come up with impressive, out-of-the-world forms, crazy structures without guiding them to develop the process and reasoning of coming up with the same.

The projects then often are left devoid of the actual relevance of our field, i.e. the society we serve with our built forms, and is reduced to coming up with often impractical solutions in the name of exciting projects and fancy, artistic forms. The curriculum is vaguely designed where students are not even aware of practicality and construction possibility of their designed structures, especially in the context surrounding them.

A common statement by numerous faculties heard by every architecture student - ‘You only have academic projects to come up with crazy ideas and forms. You will not get to do this in practice later in life, so make the most out of it.’ - is what develops the faulty intention behind creating each project in a student. Functionality, practicality and reasoning should undoubtedly be the first priority, even before random experimentation to develop ground-breaking and mesmerising structures.

As quoted by Pablo Picasso, “​Learn the rules​ like a pro, so you can ​break​ them like an artist”

Peer-influence The Studio, the architecture classroom where students work college-hours as well as after-hours in the same room through the day, and often pulling all-nighters as well, can become a place of constant peer influence. Students develop a habit of unnecessary craving for constant validation from peer discussions on every idea, relying on fellow students to establish the standard of quantity and quality bar for each submission, neglecting the

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importance of self evaluation and reflection based on the discussions, and reluctantly getting involved in comparisons. It is often found that students develop similar outcomes for submissions - in quantity, quality and presentation methods as well, developing a mob mentality rather than individual creativity.

In-studio culture- Subjective evaluation The very nature of the architecture education and evaluation system is subjective. The rigid hierarchy and personal student-faculty relationship plays a big role in the final outcome of the semester. Due to these loosely defined evaluation criteria, other side-skills like selling skill, story-telling, confident narrations, false portrayal of intense work, impressive graphical presentation etc. often play a significant role in a student’s grades and performance.

This subjective evaluation introduces too much room for prejudices and biases, misunderstandings and preferences.

Other commonly occurring incidents include confusions during conflicts between two co-teaching faculties, leaving students in a helpless state not knowing how to conclude their projects without offending either one.

Another berating aspect of the culture of architecture schools, is the fear of power of hierarchy of the faculties and jurors, giving rise to ego-feeding rituals like tearing up sheets in the name of the philosophy - do not fall in love with our work - leading to atrocious and otherwise unforgiving acts like vandalizing a student work, marking on hand-rendered sheets, breaking models, etc. in the name of teaching. Such acts lead to a deeper effect on the minds of the students where they end up not only developing insecurities and losing confidence, but also developing no respect and pride for their hard work and projects.

Loosely defined goals and learning outcomes, often unorganized or vaguely planned semesters, grading and terming ‘the best project’ based on subjective evaluations, etc. all lead to a negative and damaging education environment where one never truly understands where one stands in the understanding of the field.

Even educators can learn.

Jury Systems A jury system, very unique to the architecture field, typically involves students to pin up their final presentation sheets in front of a jury panel, often unaware of the design process of the studio, with typically 15-20 minutes spent on each student for the whole jury, leaving the student with mere 5-7 minutes to not only explain their whole process of 4-6 months of work, but to also sell the final proposal.

In practice, the first couple projects take up a larger chunk of the entire jury time where the juror is still trying to understand the relevance of the studio project, and very quick and disinterested last few projects by the end of the day. This common pattern of jury often leads to neglectance on the discussion over process and more on argument based on ‘why it works’ and ‘why it doesn’t work’. The argument often falls flat as there are no objective parameters to evaluate, but only suggestions and opinions.

The aim of juries should be to provide a unique point of view for each project, so that the student may reflect on those suggestions and counter arguments to make the project richer. The good of every student must prevail, hence grades, which can impede productive assessment, must not be given utmost importance. However, there is hardly any reflection and reworking done in most colleges based on the comments once the jury is over.

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Lack of Construction and Practical Knowledge Architectural graduates seem to know little about the physical and material aspects of construction, though are effectively trained to have artistic narrations for their projects, which are more often than not, subjective. Even after countless site visits, site analyses, case studies, etc., freshers go to the professional world with lack of confidence and rigour of inquiry, precision and material knowledge.

The question arises, are we producing artists or designers? Is our education system efficient enough to produce graduates who are confident in their ​creativity ​as well as ​knowledge​? Is enough attention being given to the expression of ​details​, ​sensitivity ​to the ​society and context ​and the reality of the practice?

Often the idea of productivity contrasts with the design world. The word ​"productive" congers up images of a production line stamping out widgets as fast as possible. As you can see the definition and the general public view of being productive revolve around the idea of production. It is all about ​quantity ​over ​quality. O ​ bviously, architecture has deadlines like every profession. However, the architecture school culture leans toward the idea that if there is an hour left, it should be used.

Office Culture - Professional Studios Many employees at ‘starchitect’ offices often pride themselves on putting in all nighters and late nights for years on end. While this may be the culture, does staying until midnight achieve consistent results? (Here, I am not speaking about the occasional long day but rather the consistent 60+ hour weeks.)

Personally, I found that while I was able to get work done, it wasn't really much more than I could have done in a traditional 8-hour day. When you are tired and mentally exhausted the creative process is much more labor intensive.

This creates a vicious cycle.

I am tired so I work slower, so I get less done, so I have to work more which makes me tired.

Deadlines Does rushing to the last minute create a better product?

Does pulling all nighters result in a more refined design?

There is the psychological benefit to working up to the last minute. ​"Well, I couldn't do anymore since I ran out of time​."

The belief is that you will have fewer regrets in the future when you know there was nothing more to be done.

Speaking from personal observations and anecdotes, just because you are logging the hours does not necessarily translate to a superior final design, and is in-fact, wrong to glorify a toxic work environment and ethic.

Lack of a proper structure and job roles While the debate of whether a job with no hierarchical job roles leads to better work life and equality, has been a question for several years now, the contemporary small to medium offices are often seen squeezing the employees to their last drop of sweat each day. Instead of causing equality for all, the ramifications are rather stressful with each employee responsible for each little aspect of the work.

Perhaps getting rid of hierarchy can also stay within a structured system of strict job roles, specific responsibilities with occasional projects of team-works where everyone learns from one another.

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Is it Friday yet?

As pointed out in Harvard Business Review, can you get more done in a focused 8-hour day versus a meandering 12-hour day? What about a 6-hour day?

Sweden recently announced that they are shifting to a 6-hour work day. Linus Feldt, CEO of Stockholm-based app developer Filimundus explained the reasoning.

"I think the 8-hour work day is not as effective as one would think. To stay focused on a specific work task for 8 hours is a huge challenge. In order to cope, we mix in things and pauses to make the work day more endurable. At the same time, we are having it hard to manage our private life outside of work.

My impression now is that it is easier to focus more intensely on the work that needs to be done and you have the stamina to do it and still have energy left when leaving the office."

While I could go on to debate the health effects or lack of work life balance, the purpose of this article is to focus on the quality of the final work. Read on...

"We architects are artists" No one can tell an artist how something should be done. Architecture design is certainly a complex task with many moving parts and is filled with inefficiencies like any other profession.

According to a Salary.com survey, 69% of the people surveyed said they waste a good amount of time at work every single day.

Working hours seem to be increasing, this is especially true for white collar workers (architects included). While we are still in the early stages of research on the topic, the issue seems to be more about staying focused than a result of increased workload.

Why does architecture have long hours?

Looking back on my architecture school experience, it really created a model for time-wasting. An open, collaborative space with a group of mostly friends. While this is great and is a fun time, chatting for hours rarely gets much done.

This culture ultimately carries on into the professional world. Some may argue that there just isn't enough hours in the day, usually, it is a case of misdirected focus and lack of planning.

Okay, but what can be done?

Without getting into too much detail on how to be more productive (perhaps for a future article) there are a few things you can do to try and minimize your hours.

1. Come in early This may sound completely counterintuitive but many people, myself included, can get more done before the rest of the office is in and the phone starts ringing. Also, working out an hour early departure time with your supervisor would be ideal for this situation.

2. Turn off email and other notification pop ups This can be very distracting. Having the urge to stop what you are doing to answer emails can be quite unproductive. I usually try to only check email once an hour or less if possible.

3. Put your phone away You can check it at lunch or after work. Just like the email pop ups, the countless notifications on your phone will easily eat up your day.

4. Make a to-do list Start off the day by creating a list of tasks for yourself. This will help keep you on track and give you a sense of accomplishment when you can check each one off.

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Final thoughts In conclusion, segregate your team time from me-time. While working on aspects of a project which require focussed attention and personal introspection, completely cut off yourself from other distractions of daily routine.

While in need of brainstorming sessions and discussions, visit as many desks and even online platforms to gain maximum inputs. This way, there is a clear structuring to your work ethics, and no one can tag you as a distracted-bee or a loner-worker.

Depending on your office culture it may be near impossible to change your working hours. However, a simple rule to keep in mind is to ​work while you are at work​. The office is neither a canteen nor your living room, treating it as such will only hurt your career and that aching back and neck in the long term.

At the end of the day, what every person in this world is striving and working towards is a happy and peaceful lifestyle, and it is nothing but the day to day routines that eventually make up a lifestyle.

Work smart, not hard.

. . .

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Presentation Sheets - How much is enough?

Architectural design juries are the life and soul of architecture school. As a student, one tends to work on a project being aware of the final output they wish to achieve. This often leads to a fantastical architectural form with impressive elevations, often lacking the clarity of thought and a rigorous process. We are inherently aware of the importance of process to justify the final design outcome, however, such shortcut methods are rather often praised and get highlighted in the juries because of their dramatic appearance setting them apart from the rest of the student’s work.

The architecture project presentation might not be the core of the project, but it surely influences the viewer - i.e. the jurors who will not spend more than half an hour reviewing a student’s work with often no knowledge of their process through the semester. Presentations can also be considered as an indicator of your artistic skills and sense as a designer, which gives the reviewer an impression at first glance.

With the commencement of digital media, architecture and design education as well as practices have seen a big change in presentation methods, with digital media allowing a plethora of methods to work on achieving graphically and aesthetically pleasing, or rather extraordinary presentation drawings. Whether it be clients or jurors, this age of digital media has given rise to huge competition and expectation in terms of graphically remarkable sheets and presentations, therefore often reducing the hype to be more about the presentation performance than the design quality itself.

In a way it’s like a sales pitch- you are selling your design, ideas, concepts, and solutions. Your presentation of drawings can assist a clients imagination, or help win a commission, they should clearly communicate the three dimensional elements and experience of your design. The drawings, graphics and presentation boards have one main purpose – to communicate your design, and if your presentation looks good, but doesn’t do its job – you may be successful for some clients but may lack in effectively communicating what you have to offer as a designer.

However, how much of an impressive flair is enough to communicate the idea and when does it become redundant?

We know text-heavy slides look bad, and deep down we probably all know that presentations like that are doing more harm than good to our sales prospects. But it’s difficult to put your finger on what is bad about the presentation design, or to know how to make the design more effective.

A good presentation, in most cases, is as simplistic and minimal as possible. Less but better, because it concentrates on the essential aspects and the products are not burdened with non-essentials.

source - www.arch2o.com

We often come across presentation sheets like such, where on the first glance, one is highly impressed by the stunning and aesthetically pleasing 3d renders, which more often than not, actually convey nothing. It is important to know what you wish to convey with your sheet, how to smoothly communicate the design strategies and choices, with the use of our standard tools plans and sections. Not only do plans and sections convey the scale of design with respect to a human scale, but it also helps to give an idea of the individual space-making elements.

This can then be supported by 3d renders of the various space qualities that have been tried to achieve, rather than an overly zoomed out or weirdly angled dramatic scene which conveys almost nothing to the viewer.

It is also more appreciable to show the correct color scheme, lighting, materials and textures to truly talk about the design and the real experience of a visitor in your space than a cinematically heightened presentation that gives the wrong impression of reality.

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source - archinect.com

Less is more. This kind of presentation technique which does not fear white spaces, rather uses it to place the drawings and scenes meticulously, is what gives the viewer an easy and less intimidating method to read the sheet. Using just two tones and a grid system can create hierarchy and order to your sheet.

Use of diagrams/illustrations, sectional perspectives and clear plans along with renders to support the visualization of space, provides an overall effective visual communication.

source -source-www.arch2o.com; personal project

Dramatic yet effective. Certain projects might demand a certain emotion from the first glance of the viewer to quickly realise the standpoint and experience desired. It is understandable to have intentional elements such as dark colors, high contrast, loud background, etc. to communicate highly evocative and dramatic projects such as Jewish Museum by Daniel Libeskind, where the project itself demands a certain desired emotion by the designer. In such cases, graphically loud and perhaps little abstract drawings can actually help in bringing out the project’s inherently different vibe.

When creating presentations it can be easy to go a little overboard. We often feel the need to cram in as much information as possible, creating slides with barely any blank space left bombarded with long texts, images and drawings. While all three of these visual tools are important, it is crucial we use them sparingly and in the right manner to invite the viewer in.

To conclude, it is fair to say that unless the project itself is dramatic and demands to shout a certain emotion to the viewer, it is advisable to stick to the idea of Less Is More - to communicate the design effectively, sticking to the point and highlighting the elements of design, plans and 3d-experience should be more appreciated than loud trendy presentations showing off the less essential aspect (graphical skills) of your role as a designer.

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Documentation and appreciation of first impressions Excerpts From Travel Journal

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Sangath: An Orchestrated Experience Sangath was designed by Pritzker award winner Balkrishna Doshi, to house his flourishing architectural practice. It was completed in 1981, three decades into Doshi’s career.

Deeply influenced by the works of Louis Kahn and Le Corbusier, B.V. Doshi’s iconic spaces incorporate a logical framework that binds his worlds together in an organic way, making every element of his building exist coherently with a sweet poetic flair that encompasses one, away from the busy urban street. These characters are not restricted to people. Dogs love to borrow shade on his tree seaters at CEPT, squirrels run wild between his vaults at Sangath, peacocks visit the garden at Kamala residence and honeybees hive under the high beams at IIM-Bangalore.

Every user and visitor develops personal relationships with Doshi’s buildings, because the spaces he crafts behave as a canvas for life itself, and a backdrop and thematic settings for movies in popular culture.

His buildings often incorporate a sensitivity to regionalism, the awareness and care for dynamic adaptability to diurnal and seasonal change. The relationship with nature, materiality and response to local site conditions are all part of the larger narrative, which remains integral to his plot device.

Sangath was never intended to just be an office but also a public square, an amphitheatre, a garden and a work of art, and one truly experiences that as they make their way through the carefully designed journey that exerts a form of control on every user moving through the building, making circulation more than just a route to get from point A to B. Even local laborers and passing peasants like to come and sit next to it, enjoying the low mounds of the vaults or the water-jars overgrown with creepers.

“Sangath fuses images and associations of Indian lifestyles. Memories of places visited collide, evoking and connecting forgotten episodes. Sangath is an ongoing school where one learns, unlearns and relearns. It has become a sanctuary of culture, art and sustainability where research, institutional facilities and maximum sustainability are emphasized.”

Concept “Sangath”, the name given to the complex, means “move together through participation” and its purpose goes beyond designing homes or offices. It covers a wide range of activities including research by the Vastu-Shilpa Foundation, funded by the company Doshi, experimentation in arts and crafts and studying various technologies of construction or as the architect likes to define, “exploration artistic, social and humanistic dimensions of technology “. Here the key themes were: labyrinthine networks of covered streets, overlapping spaces fusing into one another, shading layers and cooling bodies of water.

“Sangath” is a powerful architectural manifestation of an independent and original, creative Indian architecture in its rediscovery of traditional and local in harmony with the place, with people and with their past elements.

The Journey Upon entering the complex, one immediately sees the silhouette of a vault lingering behind an exterior wall and a slight view of the interior is present through a small break in the surface.

The path turns and forces the occupant off of the north-south axis and alongside the elevated garden walls. Now visible in perspective, the vaults begin to recede into the background above the grassy amphitheater, water channels and gardens in the foreground. As one passes by the reflecting ponds that capture the vaults in still water the entrance is made apparent. It lies at the end of an angled approach to the vaults.

The building complex is built around a large courtyard terrace which is the main entrance. Some of the buildings have sunk below ground level to certain ceilings domes rise only to eye level.

Passing through the main entrance, the visitor goes down some stairs into a room covered by a dome and gets the option to climb a flight of stairs to a height of three levels or go through a small hallway to the office of Doshi is presented and main drafting room. In this part of the building the ceiling plane rises creating enclaves of multiple heights.

The bottom of the vault in the hall of writing is topped with concrete natural light scattering in space.

He takes people on an unexpected journey, using key views to guide them along a route which offers up a generous series of places for visual and social interaction. The aim is to surprise and enliven. As Doshi himself put it, ‘The approach is never axial but diagonal, to make one discover and absorb the building before entering it.’ The garden at Sangath is a glorious example of this approach. This approach of carefully designed experience resonates with the meaning of Sangath itself, meaning, ‘moving together through participation’.

The whole experience, once inside, takes a visitor in a completely different and almost meditative zone as compared to the hustle-bustle of the busy street.

Studio The design studios are in a double height volume topped by two domes, including a space with flat roof, allowing natural light from one end.

Perpendicular to this wing a block of four units is added, also vaulted. The two units are facing the entrance courtyard featuring a triple height and house on the ground floor architectural design office, a conference room, lounge and a service area. In the first and second floor spaces of Vastu- Shilpa Foundation and the guest area are located.

The main entry lowers the visitor a few steps into the vault and proposes the choice of ascending a flight of stairs in a three story height, or proceeding through small corridor by Doshi’s office and into the main drafting hall. Here the ceiling plane rises as the inhabitant experiences how Doshi interlocks multi height spaces and creates compression and release between them. The underside of the vault in the main drafting room is finished with a textured concrete that dispersed natural light into the space. At the end of the hall lies the opening seen from the site entrance and one regains their sense of place along the main axis.

Drama Of Water Water appears as an integral character in this symphonic orchestrated experience. Monsoon rain splashes over the vaulted roofs and slips into oversized gutters and channels, filtering into a network of ponds that at night reflect the moon’s glow off the glittering white mosaic surfaces.

Details used showing the sensitivity towards water flow, include that are so minute yet experiential,

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such as the careful bending of metal railings, which provide surrealistic view of water droplets falling from the studio during monsoon.

Rainwater and Overflow of pumped water from the roof tank are harnessed through roof channels that run through a series of cascading tanks and water channels to finally culminate in a pond from which it is recycled back or used for irrigating vegetation, also working as a climate control factor.

Divine Juxtaposition Sangath also expresses Balkrishna Doshi’s desire for a connection between nature and the individual, giving rise to a transformative garden path — reinvigorating the senses and invoking the divine. The overall form exaggerates the details of nature with its rolling mounds, cave-like spaces, terraced land, playful water channels, and reflective surfaces. Storm water in funneled through the site by the slick, round vaults and water troughs.

In the entrance courtyard fountain surrounded by dividing pools are located at ground level and landscaped terraces. Some of the outer surfaces of the yard including arched ceilings are coated with irregular pieces of white tiles, reflecting the sun and moonlight, giving a mesmerising view.

The juxtaposition of closed and open spaces is one of the links that make Sangath a traditional building, which receives its power and beauty of local materials, the local workforce skilled and unskilled and local values of ​​ architecture. Another result of the reintroduction of traditional values​​ is the outdoor amphitheater used for conferences and other meetings.

One even hears soft classical music melodies from an invisible speaker as one walks through the garden.

Pause Points Doshi’s work always offers countless spaces to just ‘be’. He invites you to experience the pause points and ambiguous spaces within his designs. In Sangath seats line the perimeter walls and the inviting lawn, shaded by lush foliage from trees above, is dotted with fountains and sculptures creating limitless places to be seen or unseen, with a series of platforms encouraging people to sit and chat or just relax and be still. His idea to house the studio spaces partly below ground allowed for the creation of an informal amphitheatre with steps rising onto the building’s roof.

Regionalism and Climate Responsive Design The sunken interior spaces are insulated by clay within the structure. Heat from the sun is reduced by grassy mounds and the white reflective china mosaic that covers each vault. Doshi used this traditional technique not only to reduce the heat inside the building but also as an important element of the methodology in the use of waste material. Air cooling is not achieved by mechanical technology, which in turn is expensive, but by strengthening traditional cooling devices, improved screens cold water through which air is sucked and returned to the interior spaces, using stack effect method.

Along with natural connections, Sangath holds connections to India’s culture. The layout resembles the way that a temple develops a series of stages into a final platform while the form loosely imitates the boldness of a stupa.

The dominant architectural forms in the complex are the vaults, which are obtained from a combination of local traditions and materials with historical examples culturally prefigured such as temples or traditional headgear Hindus.

Structure With the help of a mobile formwork of vaults, “Sangath� were constructed with hollow clay tiles embedded in the walls. The outer skin is covered with tiles, fragmented pieces of waste material from a manufacturer. The structural system is based on poles and combined beams with reinforced concrete slabs. In the recesses of the vaults of the upper floors, iron and concrete have been used with high insulation materials such as filling with brickwork. The facades are covered with tiles or cement and plaster.

The decor is based on building materials, with the exhibition of prints formwork in concrete ceilings, contrasting with the soft and smooth concrete floor rust colored red. All materials and 60% of the workforce were local.

It may not be out of place to mention here that his works were outstanding because of the sculptural tendencies exhibited in his buildings. In all of his works, Doshi has been honest to the surroundings, the materials and the general ethos of the region.

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Mill Owner’s Association, Ahmedabad and High Court Building, Chandigarh A KINESTHETIC CONTINUUM A Kinesthetic Continuum A Study: ATMA house​ (Ahmedabad Textile Mill Owners' Association House)​

- L​ e Corbusier, Ahmedabad

Le Corbusier, the iconic architect of the 20th century, brought in the qualities of experientially engaging architecture with its sculptural visual character, alongwith three major trends in modern architecture: Purism, Brutalism and Promenade Architecturale.

Le Corbusier was commissioned by the president of Ahmedabad Mill Owners’ Association (AMOA) to design the organization’s headquarters in 1954. The building since then has achieved glory as a physical manifesto representing Le Corbusier’s proposal for a modern Indian architecture, serving as an open book to learn the principles of “kinesthetics”- kinetic-aesthetics, a perception of space while in movement.

Regionalist approach​: As Le Corbusier began working predominantly in warmer environments, he developed an architectural grammar in response to climatic and cultural contexts. He took cues from India’s vernacular architecture, overhanging ledges, shade screens, and grand, pillared halls, yet sculpted them with a modernistic touch. He introduced ​brises-soleil​, designed to prevent and deflect sunlight from the facade, and employed these in combination with thickened facades and unfinished concrete.

Iconic sculptural identity of Corbusier’s buildings. Staircase manipulated as ramp to integrate with the form and enhancing the form in itself.

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The staircase as a vertical cuboid can also be experienced as an object by itself. Hence, the circulation elements connecting various floor levels have been pulled out of the building volume.

Source: Elements of Spacemaking - Yatin Pandya, Vastu Shilpa Foundation

The building is oriented according to the prevailing winds. The east and west façades boasts the brise-soleil made in raw unfinished concrete, calculated precisely according to Ahmedabad's latitude and the course of the sun, while the south and north façades are left blank with the natural character of unplastered brick.

The assembly hall, constructed of double, thin brick walls panelled in wood, is indirectly lit by reflections from the curved ceiling, which in turn is kept cool by two gardens and a water basin on the roof.

Outer cubical shell in contrast with the free-flowing open plan yet movement guided by visual hierarchy

The entire building is of exposed concrete with some interior elements in wood and steel painted in bright colors to add contrast, at some places even acting as kinesthetic elements, drawing an observer through the spaces in an orchestrated yet free-flowing manner. The use of free standing curved walls and staircases also work to loosely define spaces and sub-consciously direct the movement flow.

Rear facade facing east with the frontage of Sabarmati river

At the rear of the building, the b ​ rises-soleil are perpendicular to the facade, allowing the breeze from the river to pass uninhibited through the shaded perimeter. Here, Le Corbusier designed the openings to frame views of the river below, while also allowing cool breeze passing through the greens.

An architectural stroll:

Rear facade facing east with the frontage of Sabarmati river

At the rear of the building, the b ​ rises-soleil are perpendicular to the facade, allowing the breeze from the river to pass uninhibited through the shaded perimeter. Here, Le Corbusier designed the openings to frame views of the river below, while also allowing cool breeze passing through the greens.

An architectural stroll: The first time discovering and experiencing a Corbusier building is a dramatic and sensorial experience. The subtle orchestration by various elements assembled together effectively guides one to discover the architectural qualities while also playing with the speed of motion and changing field of views.

The first perceptible feature as one enters the campus from outside is the protruding ramp. As if a tongue jutting out, it swallows the onlooker and succeeds in drawing the visitor’s movement through it, accentuating the linearity of path with the thin railing on one side.

The expressive facade stands free of the structural pilotis as described in Le Corbusier’s ​Five Point theory (namely open floor plan, ribbon windows, raised structure, a free facade and rooftop garden), but departs from his earlier work as it extends fully to the ground, screening the cylindrical columns from view that gets revealed only as one gradually transcends upwards to the first floor entrance.

The entire building from the exterior could be experienced as the manifestation of a cube or a box. The front facade has a series of punctures, positioned asymmetrically, forming deep slits. The planeness of the plane of the front facade seems to get simultaneously established and also denied by the insertion of this depth.

As I walk over the long ceremonial inclined plane inviting one inside, there is a simultaneous and gradual displacement in horizontal as well as vertical axis. This long slow walk offers the time to take in and appreciate the sculpted facade. Therefore, a simple walk also elevates one to the first floor which, in effect, becomes perceptible as an ‘elevated’ ground floor.

As I further entered the seemingly cubical mass, a sense of arrival was offered by the overwhelming triple height void, with the double height wall intercepting the movement acting as a pause point to draw the eye up to realise the essence of the volume, which cannot be left unnoticed.

Small openings through the baffle wall as well as the brightness of light penetrating through the eastern façade guides the way further to the right edge. The eastern facade, which I confronted from within now offered slender, least obtrusive views of the Sabarmati river. As I turned, the stair mass leading to the next floor got revealed. Though being free standing in nature, these stairs do not dominate the space, playing an important part in juxtaposing the spaces making them dynamic and perceptually moving. The absence of railing/balustrade helps the stair element and the user to remain a part of the space, while also acting as an important element where speed is reduced to help experience the sculptural space around and have a further elevated view of the river.

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important part in juxtaposing the spaces making them dynamic and perceptually moving. The absence of railing/balustrade helps the stair element and the user to remain a part of the space, while also acting as an important element where speed is reduced to help experience the sculptural space around and have a further elevated view of the river.

Play of changing field of vision with slower speed due to the ascent

While climbing the floor through external stairs at the junction of the mezzanine floor and south wall, the parapet, higher than eye level, allows curiosity to build by not revealing the entire space at once while climbing.

The rectilinear plan and grid expressed on the building’s exterior stand in contrast to the interior spaces, which are characterized by curved walls loosely defining the interior spaces. The intersection of curvilinear and orthogonal planes creates a soft experience of compression and release, guiding the free flow movement.

The stair concludes at first floor obliging one to walk through the floor to fetch free standing, three dimensionally sculptured stair to reach the mezzanine floor overlooking the double heighted area. On the first floor is a diagonal placement of the arrival portal off the spirally convoluting walls of the lecture hall.

There is seen or felt no fixed axial, neither a primary nor a secondary movement path marked inside the entire volume.

Tempered ends of the volute and the light deflected off the inverted catenary shell ceiling help focus on the stage with the lecture space. The freestanding stair stops again at mezzanine leading to a ladder like stair further up to the terrace. Not only experiential richness but structure is equally an eye-opener to all of us after fifty years to realise how basic spatial decisions can integrate aesthetics with environmental comforts.

The various elements together work to enhance the experience through the entire space, exploring and discovering aspects of the volumes in a sequential manner. Between the ambiguous movement path on each floor, the insertion of elements colliding with the movement path and diverting it establishes visual layers of

The stair concludes at first floor obliging one to walk through the floor to fetch free standing, three dimensionally sculptured stair to reach the mezzanine floor overlooking the double heighted area. On the first floor is a diagonal placement of the arrival portal off the spirally convoluting walls of the lecture hall.

There is seen or felt no fixed axial, neither a primary nor a secondary movement path marked inside the entire volume.

Tempered ends of the volute and the light deflected off the inverted catenary shell ceiling help focus on the stage with the lecture space. The freestanding stair stops again at mezzanine leading to a ladder like stair further up to the terrace. Not only experiential richness but structure is equally an eye-opener to all of us after fifty years to realise how basic spatial decisions can integrate aesthetics with environmental comforts.

The various elements together work to enhance the experience through the entire space, exploring and discovering aspects of the volumes in a sequential manner. Between the ambiguous movement path on each floor, the insertion of elements colliding with the movement path and diverting it establishes visual layers of elements in the horizontal continuum. The addition of the element of column on one of the ends gives an anchorage to the open space.

It is the sequence of images that unfolds before the eyes of the observer as he or she gradually advances through the structure. It is the creation of a hierarchy among the architectural events, a set of instructions for reading the work – the "internal circulatory system" of architecture. With the help of the "promenade architecturale", Le Corbusier provides fluid spaces that reveal themselves as the visitor progresses.

Promenade Architecturale Mill Owners’ building essentially stands as a perfect manifestation of the architect’s concept of Promenade Architecturale, i.e. e ​ mphasising perception while in movement​. Its organisation depends heavily on the vertical movement elements to serve as anchors of the overall composition. The primary components framed in the facade are the stair mass and the long ramp, both formal, which project from the built-mass. The ramp takes over the movement due to the proximity and subtly leads one up to the first floor overruling the role of the ground floor in the building. The stair mass then becomes the ever present connector to the other floors where the height of the solid railing restricts external vision and guides release only within the building and beyond towards the river. This height of the railing is also a resultant of the compositional massing required by the facade. Another smaller stair on the upper floor is totally free flowing and informal as required by the amorphous space below and above.

Movement is orchestrated and guided in a manner that unfolds a series of sequential spatial experiences

This is one of the iconic identities of Corbusier’s sculpted architecture where the observer themselves become one of the elements of spatial tectonics. Hence, space is the connection between each element and each point of view which is the result of a process of vision.

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Exterior separate from the interior

Splicing of the exterior, horizontally and vertically, gaps highlighting the separation of exterior from interior.

Figure 3.2 Splitting of the exterior

High Court, Chandigarh

Punctures simultaneously establishing and denying the planeness of the wall plane

Mill Owner’s Association, Ahmedabad

Figure 3.3 The seeminngly distinct and independent systems forming visual connections, interlocking and flowing into each other.

Figure 3.4 The outer box, simultaneously established and denied with the puncturing of the plane. (left) Mill Owner’s Association. (right) High Court building.

Expression of multiplicity in spatial volume The expression of multiplicity due to the simultaneous juxtaposition of opposing and contrasting elements into a flowing assembly, allows for a visual-compositional transparency, resulting in a continuum of fluctuating layers of spatial connections of varied interpretation. a. Splitting of the Exterior Box • The entire volume of the buildings can be read as a cuboid or a box, wherein the planeness of the wall planes is simultaneously established and denied with the puncturing, forming deep slits. (Figure 3.21) • The splitting of the exterior deems as a crucial visual strategy so as to perceive the exterior as a separate shell from the interior core, yet unifying it visually by adding punctures of visual connection. (Figure 3.21) • From the outside, these slits or punctures allow the insertion of a visual depth as opposed to blank opaque facades. (Figure 3.21) • The coexistence of of a system of breis-solis or fins, alongwith the system of wall planes into the depth of space brings about the perception of simultaneous existence of multiple systems.

(Figure 3.21)

• Frontality is accentuated with one facade expressed as the primary facade, where one can interpret the layering of the various elements and volumes together inside the core of the building. (Figure 3.21) • The element of staircase on the exterior main facade of Mill Owner’s Association and the three high vertical walls acting as props for the roof in High Court Building, add to the layering of the facades, breaking its regularity and adding to the frontality. b. Collision of Systems and Forms in the Interior • Though visually expressed independently and distinctly, the various systems like circulation system, the structural system, and various forms of the enclosing system interlocks and overlaps when viewed from the shifting point of views of the explorer in space, allowing the visual connections to perceive the multiplicity. (Figure 3.22) • While the structural system composed of high pilotis follow a gridded order, the enclosing walls and elements stand independent of the structural elements. Varied volumes of diverse forms are juxtaposed simultaneously against the orderly functional units of column-grid.

• The presence of elements of circulation like ramp and staircases are a highlighted and accentuated as a spatio-tectonic and spatio-temporal element, guiding the pace of movement overlooking overlapping volumes and elements.

• The free standing and fragmented mezanines seem to be afloat in space, supported by the pilotis with a clear gap.

• The system of exterior facades also play a role in enriching spatial character of the interior, by adding framed views because of the continuous punctures, allowing outside to the inside - a form of simultaneous transparency.

• As one looks from the rear exterior facade in the Mill Owners Association building, and the frontal exterior facade in the High Court Building, one can interpret the splicing of the various elements and volumes together inside the core of the building. (Figure 3.23) • First level of multiplicity is perceived as one reads the plan composing of column-grid

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structure placed in orderly manner, juxtaposing with the enclosing elements flowing keeping in mind the sequential experience of the observer in motion in the space. • The functional-structural elements stand distinct as a rigid and imposing characters in the space, compared to the free flowing nature of the enclosing system, in the relation of size, form, placement and composition. (Figure 3.22) • The qualities of varied volumes, flowing from the essence of high verticality and then flowing into smaller volumes, suctioning the movement in, also exemplify the multiplicity of volumes within volumes.

a. Interpretation of Multiplicity and Transparency in the horizontal continuum On peeling the spatial layers in the horizontal continuum, the various elements and volumes juxtaposed with each other and with the movement path also establishes visual layers of phenomenal transparency, similar to the Purist paintings of the architect. This assembly of elements is strategically composed together to offer a visually sublime frame of view, guiding the eye to peel of the various layers.

Considering one of the visual frames of Mill Owner’s Association, one can peel off the layers in the horizontal continuum, wherein each element has a particular role as a layer in enriching the visual frame:

The curved wall plane as a backdrop offers The presence of the strong column at the little sublimity with an open foreground. opposite end of the elevator, rising from floor to ceiling, provides another anchorage point to the visual frame, holding the frame of vision from both ends.

The presence of the curved drum element of the toilet block is controlled visually with the proportioning of its height with respect to the other vertical elements.

In contrast to the scarlet coloured backdrop of the curved wall, tis element establishes itself as an individual element floating in the spatial field.

The elevator block is strategically placed so as to act as a curtain to not have an direct view of the toilet block for an observer approaching the space from the ramp.

The visual expression rising from floor to the ceiling, also defines it as an anchor point.

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Considering one of the visual frames of The High Court Building, one can peel off the layers in the horizontal continuum, wherein each element has a particular role in enriching the visual frame:

The curves of the parasol roof, allow for the gaze to flow inwards. The vertical blocks on either side of the piers, anchor the linearity and horizontality of the space.

The punctures on the two blocks on either side of the piers further break the monotony of a blank opaque facade, adding a layer of visual depth, slowing the gaze.

The punctured wall plane behind the piers and the coexistence of of a system of a long ramp splicing it, alongwith the system of wall planes into the depth of space brings about the perception of simultaneous existence of multiple systems.

The high piers holding the parasol roof on the porch/portico form the first layer of spatial splicing and layering for the viewer, with its linearity guiding the gaze inwards, showing glipse of layers within. The punctures in the piers also add a further visual interest allowing gaze to wander and explore.

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Figure 3.5 Volume within volume in Mill Owner’s Association

Figure 3.6 Mill Owner’s Association- Constantly shifting perception of overall height

Figure 3.7 High Court building, Vertical and horizontal stratification of layers and volumes

b. Interpretation of Multiplicity and Transparency in the vertical continuum Volume within volume

In the case of Mill Owner’s Association, • Right from the landing of the entrance ramp, one is made to pause at the sudden double height wall, so as to make the observer aware of the double height verticality and the complexity of the entire composition.

As one looks at the right, one can gaze at the horizontal continuum ahead. Moving one’s gaze to the top left, one senses the vertical member slitting in the volume, ambiguously arranged wherein it shifts its position on both the volumes. Moving the gaze to the right, one senses the penetrating of horizontal members slitting the volume one above the other. The observer is made to experience the nuances of movement and enclosure at once, to pause and interpret the spatiality.

(Figure 3.24)

• These asymmetrical horizontal and vertical penetration and slitting of volumes creates an ambiguous interrelationships between the spaces.

This also adds to a visual depth in the vertical continuum of the space with constantly shifting perception of height of the built space.

• (Figure 3.22) • The steps leading up to the terrace and the light penetrating through the mezzanine floor also adds to the effect of volume within volume, indirectly through a sensorial perception. (Figure 3.25) • Vertical and horizontal stratification of layers and volumes

In the case of The High Court Building (Figure 3.26), • The ramp slicing the wall plane of the second layer on the frontal facade, acts as a prolonged threshold wherein the observer grasps the overall height and volumes interlocking and interpenetrating the cuboidal building • The slicing by the ramps allows for a visual break-up of the qpaque planes, showing the layering in the vertical continuum in the inner parts of the building.

• The punctures on the wall plane also highlight the specific views, framing the facets of vertical stratification of volumes.

• The circulation across the building allows for a sequential perception of the subsequently decreasing enclosedness from the front to the rear facade.

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3.3.4 Architectural Stroll 1

The double height wall acting as a visual layer and critical threshold as one reaches the landing after a prolonged journey on the ramp.

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The movement inside guided by the wall planes going linearly ahead, forming a visual axis.

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The elevator block acts as another visual layer as well as a reorientation element with its strategic placement and orientation.

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The physical and visual axis shifts, guided by the enclosure formed by the wall olane on the right and overhead bridge.

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The elevator block gets revealed with the triangular seat beyond, acting as focal points and devoid of a clear axis, guiding the movement to it

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The toilet block is revealed whose form and relationship with surrounding elements allows a visual flow continuing around it.

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The gridded row of columns guiding the flow of movement further

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Enclosure made up of interlocking spatial volumes, disclosing further vertical spatial layers.

Shifting perception of overall height of the building.

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The disclosure of the toilet block anchored by the verticality of the pilotis, forming a stable visual frame

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Mezzanine floor as a volume-within-volume, standing independently and seemingly afloat with the support from the pillotis from the sides

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The curved enclosing wall as a backdrop to the elevator block and vertical plane

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The composition of enclosure and the space tectonics through free standing yet interrelated elements

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Kochrab Ashram, Ahmedabad A Forgotten Historicity Kochrab Ashram, the very first ashram opened by Mahatma Gandhi when he returned to India, was a bungalow gifted to him by his barrister friend, Jivanlal. This site has an impactful past, with the commencement of many influential movements such as Khadi movement, Satyagraha Movement, etc playing a big role in raising issues of social responsibility and self-empowerment in the dynamic days of partition in early 1900s. This building became the center for people to gather and begin various revolutionary reforms.

However - unlike the next Ashram of Gandhi - the Sabarmati Ashram - this building architecturally being a typical colonial bungalow, with heavy mass structure, compartmentalized spaces and rigid construction, and typically seen flutings on the exterior walls haloing the arched fenestrations, the site lacked a distinctive presence resonating with its powerful and influential history, and the influential power that Gandhi was able to spread with his words. Not having a definitive program to evoke a message to the current surrounding urban fabric has made this historic site almost erased from the memory of the city’s heritage past.

Because of this, the only impressions that this colonial bungalow induced amongst the visitors have been rather passive, due to the memory associated with it, i.e Gandhi.

The Kochrab campus, devoid of regular incoming of visitors, also helps in keeping the integrity of the ashram and the holy-ness of Gandhi’s thought-provoking movements. Just as one steps inside, one experiences a divine epiphany with the sudden change of pace from the loud honking of vehicles on the main road to the gurukul-like, retreat space quality of the Kochrab ashram.

The soberness of interior spaces, connections of inside and outside with verandahs surrounding the whole perimeter and balconies above, all contribute to the peaceful and sober environment of this ashram that truly makes one take a deep breath of serenity in this world of constant hustle and bustle.

Bhadra Fort and Azam Khan sarai, Ahmedabad The Stern Grandfather Bhadra Fort is one of the most celebrated pieces that Ahmedabad proudly boasts as a part of its rich cultural heritage. Situated in the walled city area of Ahmedabad, India, it rests in the old city area, which still to this day, embraces the culture, heritage and lifestyle that a typical Gujrati city had back in the day.

The fort was built by Ahmed Shah in 1411. With its intricately carved royal palaces, mosques, gates and open spaces, it was renovated in 2014 by Ahmedabad Municipal Corporation (AMC) and Archaeological Survey of India (ASI) as a cultural centre for the city. Bhadra Fort housed the royal palace and the royal Ahmed Shah’s Mosque on the west side and an open area known as Maidan-Shah on the east side. It had a fortified city wall with 14 towers, eight gates and two large openings covering an area of 43 acres. The eastern wall on the river bank can still be seen. The fort was used as a royal court back in the day during his reign. On the eastern side of a fort, there is a triple gateway known as Teen Darwaza which was formerly an entrance to the royal square, Maidan-Shah. The road beyond Teen Darwaza leads to Manek Chowk, a hub for eateries and street food stalls which are still packed every night till this day. On the south side along the road, there resides a mosque known as Jami Masjid. The citadel’s architecture is Indo-saracenic with intricately carved arches and balconies. Fine lattice work adorns windows and murals.

Azam Khan Sarai was constructed by Azam Khan in 1637. The height of the entrance is roughly 5.5m which enters in to a breathtaking octagonal hall with geometric patterns. Moving through the Sarai is a much recommended experience, with the kind of narrow balcony walkways giving one a glimpse of the octagonal hall while also giving you a closer look at the magnificent dome and its carvings.

The building has had a very intriguing journey, acting as a hospital, then a prison during the British rule, and finally now a government office which holds no big purpose for travellers than just a resting place while moving through the city.

As a visitor, as one walks through the hustle and bustle of the old city, the crowded streets, the open plaza with jam-packed street vendors trying to make their sale, the Fort has now merely reduced as a pink backdrop to the ongoings of day-to-day life. With no significant program attached to it, today it sadly fails to show off its historic past and boast its magnificence in aesthetics, charm and a very scientific architecture style. The building can be related metaphorically to a stern grandfather, who stands strong by his chirpy and buoyant children, while it rests in the backdrop with many stories to tell - only if someone would care to listen.

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Jewish Museum, Berlin

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04

Case Studies Cultural & Social Implications of Architecture

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Synergizing Art and Applied Art (Architecture and Dancing) In the works of Sheila Sri Prakash Sheila Sri Prakash, regarded as one of the most influential starchitects of today, who also happens to be a woman, paving the way for thousands of women across the world at a time when architecture was mostly male-dominant. These women are here because they have managed to rise above others with their unique ideologies, bold designs, and unconventional methods, while swimming against the patriarchal tide toward the top. She is considered as one of India’s leading architects, her portfolio including several critically acclaimed architectural projects in India and around the world with over 1200 architectural projects in the past 35 years.

Sheila Sri Prakash, originally from Bhopal, is an architect and urban designer who founded the esteemed Shilpa Architects in 1979. She is today renowned internationally for being the first woman in India to have started and operated her own architectural practice, continuing to shine and provide sustainable solutions globally. The Global Design Studio of Shilpa Architects is located in Chennai, India.

Builders, Architects and Building Materials (BAM), in association with CII Real Estate & Building Technology Exhibition, has conferred upon her the Lifetime Achievement in the field of Architecture Award 2019 for her outstanding achievements and contribution to sustainable design thinking and the growth of Indian real estate sector.

“I take my role as an architect seriously because my thoughts and actions are bound to have a lasting impact on people, society and the planet. What I’m striving to achieve is holistic sustainability through design.”

Having studied architecture at the Anna University School of Architecture and Planning, in 1973, at a time when there was a strong bias against women entering the field. She also attended the Harvard Graduate School of Design’s Executive Education Program, and is internationally acclaimed as a global leader in sustainable design that blends sensitivity for our environment with socio-economic progress for the underprivileged. She has also paved the path for reviving traditional architecture introducing vernacular and culturally relevant techniques into contemporary designs.

Her work probes the powerful reciprocal impact linking the built environment to human behavior, through urban design, architecture and sociology.

In July 2016, Professor Klaus Schwab, Founder, and Executive Chairman, The World Economic Forum, invited her to be part of the 25-member Global Future Council on the Future of Environment and Natural Resource Security. She formulated the Reciprocal Design Index, in 2013 when she was part of their Global Agenda Council for Design Innovation to establish, document and incentivize sustainable design of cities. She is widely consulted on matters of urban sustainability by several governments and is closely associated with the Chennai Smart City (board of the SPV),

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as an Independent Director and Urban Expert. She launched the Reciprocity Wave – an artistic movement which draws attention to urgent social and environmental issues. She is the founding Trustee of The Reciprocity Foundation, created to assist and fund research, seminars, events, projects, and conferences to evolve design solutions that would help in creating a responsive ecosystem.

She has been recently awarded the “Bene Merenti” (2017) Medallion by The University of Architecture and Urbanism, Bucharest, Romania (est. in 1952) and the Ministry of National Education and Scientific Research. This award is part of the global acknowledgment she receives for championing the cause of Sustainability in international forums like the World Economic Forum, Global Environment Fund, and The UN Habitat III. Her other achievements include being named in: • Top 10 Most Influential Architects by Construction Global Magazine • Top 100 Architects in the world by Il Giornale Dell’ Architecture • Architectural Digest – 50 most influential names in Architecture • Archite Top 40 Architects of the 21st century Having the rich Indian context as her background, she has founded the field of Spaciology researching how space design and planning influences society, thus creating a link between how we understand and practice architecture and how we develop as human beings in a global world.

She was a founding member of the establishment of the Indian Green Building Council. She is acclaimed for her work in spaciology, particularly as it applies to healthcare and the leisure, wellness, and hospitality industry. Her research findings seed emerging perspectives of study that are globally significant, yet particularly appropriate in high-density rapidly developing economies.

Many of the design ideologies in her work are known for the use of local arts, culture, and heritage as inspiration. She is known for architectural theories surrounding Reciprocity in Design, with work ranging from the low-cost Reciprocal House for the socio-economically underprivileged that she designed on invitation from the World Bank in 1987, to the first of its kind energyefficient commercial buildings, custom bungalows, residential communities, integrated townships, industrial facilities, art museums, sports stadiums, centers of education, public infrastructure and luxury hotels.

1987 Year of Shelter for Shelterless. Award-winning low cost home designed upon invitation from the World Bank and HUDCO. Source-en.wikipedia.org

Several of her architectural designs can be seen at Mahindra World City, New Chennai, the Madras Art House at the Cholamandal Artists’ Village, Kuchipudi Art Academy in Chennai, the Paranur railway station, and the World Bank-funded urban housing development program in the year of shelter for the shelterless.

Her influence as an eminent architect with a culturally sound ideology derives from her experience as a trained classical Indian dancer, and involvement in music and the arts. She started learning Bharatanatyam when she was four years old and gave her first on-stage Arangetram performance in 1961 when Padma Bhushan Dhanvanthi Rama Rau called her a child prodigy.

Being an award-winning dancer as a child, she has combined the principles of Bharatanatyam, classical Indian music, sculpture, and architecture in award-winning projects In 1993, she designed home in Chennai with recycled materials and pioneered a system for rainwater harvesting. This system was made compulsory by the state of Tamil Nadu in 2003. It set a blueprint across India, as the most effective and low cost solution for addressing the crisis of depletion of freshwater sources in India. She is the principal inventor on two patents for low cost building products and materials.

“It’s our effort to encourage young people to embrace a sustainable behaviour through the medium of art, design and sculpture. They created art works and sculptures from trash cans, bottles and dry leaves. The exercise was such an eye-opener to the visitors at the park. More such events are being planned.”

“Space can make or mar the quality of life. Indo-centric design evolves from an empirical understanding of our culture, family values and lifestyle,” she says. “Sensitivity to local ethos is crucial in designing spaces that people respond to. Vernacular building techniques, local materials and the work of traditional skilled artisans need to be inventively integrated with modern design and construction technology without making a building look like a pastiche of the past.”

AWARDS AND RECOGNITION She has been invited as a keynote speaker at Bloomberg’s Brainstorm Green Conference and Global Green Summit in Singapore, the Milan Design Summit, the Kuala Lumpur Design Forum, American Institute of Architects Tokyo Chapter, and 361 Degrees in Mumbai. Upon invitation from The Honorable Prime Minister David Cameron of the UK, she led efforts to enhance the sustainability of the Infrastructure at the 2012 London Olympics. She chaired a panel of global experts to make recommendations to the UN’s Rio+20 Summit in Brazil.

She was conferred the Honorable Architect award by The Indian Institute of Architects (IIA).

She has been a performing artist, bharatanatyam dancer, musician, sculptor and is a passionate patron of the Arts. Dance has been instrumental in Sheila’s approach to architecture, being trained in Bharatanatyam and Kuchipudi traditional indian dances and having performed them before becoming an architect. Architecture and dance are both relying on lines, rhythm and harmony within a space. “As a dancer, I was trained to imagine spaces in my mind. The rhythm and repetition of movements helps me conjure up proportions within a space. Dance helps me visualise a space before it takes tangible form.”

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OTHER WORKS OF PROMINENCE

• Member of the Board of Studies in the Faculty of Architecture & Planning of Anna University, • • • •

Chennai for a tenure of three years Member of the Network of Global Agenda Council on Design Innovation of the World Economic Forum for 2011-12. Member of The Network of Global Agenda Council on Role of Arts in Society of the World Economic Forum for 2012-13.

Named to the 50 most influential names in Architecture and Design in 2015 by Architectural Digest and listed among a category of “Reinventors” for having “built a formidable legacy” and an “inspirational practice that designs societies and not merely buildings or cities” Named as one of the “100 Most Influential” people in Architecture in the World today by the Italian design journal – Il Giornale dell’Architettura (Journal of Architecture) The Culture Trip, a UK based website has named Architect Sheila as one of The 9 Best Indian Architects.

Sheila Sri Prakash still stands as a much relevant and celebrated starchitect of today, being a pioneer in architecture and a globally thought-leading social innovator, for her work in Reciprocity or Holistic Sustainability. She was the first Indian Architect to serve on the World Economic Forum’s 2011 Global Agenda Council on Design Innovation, a 16-member team of international experts in Design and Innovation, to formulate ways that improve the state of the world. She served on the World Economic Forum Global Agenda Council on the role of arts in society, in recognition of her signature works of Visionary architecture that feature art, culture and heritage.

She is hence, rightfully so, cited as a Starchitect for her iconic buildings and the canonical status of the architectural theories surrounding Reciprocity in Design. She is considered a living “legend” in contemporary architecture. She has also been described as “one of the most versatile designers” of the modern era for her repertoire of award winning projects around the world.

She also stands as a pioneering legend inspiring women around the world with her contributions as an active member of Zonta International, which is an organisation that aims to enhance the status of women around the world. She served as the area director of Zonta International for her district and has participated in events internationally.

Current projects Sheila Sri Prakash is currently working on several projects worthy of note. Of particular significance is the upcoming HITEX exhibition center in Hyderabad. The new South City Township by Larsen and Toubro that is an approximately 4000 apartment residential township. Another large scale housing project is within Mahindra World City, the upcoming Taj5-star beach resort near Pondicherry, the state of Tamil Nadu’s first platinum rated office complex for Cethar Vessels, an office building for HDFC Bank, as well as the regional headquarters for the State Bank of India Apart from this, she is also involved in the academic aspect of the field, currently serving on the visiting faculty of the University of Hanover in Germany. She was also invited to serve on the Board of Studies at the Anna University School of Architecture and Planning, for a three-year term. The Board of Studies influences the syllabus, key appointments of faculty/academic leadership and major initiatives at the Institution.

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The Revival of Phulkari Craft In The Urban ContextThe Revival of Phulkari Craft In The Urban Context Impact Social Media Social and Commerce theCommerce Redevelopment of the Craft.

TheThe impact Social Media on the Theofof Revival of And Phulkari CraftSocial Inon The Urban Context The Impact of Social of Media Andcraft Social Commerce on the Redevelopment of the Craft.

Redevelopment the Harleen Dhawan Faculty of Design, CEPT University Harleen Dhawan Faculty of Design, CEPT University

Abstract Abstract With the arrival of the internet and the ever-increasing obsession with social media platforms of today’s world, e-commerce and markets in general have been widely affected by the way our lifestyles have With the arrival the share internet and theand ever-increasing with social towards media platforms of today’s changed.

Peopleofwho interests activities areobsession increasingly turning social-commercial world, e-commerce and markets in general have been widely affected by the way our lifestyles have platforms like Facebook, Twitter, Instagram, Linkedin, etc. to get views of other retailers before making changed.

People who share interests and activities are increasingly turning towards social-commercial their next online purchase. platforms like Facebook, Twitter, Instagram, Linkedin, etc. to get views of other retailers before making their online have purchase.

Thesenext platforms provided a new life to various traditional art forms which were dying a slow death due to them being limited to geographical boundaries. Due to this easy and limitless reach of social These have provided newretailers, life to various forms whichthe were dying a slow artists death media platforms to innumerable artisans aand thesetraditional sites haveart transformed ways in which due to them being limited to geographical boundaries.

Due to this easy and limitless reach of social share their work, providing the world with an entirely new way to access art. This also helps in making media innumerable artisans and stories, retailers,culture, these intricacies sites have and transformed wayscreators. in which artists people to aware of the beauty of untold traditionsthe of their share their work, providing the world with an entirely new way to access art. This also helps in making people aware of the beauty stories, culture,has intricacies and traditions their creators.

Phulkari, the traditional folkofartuntold of Punjab, recently grown popularity and aofrenewed life due to this new form of modern online marketplaces and catching the eyes of youngsters due to its captivating, Phulkari, thebeauty traditional folk art bright of Punjab, recently has grown popularity and aset renewed due to this by finding its niche in the urban up withlife products like unmatched and vibrant colours, new form of modern online marketplaces and catching the eyes of youngsters due to its captivating, [1] phulkari scarves, bags, cushion covers, etc. ​ unmatched beauty and vibrant bright colours, by finding its niche in the urban set up with products like phulkari scarves, cushion covers, etc. impact ​[1] This paper is an bags, attempt to find out the of virtual market places on revival and promotion of Phulkari by marketing it across the world, resulting in regular income and improved socio-economic This paper is an attempt to findwhile out the of virtual marketit places promotion of with status of phulkari craft persons, alsoimpact addressing the effects has on on therevival craft’sand authenticity Phulkari by marketing it across the world, resulting in regular income and improved socio-economic the changing time and commercialization. status of phulkari craft persons, while also addressing the effects it has on the craft’s authenticity with the time andSocial commercialization.

Commerce, Embroidery, Traditions, redevelopment Key changing Words:​ Phulkari, Key Words:​ Phulkari, Social Commerce, Embroidery, Traditions, redevelopment

Introduction

Introduction

A. Folk crafts India’s crafts reflect the traditional identity of people of particular area and their customs. However, A. Folk crafts these arts and crafts, after prospering for centuries, are showing a decline over the past few decades India’s crafts reflect the traditional identity of people of particular area and their customs. However, with changing trends and influence of the west, especially with the lack of young people adopting their these arts and crafts, after prospering for centuries, are showing a decline over the past few decades traditional heritage. In this era of mass-produced goods, the Indian handicrafts and artists are facing with changing trends and influence of the west, especially with the lack of young people adopting their downfall in their demand. traditional heritage. In this era of mass-produced goods, the Indian handicrafts and artists are facing downfall in their demand.

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https://www.iampunjaabi.com/component/content/article?id=811:5-types-of-phulkari-and-where-to-buy-them

[Accessed:

16th September 2019] 1​ https://www.iampunjaabi.com/component/content/article?id=811:5-types-of-phulkari-and-where-to-buy-them

[Accessed:

16th September 2019]

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Artisan's access to technology and Social e- commerce has brought in revival of the dying Indian art, giving it new hope, providing a platform to artisans to be focussed on their work, while also adding a breath of freshness to the age-old crafts with the evolution in modern context.

B. Social Commerce With the advent of the internet and the endless reach of information, social commerce ​has come into existence as a subset of e-commerce that involves social media platforms like Instagram, Twitter, etc. and other online media platforms. It supports social interaction, and uses this to assist online buying and Artisan's to technology Social e-a commerce brought in revival of the dying Indian art, selling ofaccess products and servicesand by building relationshiphas with the potential customers. giving it new hope, providing a platform to artisans to be focussed on their work, while also adding a The emergence media crafts and E-commerce in recent past has helped in bringing the shopping breath of freshnessoftosocial the age-old with the evolution in modern context. experience into the online social platforms directly, which we are surrounded by in our daily lives. With this, social networks that spread the vast number of products online, tends to increase the B. the Social Commerce With the advent the internet and another. the endless reach of information, social commerce ​has come into customer's trust of in one retailer over existence as a subset of e-commerce that involves socialis media platforms like media Instagram, Twitter, etc.

The internet - a fast and easy communication system facilitated by social platforms, various and other online media platforms.

It supportsetc. social interaction, and uses thisway, to assist online networking sites, e-mails, web services, Social commerce, in this offers the buying retailerand and selling of products and services by building a relationship with the potential customers. customers a chance to interact with each other at a personal level by bringing a product of their interest to notice on social media platforms, sell them and also be benefited from the user generated accounts The emergence of social media and E-commerce in recent past has helped in bringing the shopping in this process. experience into the online social platforms directly, which we are surrounded by in our daily lives. With Social media platforms like Instagram, Twitter and Facebook this, the social networks that spread the vast number of products online, tends to increase the provides customers with a space where they can explore the customer's trust in one retailer over another. products, compare, read reviews and comments that would help The internet - a fast and easy communication system is facilitated by social media platforms, various them in making an opinion of the product or brand as a whole. networking sites, e-mails, web services, etc. Social commerce, in this way, offers the retailer and These platforms provide the customers with more than just customers a chance to interact with each other at a personal level by bringing a product of their interest promotional ads, with the retailers also getting immediate product to notice on social media platforms, sell them and also be benefited from the user generated accounts feedback, completing the whole process in a fast efficient way. in this process.

Social media platforms like Instagram, Twitter and Facebook However, this can have an adverse effect on the creativity and provides customers with a space where they can explore the authenticity aspects of the age old crafts due to the increase in commercialization. products, compare, read reviews and comments that would help them in making an opinion of the product or brand as a whole.

E-commerce websites such as Myntra.com, Amazon.com, provides a singular platform to view and These platforms provide the customers with more than just compare different brands associated with selling Phulkari embroidery on dupattas, cushion covers, promotional ads, with the retailers also getting immediate product jackets, scarves, etc. Brands associated with selling trendy Phulkari patterns include - Global Desi, feedback, completing the whole process in a fast efficient way.

RanaPhulkari, Craft Trade, FabIndia, The Home Factory, and even international brands like Fabriclore etc.

However, this can have an adverse effect on the creativity and This helps in allowing customers to quickly browse through the trendiest patterns and products with authenticity aspects of the age old crafts due to the increase in commercialization.

Phulkari embroidery, however there is a high risk of deceive because these websites are not guaranteed with indegenious crafts, its quality and authenticity due to mass manufacturing.

E-commerce websites such as Myntra.com, Amazon.com, provides a singular platform to view and compare different brands associated with selling Phulkari embroidery on dupattas, cushion covers, jackets, scarves, etc. Brands associated with selling trendy Phulkari patterns include - Global Desi, 2​ Report on Analysing the Scope for JEEViKA to Sell HandloomHandicraft Product Online (2010) RanaPhulkari, Craft Trade, FabIndia, The Home Factory, and even international brands like Fabriclore etc.

This helps in allowing customers to quickly browse through the trendiest patterns and products with Phulkari embroidery, however there is a high risk of deceive because these websites are not guaranteed with indegenious crafts, its quality and authenticity due to mass manufacturing.

2 2​

Report on Analysing the Scope for JEEViKA to Sell HandloomHandicraft Product Online (2010)

Revival Of Folk Heritage Of Punjab - Phulkari India is a land of beautiful intricate and technique-revolving handmade products, great diversity and a rich craft tradition that gets carried forward and evolved with each generation.

The age-old domestic craft of Punjab, Phulkari was originally used to describe a type of embroidery but gradually became restricted to embroidered dupattas and head scarves. Designed and made by punjabi women, Phulkari was a purely domestic art, which not only satisfied their inner urge of creativity and bringing colour in their daily life, but gave them a sense of pride and self-empowerment.

Revival Of Folk Heritage Of Punjab - Phulkari

Originally

by Punjabi women their own personal use, Phulkari are now commercially India is a landmade of beautiful intricate andfor technique-revolving handmade products, greatbeing diversity and a produced because of more awareness globally.

In addition to offline stores, the strong presence of rich craft tradition that gets carried forward and evolved with each generation.

Phulkari on social networking sites as well as mass media and cinema have led to its global recognition The age-old domestic craft of Punjab, Phulkari was originally used to describe a type of embroidery but and revival.

Most recently, social media dupattas sources like Pinterest etc.and have been utilized as gradually became restricted to embroidered and Facebook, head scarves.

Designed made by punjabi catalysts for selling traditional craft. tradition to use Phulkari during are still followed women, Phulkari was athis purely domestic art,The which not only satisfied their innerweddings urge of creativity and religiously in Punjab. bringing colour in their daily life, but gave them a sense of pride and self-empowerment.

Role Ofmade Social SitesforOntheir Theown Revival Of Crafts Originally byNetworking Punjabi women personal use, Phulkari are now being commercially produced because of more awareness globally.

In addition to offline stores, the strong presence of A. Role of e-commerce Phulkari on social networking sites as well as mass led to its global recognition Art dealers, shopkeepers, boutique owners etc.media who and are cinema dealing have in Phulkari have created their own andpages revival. social media sources like likes Facebook, Pinterestultimately etc. haveconverting been utilized as on Most these recently, social commerce platform, getting and followers, followers catalysts for sellingand thisthus traditional craft.

Thecraft tradition to use duringeven weddings are still followed into customers promoting their to a larger setPhulkari of audience, international. religiously in Punjab.

The main feature of these sites is that these websites get regularly updated with photos of new patterns and the viewer gets to know about the latest creations and trends.

Role Of Social Networking Sites On The Revival Of Crafts Some of these sites also provide links to videos A. Role of e-commerce that show in how a particular crafted Art dealers, shopkeepers, boutique owners etc. who are dealing Phulkari have product created istheir ownand if possible, share a story about the artisan pages on these social commerce platform, getting likes and followers, ultimately converting followersand their lives ensuring that people who buy the into customers and thus promoting their craft to a larger set of audience, even international. products appreciate it even more. Such internet The main feature of these sites is that these websites get regularly updated with photos of new patterns communication allows the retailer to reach and the viewer gets to know about the latest creations and trends. customers globally, increasing the scope of his sales and also increasing interest of people for Some of these sites also provide links to videos phulkari work and its authenticity. that show how a particular product is crafted and if possible, share a story about the artisan and Earlier, if someone wanted to own a Phulkari had to visitlives Punjab.

Now-a-days canwho easilybuy access their ensuring that they people thethe online product information, compare it on differentproducts websitesappreciate and make it a choice beforeSuch purchasing even more. internetit at a reasonable price. One of the most respected andcommunication loved forms of embroidery personaltopossession, allows theforretailer reach Phulkari has mesmerised people globally with its bright colors and interesting patterns and gives customers globally, increasing the scope of his consumers a sense of pride for owning a phulkari object. sales and also increasing interest of people for 3​

phulkari work and its authenticity.

Report on Analysing the Scope for JEEViKA to Sell Handloom Handicraft Product Online (2010)

Earlier, if someone wanted to own a Phulkari had to visit Punjab. Now-a-days they can easily access the online product information, compare it on different websites and make a choice before purchasing it at 3 forms of embroidery for personal possession, a reasonable price. One of the most respected and loved Phulkari has mesmerised people globally with its bright colors and interesting patterns and gives consumers a sense of pride for owning a phulkari object.

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Report on Analysing the Scope for JEEViKA to Sell Handloom Handicraft Product Online (2010)

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B. Role of Social Media Experts on traditional crafts and weaving have written extensively about Phulkari and its authenticity in blogs, and followers have responded with comments thus spreading awareness and curiosity about this floral art. Govt. and NGOs are working hard for the revival of the vibrant Phulkari.

Story-telling and sharing of history and techniques​: In order to project itself effectively and also use the power of social commerce platforms, artisans now also use videos to narrate stories into the product designs, about it's looks, performance and the thought behind the designs.

Their home pages are full of information about the history, technique, fabric, threads, colours and artisans of this craft.

Not only this, their websites also contain knowledge of current or past events related to Phulkari whether holding of an exhibition or craft mela or opening of cluster, NGO or views of nationally or internationally acclaimed writer or artisans or any kind of award ceremony.

The Influence Of Mass Media On The Revival Of Phulkari Now a day's cinema and entertainment programs are largely promoting the punjabi cultural traits through dramas and films and young generation like to imitate the styles and trends followed by those actors or actresses in popular films. Rapid growth in new forms of media and social commerce websites (facebook, twitter etc.) played its quite significant role in fast widespreadness of information, and the younger generation is influenced by Indian cinema like never before.

Similarly, social networking sites are full of images of various Bollywood celebrities wearing designer outfits of Phulkari, influencing young young girls’ shopping. Media and the cinema have helped in a way to revive the interest of youth and fashion lovers in their traditional art forms, while also changing the trends in which they are used.

Change In Trends As compared to earlier times, when consumers were forced to choose from the limited range offered to them in the stores and online, now these new platforms provide unlimited options to the consumers, with every traditional brand trying to join the race of reviving these old traditional patterns and embroidery with a modern touch.

The trendier products such as Phulkari jackets, pouches, clutches, umbrellas, dupattas or stoles, cushion covers, sarees and even Phulkari juttis are available online. The newly introduced feature of personal customization makes ​buyers are not bound to choose from present list of options. They are rather empowered by social commerce platforms to customize the required product.

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However, widespread commercialization of Phulkari has also led to degradation of its authenticity. Websites are flooded with cheap imitations and machine made Phulkaris as there is a shortage of time and computer work is cheaper and therefore, the customer go in for that - i.e. difference in demand-supply ratio.

Lost Aspects Of Phulkari’s Authenticity With Mass Manufacturing However, widespread commercialization of Phulkari has also led to degradation of its authenticity. Websites are A. Traditional Designs flooded cheap imitations and machine In the authentic, traditional form of embroidery from with Punjab, following four distinct typologiesmade are Phulkaris as there is a shortage of time and computer recognized: work is cheaper and therefore, the customer go in for that - i.e. demand-supply Phulkari motif​: where motifs of difference food items,invegetables, birds,ratio. animals, etc. are embroidered delicately.

Bagh​: where embroideries on the cloth is so close that one cannot see the base Lost Aspects Of Phulkari’s fabric.Authenticity With Mass Manufacturing A. Traditional Designs Chope​: The chope and subhar are generally worn by brides for the wedding day.

The chope embroidered both Punjab, sides of following the cloth, on a red fabrictypologies with yellow.

In the authentic, traditional formis of embroideryonfrom four distinct are Darshan Dwar: This typology of embroidery design comprised of panelled recognized: architectural design. The pillars and the top of the gate were filled with latticed geometrical patterns, sometimes beings also birds, shownanimals, standingetc. at the Phulkari motif​ : wherewith motifs of food human items, vegetables, are gate. embroidered delicately.

Sainchi: ​This isembroideries the only styleonofthe thecloth craftiswhere thethat outlines of the figures Bagh​: where so close one cannot see thewere base drawn using black ink, which was then filled by embroidering with darn stitch, fabric. drawing inspiration from the are village life- worn such by as brides man ploughing, lying day. on Chope​: The chope and subhar generally for the wedding charpai, playing chaupat,The smoking or guestson drinking sherbet, chopehookah is embroidered both sides of theetc. cloth, on a red fabric with yellow.

Til patra: ​The til (sesame) patra, like the name suggests, has decorative which is of spread out Darshan Dwar: This typology of embroidery embroidery design comprised panelled on the whole fabric as if spreading sesame seeds. architectural design.

The pillars and the top of the gate were filled with latticed Neelak: ​The neelak phulkari design is comprised of sometimes a black or red basebeings fabric also withshown yellowstanding or brightatred geometrical patterns, with human the embroidery. gate.

Chhamaas: ​The chaamasSainchi: phulkari​This includes which arecraft stitched intothe theoutlines cloth with yellow, grey or is themirrors only style of the where of the figures were blue colored threads. drawn using black ink, which was then filled by embroidering with darn stitch, Tool di phulkar​i: This was a form inspiration of phulkari for regular wear, which was made on aploughing, lightweightlying fabric drawing from the village life- such as man on [4] called tool. ​ charpai, playing chaupat, smoking hookah or guests drinking sherbet, etc.

Til patra: ​The til (sesame) patra, like the name suggests, has decorative embroidery which is spread out https://en.wikipedia.org/wiki/Phulkari ​ [Accessed: September 2019] on the whole fabric as if spreading sesame11th seeds.

Neelak: ​The neelak phulkari design is comprised of a black or red base fabric with yellow or bright red embroidery.

Chhamaas: ​The chaamas phulkari includes mirrors which are stitched into the cloth with yellow, grey or blue colored threads.

5 Tool di phulkar​i: This was a form of phulkari for regular wear, which was made on a lightweight fabric [4] called tool. ​

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4 ​

https://en.wikipedia.org/wiki/Phulkari ​ [Accessed: 11th September 2019]

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Belan Bagh pattern

Phulkari Motif of a peacock

Chope style

Image 1, 2 - Darshan Dwar Image 3 - Chhamaas Image 4 - Til Patra Image 5 - Sainchi Image 6 - Neelak

Phulkaris and baghs had innumerable designs which expressed the artisans’ imagination, originality, creativity and an excellent skill of colour blending and composition.

B. Observed Difference In Contemporary Designs In this day and age of increasing commercial demand, Phulkari is now changing and becoming more standardized. The designs are also modified and simplified to provide for sales in order to meet with the market demands.

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On comparisons of credible embroideries in today’s time, first thing quite evidently observed is that it is not only the style of embroidery that has been simplified; the product range has also diversified. The process of manufacturing is now faster and straightforward - with the printing of motifs, followed by stitching the embroidery.

According to the variety of fabrics used now, they can be divided into the following categories: • On light weight fabrics • On cotton voile or opaque fabrics like crepe, silk etc.

• On khaddar or casement fabric (lesser used now) to resemble Bagh of earlier times. ​[​5] Many times now, the same phulkari motifs are used differently from vendor to vendor. Motifs are now usually​ ​geometrical in nature due to its faster manufacturability, decreasing the value of imagination and ingenuity used before.

Alongwith the above mentioned effect of mass manufacturization, if there are any new designs in the market, these are easily copied by other shopkeepers. Most new designs, once exhibited in exhibitions or shop windows get replicated. For new designs, the vendors generally get inspired from trends started in mass media like movies, magazines, etc. This, however, limits the growth of potential of the craft’s inventiveness, as designs are only based on latest trends.

With the advent of industrialization, most motifs now are repetitive and the designs are not as intricate as credible designs in the past. The earliest form of Phulkari-making was a well-structured process, in which starting from the yarn to designs and the method of making it was entirely left to the embroiderer.

Motifs are now pre-printed on the fabric and given to the village women to stitch embroidery on these, implying that the artisans are mere skill-workers and not the source of creativity of designs.

Women are no longer investing their personal resources in neither making the fabric nor pressing on their imagination to invent new designs for each piece of handicraft​.

Example of this can be seen in the following commonly found phulkari designs in today’s context Modern Phulkari trendsEven with the growing platforms available online for purchase of Phulkari, there are quite limited credible sources left from where one can purchase a hand-woven authentic Phulkari fabric with the intricacies and creativity of original artisans. With commercialization of this needlework, quicker methods of production have come up to provide a similar aesthetic for urban trendier versions New designs for outfits are being established by several modern designers to reach out to the new segments of customers. Presently, machine​-made Phulkaris are being manufactured in Amritsar and Ludhiana which is affordable 7

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for low-end prices. Almost ​twelve ​Phulkari suits can be made in one day by machines which all the more lowers the price of the product, which earlier used to take ​80 ​days for hand-stitched embroidery of one outfit. Nevertheless, the machine made products have not reduced the sale of traditional Phulkari. ​[​4]

Conclusion To conclude, it can be considered that the traditional form of Phulkari has been more commercialized and promoted in recent times through the advancement of social media. Social e- commerce is developing very fast in the craft sector, which bridges the gap between artisans and buyers all over the world. Potential buyers meet on social networking sites, discuss and get the opportunity to buy Phulkaris directly from exclusive shops and artisans with a large variety in one platform.

Due to this, the awareness and demand of Indian phulkari products has grown globally. Online marketplaces are playing a vital role in popularizing phulkari among masses as shopping on these platforms is inspired by what others purchase or recommend more while also providing convenience and flexibility.

However, with the advancement of commercialized products, the revival of Phulkari is largely affected largely, as it slowly loses its traditional core and authenticity with the beauty of intricate hand made embroideries vs machine manufactured ones, with the craftspeople reduced to mere skill-workers/ human machines and not a credible source of imagination of the embroidery designs. The superficial trends catch on and the original purity of the embroidery gets lost, which will lead to its eventual death.

Bibliography Websites 1. https://www.quora.com/What-does-social-commerce-mean-What-are-some-examples-of-social -commercecompanies. ​ [Accessed: 11th September 2019] 2. https://www.iampunjaabi.com/component/content/article?id=811:5-types-of-phulkari-and-wh ere-to-buy-them ​ [Accessed: 16th September 2019] 3. https://en.wikipedia.org/wiki/Phulkari ​ [Accessed: 11th September 2019] 4. http://www.thelifestylejournalist.in/cover-story-the-death-revival-of-phulkari-bagh ​[Accessed: 16th September 2019] 5. https://economictimes.indiatimes.com/industry/cons-products/garments-/-textiles/education-e xposure-is-key-for-handloom-revival-say-experts/articleshow/70586594.cms?from=mdr [Accessed: 16th September 2019] 6. https://www.telegraphindia.com/business/weaving-a-revival/cid/480810 ​[Accessed: 16th September 2019] Papers 1.

2.

3.

4.

Phulkari, The Journey Of A Craft Revival - Sunaina Suneja (2017) Towards A Theory Of Innovation In Handloom Weaving In India - Annapurna Mamidipudi Revival of Punjab’s Traditional Handicraft: Phulkari - Prabhjot Kaur Indian Handicrafts and Globalization: A Review - Nidhi Vats 8

5. The Social Commerce Revolution - Veenu, Charu Katare,Renu Sharma (2017) 6. Phulkari and Bagh folk art of Punjab: a study of changing designs from traditional to contemporary time by Rajinder Kaur (2016) Books 1. Hitkari, S. S.​ (1990). ​Phulkari : the folk art of Punjab.​ New Delhi Phulkari Publication.

Image Credits ​ on Analysing the Scope for JEEViKA to Sell HandloomHandicraft Product 1. [IMAGE 1] ​ Report Online (2010) ​ [Accessed: 11th September 2019] ​ on Analysing the Scope for JEEViKA to Sell HandloomHandicraft Product 2. [IMAGE 1] ​ Report Online (2010) ​ [Accessed: 11th September 2019] 3. [IMAGE 1]​ ​https://in.pinterest.com/pin/131519251589896505/?lp=true [Accessed: 11th September 2019] 4. [IMAGE 1] ​https://en.wikipedia.org/wiki/Phulkari ​ [Accessed: 11th September 2019] 5. [IMAGE 1] ​https://en.wikipedia.org/wiki/Phulkari ​ [Accessed: 11th September 2019] 6. [IMAGE 1] http://www.theheritagelab.in/phulkari-punjab/[Accessed: 11th September 2019]

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Comparitive Study of Regionalist Comparative Study of Regionalist Interpretations in Architecture Interpretations in Architecture Kisho Kurokawa (Japanese) and Geoffrey Bawa (Sri Lankan)

Harleen Dhawan | UI 1115 | CEPT

UNIVERSITY

Kisho Kurokawa and Geoffrey Bawa (Sri Lankan) The Blend Of Vernacular And (Japanese) Modernism

Abstract This paper discusses regionalist interpretations in architecture of two architects - ​Kisho Kurokawa (Japanese architect) and Geoffrey Bawa (Sri Lankan architect)​, and their comparative analysis of regionalism with respect to their respective backgrounds - climatic conditions, local materials available, and their defined individual characteristics/design language.

The aim of the paper is to learn the similarities of language adopted in terms of their ​same time period - the effect of modern approach choice of materials, while still responding to their traditional methods of key elements, response to environmental factors in vernacular architecture.

This paper aims to look at contextual regionalism within modernism. It looks at both the architects’ attempts to create a synergy between reviving the vernacular elements and of architectural design of their respective contexts, and the reinterpretation of the same in the modern era of design language and materials.

The paper also discusses the parallel dissimilarities of their response to regionalism by taking into account the influence of their respective vernacular methods of architectural design, since there is a stark difference between the context of Japanese and South Asian style and methods.

Introduction This paper is aims to look at contextual regionalism within modernism. It looks at both the architects’ attempts to create a synergy between reviving the vernacular elements and of architectural design of their respective contexts, and the reinterpretation of the same in the modern era of design language and materials.

Kisho Kurokawa is a Japanese architect who has worked with ​regional elements and philosophies by introducing modern techniques, details and materials​. T ​ hroughout the course of his career, Kurokawa advocated a philosophical approach to understanding architecture that was manifest in his completed projects throughout his life.

Geoffrey Bawa, a Sri Lankan architect, too has had a poetic flair ​and a ​philosophical approach to designing his buildings. Bawa was one of the original proponents of ​Tropical Modernism​, a design movement in which sensitivity for local context combines with the form-making principles of modernism.

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Kisho Kurokawa ​As A Japanese Regionalist Kurokawa explained that the attention paid to detail in Japanese work derived essentially from the typical attempt to express individuality and expertise. In Japan the execution of details was a process of working ​not from the whole to the parts but from the parts to the whole. Every wood connection in a house was carefully crafted from the inside out. Japan is a country that moved from a non-industrial country to a fully industrial nation in less than 50 years, during the Meiji revolution. This sharp jump from producing goods by craftsmen to industrially realized production was so rapid that the deep-rooted tradition of fine craftsmanship as a statement of the creator did not disappear. As a result, the Japanese maker continues to be instilled with a fastidious preoccupation for fine details, which can be seen in contemporary architecture, art and industry. The ​attention to detail, an integral part of Japan's tradition, forms a uniquely indigenous aesthetic.

He confessed: “This attention to detail is also an important key to understand my own architecture. The belief in the importance of details also suggests the new hierarchy.”

1. Old Japanese houses relied on movable screens (shoji) and sliding doors (fusuma) to divide and re-divide rooms as needed. Similar concept has been adopted in The National Art Center, which contains 2,000 sqm column-less galleries divided up into smaller spaces by a series of internal partitions. These partitions, each weighing 2.5 ton, can be moved by two people.

Kisho Kurokawa, one of the key figures in post-war Japanese architecture, had a deep sentiment and a sense of responsibility with the methods and style of the past, present as well as the future of architecture. Even after mastering the progressive form of architecture, he honoured the traditional Japanese design, both in his attention to details and in the aspect of natural tones and textures. The belief and tradition of the Japanese architecture that maximum enjoyment comes from the natural state of materials, was alive in Kurokawa’s work, which shows a sense of ​honesty of materiality.

Though using more metals like iron, aluminium as well as concrete, he made the most of the inherent finish of each. In about all his works, we can acknowledge the use of technology with no artificial colors or forced finish to materials used.

He not only kept the traditions of Japanese culture alive, but used technology - the capsules in the Nakagin Capsule tower, elevator and escalator unit and pipe and ductwork which were all exterior and exposed​. Much like the Japanese ideology, he believed ​“beauty was inherent in each of the individual parts” and thus, no attempt was made to hide the connective elements or structure.

Further, at Japan’s residential level, buildings always reflect a strong emphasis on human’s relationship with nature, by using verandahs (​engawa​), drawing natural light into spaces, as well as use of wood in its raw form. It also uses strategic views of surrounding nature and offering experience of change of seasons. These traditions of a typical

Japanese residential design is adopted by Kurokawa as well, in many of his works, keeping some ambiguity of interior and exterior.

Skylights and translucent spaces between the wood slatted walls admits daylight into the galleries, connecting again with the nature outside - another Japanese element.

2. (Left) 3. (Right) The requirement was to have a restaurant and a cafe in the front part of the building. Thus, he placed both of them above the atrium and to maximize the floor space below, he reduced the base of each structure, creating the inverted cone shapes. The facade then undulates around them, which resonates with the Japanese sense of aesthetics.

Japanese residential design is adopted by Kurokawa as well, in many of his works, keeping some ambiguity of interior and exterior.

Skylights and translucent spaces between the wood slatted walls admits daylight into the galleries, connecting again with the nature outside - another Japanese element.

2. (Left) 3. (Right) The requirement was to have a restaurant and a cafe in the front part of the building. Thus, he placed both of them above the atrium and to maximize the floor space below, he reduced the base of each structure, creating the inverted cone shapes. The facade then undulates around them, which resonates with the Japanese sense of aesthetics.

4.Genkan: A sunken space between the front door and the rest of the house, is considered dirty, separates the home from the outside and is where shoes are placed (usually on a rack or in a shoebox) before entering.

5. (Left) 6. (Right) The design of the roof and the wall of this building was metaphorically introduced from the traditional Japanese storehouse “kura”in the 19th Century. As for the materials of the facade, stones, tiles, and aluminum are used all together, effectively creating the additional atmosphere of the future to the traditional elements.

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Geoffrey Bawa ​As A South Asian Regionalist Introduction: ​Geoffrey Bawa, Sri Lanka’s one of the most influential architect, is known for his style of adopting vernacular architectural elements, materiality language and construction methods, while also adding a ​poetic touch to all his works. Much like the traditional architectural language, his work follows vernacular in a modified manner reflecting on resolving issues of sustainable development and climate adaptability. In all his works, he aims to have a unique relationship and response to the ​environmental context of each site, and manages to create a synergy of poetic ambience by including tropical plants and indigenous materials, merging the built form with the surrounding landscape.

After finishing a professional training in London, travelling to European countries, he eventually directed his career to village level of vernacular of Sri Lanka. By understanding and realising the authenticity of the traditional methods, he tried to blend the modern with the timeless traditions.

Beginning Of Regional Influence​: The celebrated Columbian artist and close friend of Bawa, Ena de Silva, brought him on board to her project to create an open and modern suburban house in Colombo that still retained the atmosphere of the traditional homes she grew up in. Here Bawa produced an early example of his experimentations with open space, creating a free flow of movement inside the building by carefully emphasizing the voids between mazes of whitewashed structures.

Background Influence​: For more than a century, Sri Lankan residential architecture had been heavily influenced by British language. The typical British bungalow was a pavilion on one or two floors, cellular in plan and located at the centre of a large garden plot. However, the population of Sri Lanka was exploding and Colombo was rapidly evolving from green Garden City into modern Asian metropolitan city. As land prices rose, plot sizes shrank and the British bungalow could no longer guarantee privacy or provide adequate ventilation.

Having witnessed the colonial influence in Sri Lanka (then called Ceylon) during the British and Portuguese rule, his work shows the influence of of local vernacular to form a national architectural identity and thereafter preserved and legitimised.

After graduating in 1957, Bawa returned to Ceylon where he joined with other like-minded designers and artists who shared his growing interest in Ceylon’s forgotten architectural heritage and as a group they started up developing new ways of making and building. In the initial stages of Bawa’s work, he was influenced greatly by the tropical modernist ideals of Jane Drew and Maxwell Fry – simple functionalism, cubic architecture and sharp edged forms. Whilst his own designs changed over time in response to varying landscapes and ideals, the tropical modernist theory would serve as the basis for the majority of his works over the remainder of his career.

Unlike other architects who rejected colonial architectures in the wake of post-independence, Bawa took on a far more adaptive approach, sourcing design features that were simply appropriate to Sri Lankan lifestyles,not necessarily choosing one style over another.

Comparative analysis of Kisho Kurokawa and Geoffrey Bawa Both the architects have relentlessly designed their buildings keeping in mind the experience of the people residing or entering the spaces. In both the cases, factors affecting the experience of a person - daylight, incorporating nature inside, merging the inside-outside boundary, response to climatic conditions, have been the utmost importance while designing the The Seamless Blend Of Vernacular With ModernismMuch like Kurokawa, Geoffrey Bawa also reflects at the functionality of a space, making a sustainable built form that remembers the past of their respective contexts, but also adding a flair of poeticness to it. ​While some of the design elements are purely aesthetics, the use of local materials, such as concrete, wood, iron and millwork all contribute to Bawa’s ideal of utilising appropriate regional methods and materials. The Kandalama Hotel demonstrates Bawa’s concern to consult the genius of the place and his ability to integrate architecture and landscape, blur the lines of indoor and outdoor, respond proactively to environment and climate, and ultimately manipulate space for immersive experiences. ​In the true sense of tropical modernism mixed with regionalism, ​Bawa designed the hotel for the central dry zone of Sri Lanka, an area that is less humid and receives less rain, thus the use of flat roofs and living green facades provides passive cooling measures and responds innately to the climate of the space.

Featured elements : Facade-

​ 7​ .​ ​The National Art Center, Kurokawa

8. ​The Mahaweli Office Building, Bawa

“One of my intentions with the design was to be fuzzy. Great art and architecture should be fuzzy. If it is easy to understand, it is functional like a factory. People can say, ‘this is the entrance way, this is the exit.’ But this is not art. I wanted to create ambiguity and a little bit of confusion. This is what makes people think, or takes them into a maze.”

The National Art Center, Tokyo - The real element of genius in this design is the feature that will have the strongest effect on visitors — the facade. As a perfect expression of the symbiosis of exterior and interior, Kurokawa makes it work in both directions.

From the outside, its naturally undulating surface seems to react to the trees and the wind, while from the inside, it seems to dance around two large inverted concrete cones, which look like petrified tornadoes and are central to the functional requirements of the building.

The Mahaweli Office Building, ​The building’s plan-shape acted as an aileron to trap prevailing winds and was orientated to minimise solar gain, while its facades were designed as a breathing wall to encourage cross-ventilation.

Use of Wood as a key materialKisho ​- Keeping the dominance of wood in the japanese style of architecture, the use of wicker chairs (Work made of interlaced slender branches (especially willow branches), and the flooring of Ironwood from Borneo, which is hard enough as well as very durable. This flooring extends and continues outside of the facade, making people ambiguous of whether they’re standing on the exterior or interior, both outside and inside the building.

Bawa ​- In terms of materials, Colonial architecture often makes use of brick columns, and sometimes concrete ones, whereas Bawa, adopting a wood-based local building method, tends to use wood or coconut trunk columns.

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Use of Wood as a key materialKisho ​- Keeping the dominance of wood in the japanese style of architecture, the use of wicker chairs (Work made of interlaced slender branches (especially willow branches), and the flooring of Ironwood from Borneo, which is hard enough as well as very durable. This flooring extends and continues outside of the facade, making people ambiguous of whether they’re standing on the exterior or interior, both outside and inside the building.

Bawa ​- In terms of materials, Colonial architecture often makes use of brick columns, and sometimes concrete ones, whereas Bawa, adopting a wood-based local building method, tends to use wood or coconut trunk columns.

9. Geoffrey Bawa, ​Galle, Sri Lanka​

​ 10. Kisho Kurokawa

Poetic Flair Kisho - Continuing the feeling of nature, the bamboo gardens are stylized, arranged in a straight and geometrical manner. The traditional Japanese strategies of design is very purely used in Kurokawa’s work. The aesthetically pleasing designs though,were originated by purely practical rather than aesthetic reasons. This is in lines of his theory of Symbiosis - a symbiosis between form and function.

Keeping the ambiguity of interior and exterior in the picture, Kurokawa also dealt with using transparency in this building, using hi-tech details on the facade and a cleaning robot, laminated louvers for controlling the incoming UV rays. This mix of total transparency as well as total cut off of sun energy in the facade brings out the unique filter system, yet one can feel the tender sunshine coming in. “​The masterpiece of architecture, the real value of the painting of Picasso, of architecture of Corbusier, is fuzzy. We don’t know the real intention by Le Corbusier. A little bit of confusion and ambiguity that makes people think or makes them go into the maze, is a masterpiece.”

Bawa - ​Being a poet himself, Bawa added the poetic flair in his designs as well. His designs were brought about with sketches of plans and sections, which originate from the experience he wants the users of the space to have. His knowledge and seriousness of the type of vegetation surrounding the built form and the attention given to the water bodies around reflect the artistic vibe of this creative mastermind.

11. ​Original sketch of the Anantara Kalutara Resort by Geoffrey Bawa

Response to nature and adopting light inside -

12. Kisho Kurokawa - National Art Center, Tokyo

11. ​Original sketch of the Anantara Kalutara Resort by Geoffrey Bawa

12. Kisho Kurokawa - National Art Center, Tokyo

Response to nature and adopting light inside -

​

13. (kisho Kurokawa - The National Art Center - 1986)

14. (Geoffrey Bawa - own house)

Kisho - Skylights and translucent spaces between the wood slatted walls admits daylight into the galleries, connecting again with the nature outside - another Kisho - Skylights Japanese element. and translucent spaces between the wood slatted walls admits daylight into the galleries, connecting again with athe nature outside another At Japan’s residential level, buildings always reflect strong emphasis on-human’s Japanese element. relationship with nature, by using verandahs (​engawa​), drawing natural light into At Japan’salso residential level, buildings reflectnature a strong emphasis human’s offering on experience spaces,It uses strategic views ofalways surrounding and relationship nature, by using verandahs (​engawa ​), drawing natural design light into of change of with seasons.

These traditions of a typical Japanese residential is spaces,Itby also uses strategic of surrounding nature and offering experience adopted Kurokawa as well,views in many of his works, keeping some ambiguity of of change seasons. These traditions of a typical Japanese residential design is interior andof exterior. adopted by effect Kurokawa as well, in manylight of his works, keeping some ambiguity of Bawa - ​the of diffused cascading is achieved by allowing natural light to interior and cascade intoexterior. the house through a courtyard space; a classic Bawa technique. The Bawaare - ​the effect ofcut, diffused light achieved natural light to with cascading the the play of isnatural lightbyonallowing the rugged surfaces walls unevenly cascade into the housefeeling. through a courtyard space; a classic Bawa technique. The providing a minimalistic walls are unevenly cut, with the the play of natural light on the rugged surfaces providing a minimalistic feeling.

15. (kisho Kurokawa -The National Art Center) 15. (kisho Kurokawa -The National Art Center) Language of the roofs Kisho - ​At ​Toyota City Stadium, ​in accordance to the strict rules of FIFA, the roof was designed so that natural light Language thelawn roofson - the ground, however, a trade-off was provided to cover the main stand seats completely even could reachofthe Kishothe - ​Aroof t ​Toyota City Stadium, ​in accordance to the strict of of FIFA, the roof was designed that natural light when is opened.

Both wings of the suspended roof rules remind the traditional shape of the so Japanese roof and could been reachdesigned the lawn parallel on the ground, trade-off provided to light-weight cover the main completely even have to eachhowever, other, toaenable thewas moving of the roofstand alongseats the rails by air-pillow when the is opened.

Both fan wings the suspended roof remind of the traditional shape of the Japanese roof and method likeroof a folding Japanese for of closing and opening. have been designed parallel each other,aspects, to enable the are moving of the light-weight roof terracotta along the rails by air-pillow Bawa - ​Adopted straight fromto regionalist there pitched roofs majorly with Portuguese tiles for diverse closing and opening. method like aprotect foldingfrom Japanese fanand used, which the rains tropical climate and also becomes useful functionally for draining water. straight from regionalist aspects,and there are pitched terracotta Portuguese tiles Bawa reflect - ​Adopted These the influence of colonial architecture language, alongroofs withmajorly the usewith of overhangs from vernacular used, which protect from the rains and diverse tropical climate and also becomes useful functionally for draining water. aspect.

These reflect the influence of colonial architecture and language, along with the use of overhangs from vernacular aspect. built form with surrounding nature Merging For kurokawa, still comparing buildings to living organisms, this aesthetic also attempted to integrate construction Merging form withhabitat. surrounding nature - the airport in Kuala Lumpur achieved this by blending its terminals in with within its built surrounding For example, Forsurrounding kurokawa, still comparing buildings to living organisms, this aesthetic also attempted to integrate construction the rainforest. within its surrounding habitat. For example, the airport in Kuala Lumpur achieved this by blending its terminals in with the surrounding rainforest.

16. (kisho Kurokawa - Kuala Lumpur International Airport)

17. (Geoffrey Bawa - Bawa’s garden and estate)

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(kisho Kurokawa - Kuala Lumpur International Airport) 17. (Geoffrey Bawa - Bawa’s garden and estate) Choice of16. materials Both the architects have actively used the locally produced materials like w ​ ood, concrete, iron etc. but added their

aspect.

Merging built form with surrounding nature For kurokawa, still comparing buildings to living organisms, this aesthetic also attempted to integrate construction within its surrounding habitat. For example, the airport in Kuala Lumpur achieved this by blending its terminals in with the surrounding rainforest.

16. (kisho Kurokawa - Kuala Lumpur International Airport)

17. (Geoffrey Bawa - Bawa’s garden and estate)

Choice of materials Both the architects have actively used the locally produced materials like ​wood, concrete, iron etc. but added their own sense of individuality to it - Kurokawa with his attention to details and Bawa with his artistic aesthetics.

Conclusion The paper establishes the synergy between the two architects’ regionalistic approach of design while also reinterpreting the traditional methods and elements in modern context of materiality and language.

As a result of this, it becomes a genuine hybrid of remembrance of the past, following the inherent ideology of their vernacular regionalistic methods, while also translating the same with the context and functionality of the contemporary.

In the case of both Kisho Kurokawa and Geoffrey Bawa, the natural environment, attention to details, functionality and mixing it with an artistic or poetic touch of language is the key characteristic of their personal take on regionalism.

BIBLIOGRAPHY 1) For understanding key characteristics Coaldrake, W. A. (n.d.). ​Routledge Handbook of Japanese Culture and Society.​ Routledge Handbook.

Japan Kajima Institute (​ (1958-1979)).​ K ​ isho Kurokawa ​[​720.92-K K.K.​] - CEPT Library., (p. 125).

Mitchell, J.A. (2017, May 20)​ Retrieved from https://www.scribd.com/presentation/247848323/Geoffrey-Bawa Kisho Kurokawa architect & associates​ R ​ etrieved from http://www.kisho.co.jp/page/223.html 2) For understanding space planning Japan Kajima Institute (​ (1958-1979)).​ K ​ isho Kurokawa ​[​720.92-K K.K.​] - CEPT Library., (p. 125).

Retrieved from ​https://www.architravel.com/architravel/building/hiroshima-city-museum-of-contemporary-art/ The International House of Japan, Inc. (n.d.). Building and Garden. ​Retrieved from ​www.i-house.or.jp: https://www.i-house.or.jp/eng/garden/index.html 3) For understanding ideology Japan Kajima Institute (​ (1958-1979)).​ K ​ isho Kurokawa ​[​720.92-K K.K.​] - CEPT Library., (p. 125).

Lefaivre, Lian​e (n.d.). ​Architecture of regionalism in the age of globalization : peaks and valleys in the flat world CEPT Library National Art Center, Tokyo. (n.d.). http://yknow-interviews.blogspot.com/2008/03/i-met-architect-kisho-kurokawa-on-12th.html https://www.britannica.com/biography/Kisho-Kurokawa

Other links https://www.geniusstuff.com/blogs/kisho-kurokawas-organic-architecture.htm https://www.scribd.com/presentation/247848323/Geoffrey-Bawa http://www.kisho.co.jp/page/223.html https://en.wikipedia.org/wiki/Kisho_Kurokawa

In the case of both Kisho Kurokawa and Geoffrey Bawa, the natural environment, attention to details, functionality and mixing it with an artistic or poetic touch of language is the key characteristic of their personal take on regionalism.

BIBLIOGRAPHY 1) For understanding key characteristics Coaldrake, W. A. (n.d.). ​Routledge Handbook of Japanese Culture and Society.​ Routledge Handbook.

Japan Kajima Institute (​ (1958-1979)).​ K ​ isho Kurokawa ​[​720.92-K K.K.​] - CEPT Library., (p. 125).

Mitchell, J.A. (2017, May 20)​ Retrieved from

https://www.scribd.com/presentation/247848323/Geoffrey-Bawa Kisho Kurokawa architect & associates​ R ​ etrieved from http://www.kisho.co.jp/page/223.html 2) For understanding space planning Japan Kajima Institute (​ (1958-1979)).​ K ​ isho Kurokawa ​[​720.92-K K.K.​] - CEPT Library., (p. 125).

Retrieved from ​https://www.architravel.com/architravel/building/hiroshima-city-museum-of-contemporary-art/ The International House of Japan, Inc. (n.d.). Building and Garden. ​Retrieved from ​www.i-house.or.jp: https://www.i-house.or.jp/eng/garden/index.html 3) For understanding ideology Japan Kajima Institute (​ (1958-1979)).​ K ​ isho Kurokawa ​[​720.92-K K.K.​] - CEPT Library., (p. 125).

Lefaivre, Lian​e (n.d.). ​Architecture of regionalism in the age of globalization : peaks and valleys in the flat world CEPT Library National Art Center, Tokyo. (n.d.). http://yknow-interviews.blogspot.com/2008/03/i-met-architect-kisho-kurokawa-on-12th.html https://www.britannica.com/biography/Kisho-Kurokawa

Other links https://www.geniusstuff.com/blogs/kisho-kurokawas-organic-architecture.htm https://www.scribd.com/presentation/247848323/Geoffrey-Bawa http://www.kisho.co.jp/page/223.html https://en.wikipedia.org/wiki/Kisho_Kurokawa http://yknow-interviews.blogspot.com/2008/03/i-met-architect-kisho-kurokawa-on-12th.html https://www.britannica.com/biography/Kisho-Kurokawa https://www.archdaily.com/110745/ad-classics-nakagin-capsule-tower-kisho-kurokawa https://www.architravel.com/architravel/building/hiroshima-city-museum-of-contemporary-art/ https://nedbajic.wordpress.com/2013/09/07/kisho-kurokawa-metabolism-symbiosis/ http://articles.latimes.com/2007/oct/14/local/me-kurokawa14 https://www.architravel.com/architravel/building/hiroshima-city-museum-of-contemporary-art/ https://www.independent.co.uk/news/obituaries/kisho-kurokawa-396934.html

Digital Illustration Credits Illustration 5: [Digital image]. (2016). Retrieved March 29, 2019, from http://www.​https://www.independent.co.uk/news/obituaries/kisho-kurokawa-396934.html Illustration 7: [Digital image]. (2016). Retrieved March 29, 2019, from https://www.archdaily.com/110745/ad-classics-nakagin-capsule-tower-kisho-kurokawa Illustration 8: [Digital image]. (2016). Retrieved March 29, 2019, from ​ ttps://en.wikipedia.org/wiki/Kisho_Kurokawa h Illustration 9: [Digital image]. (2016). Retrieved March 29, 2019, from https://www.japantimes.co.jp/places/living-in-japan/education-living-in-japan/tokyo-area/roppongiarea/international-house-of-japan/#.XJ5yL5gzZPY Illustration 10: [Digital image]. (2016). Retrieved March 29, 2019, https://www.scribd.com/presentation/247848323/Geoffrey-Bawa Illustration 11: [Digital image]. (2016). Retrieved March 29, 2019, ​from http://www.lonelyplanetimages.com/search/353464?exact=1&keywords=galle+Geoffrey+Bawa Illustration 12: [Digital image]. (2016). Retrieved March 29, 2019, ​from https://www.archdaily.com/460721/remembering-bawa/52b0a5e2e8e44ee81300004d-remembering-bawa-image Illustration 13: [Digital image]. (2016). Retrieved March 29, 2019, ​from

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Selexy Dominicanen, Netherlands

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 Cinnamon, Bangalore 

dŚĞ ĂƉƉƌŽĂĐ ŵĂŝŶƚĂŝŶŝŶŐ Ăƚ ƚŚĞ ƐĂŵĞ hŶůŝŬĞ ŽƚŚĞƌ ĐŽŵƉĂƌĂƟǀĞ ĂďŽƵƚ ͘ dŚƵƐ ƐĞƌǀŝŶŐ ƚŚĞ ǀ

<ŝŶũĂů WĂƌŝŬŚ h/ϭϵϭϰ / ,ĂƌůĞĞŶ ŚĂǁĂŶ h/ϭϭϭϱ

KǀĞƌǀŝĞǁ WƌŽũĞĐƚ ƚLJƉŽůŽŐLJ ͗ ĚĂƉƟǀĞ ƌĞͲƵƐĞ͕ DŝdžͲƵƐĞ WƌŽũĞĐƚ ͗ ďŽƵƟƋƵĞ ƐƚŽƌĞ ŚŽƵƐĞĚ ŝŶ Ă ĚĞƚĞƌŝŽƌĂƚĞĚ ϭϴƚŚ ĐĞŶƚƵƌLJ ŽůŽŶŝĂů ďƵŝůĚŝŶŐ >ŽĐĂƟŽŶ ͗ 'ĂŶŐĂĚŚĂƌ ŚĞƩLJ ZŽĂĚ͕ hůƐŽŽƌ͕ ĞŶŐĂůƵƌƵ͕ <ĂƌŶĂƚĂŬĂ ͗ ŝŶŶĂŵŽŶ ŽƵƟƋƵĞ Wǀƚ͘ >ƚĚ͘ ůŝĞŶƚ ͗ ŝŶŶĂŵŽŶ ŽƵƟƋƵĞ ͗ DĂƚŚĞǁ ĂŶĚ 'ŚŽƐŚ ƌĐŚŝƚĞĐƚƐ ƌĐŚŝƚĞĐƚ ͗ϭϱϬϬ ƐƋŵ ^ŝƚĞ ĂƌĞĂ ƵŝůƚͲƵƉ ͗ ϲϴϬ ƐƋŵ Ƶŝů /ŶŝƟĂƟŽŶ ͗ DŝĚ ϮϬϭϯ ŽŵƉůĞƟŽŶ ͗ Ɖƌŝů ϮϬϭϰ

/ŵŐ ϴ͗ WĞďďůĞĚ

sŝĞǁ ŽĨ ƚŚĞ ůŵŝƌĂŚ ƐƚŽƌĞ Ăƚ ŝŶŶĂŵŽŶ

,ŝƐƚŽƌŝĐĂů ŽŶƚĞdžƚ ƵƌŝŶŐ ƚŚĞ 'ƌĞĂƚ ĨĂŵŝŶĞ ϭϴϳϲͲϭϴϳϴ͕ ŽŶ ƐĞĞŝŶŐ ƚŚĞ ŵŝƐĞƌĂďůĞ ĐŽŶĚŝƟŽŶ ŽĨ ƚŚĞ ŽƌƉŚĂŶƐ͕ ZĂũ ĂŚĂĚƵƌ ƌĐŽƚ EĂƌƌĂŝŶƐǁĂŵLJ DƵĚĂůŝĂƌ ; Ă ƐŽĐŝĂů ƌĞĨŽƌŵŝƐƚ ĂŶĚ ƉŚŝůĂŶƚƌŽƉŚŝƐƚ Ϳ ĚĞĐŝĚĞĚ ƚŽ ƐĞƚ ƵƉ ĂŶ ŽƌƉŚĂŶĂŐĞ͘ dŚĞ ĐŽŶƐƚƌƵĐƟŽŶ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐ ƚŚƵƐ ƐƚĂƌƚĞĚ ŝŶ ƚŚĞ LJĞĂƌ ϭϴϵϮ͘ tŚĞŶ ƉůĂŐƵĞ ƐƚƌƵĐŬ DLJƐŽƌĞ ŝŶ ϭϴϵϴͲϵϵ͕ ŚĞ ŽīĞƌĞĚ tŚĞŶ ƉůĂŐƵĞ ŚĞůƉ ƚŽ ƚŚĞ ƌĞůŝĞĨ ƐƚƌŝĐŬĞŶ͘ /Ŷ ϭϵϬϬ ǁŚĞŶ Ă ĨĂŵŝŶĞ ƐƚƌƵĐŬ ƚŚĞ ĞĐĐĂŶ ĂŶĚ ĞŶƚƌĂů͕ ŚĞ ƐĞĐƵƌĞĚ ůŝĨĞ ŽĨ ϰϬͲϱϬ ŽƌƉŚĂŶƐ ĂŶĚ ĨĞĚ ƚŚĞŵ ŚĞƌĞ͘

Ŷ ϭϴƚŚ ĐĞŶƚƵƌLJ ŵĂƉ ŽĨ ĞŶŐĂůƵƌƵ ƐŚŽǁŝŶŐ ƚŚĞ ĨŽƌŵĞƌ ĞdžƚĞŶĚĞĚ ŇŽŽĚƉůĂŝŶƐ ŽĨ ƚŚĞ ,ĂůĂƐƵƌƵ ůĂŬĞ͘

dŚƵƐ͕ ƚŚĞ ďƵŝůĚŝŶŐ ůĂƌŐĞůLJ ƐĞƌǀĞĚ ĂƐ Ă ƌĞƐŝĚĞŶĐĞ͘ ǀĞŶƚƵĂůůLJ͕ ƚŚĞ ďƵŝůĚŝŶŐ ďĞĐĂŵĞ ĚĞĨƵŶĐƟŽŶĂů͘ ĂŶŐĂůŽƌĞ ĚŽĞƐ ŶŽƚ ŚĂǀĞ ŵƵĐŚ ƚŽ ƚĂůŬ ĂďŽƵƚ ŝƚ͛Ɛ ƉĂƐƚ͘ ĂŶ dŚĞƌĞ ĂƌĞ Ă ǀĞƌLJ ĨĞǁ ŚŝƐƚŽƌŝĐ ďƵŝůĚŝŶŐƐ ůĞŌ ŝŶ ĂŶŐĂůŽƌĞ͘ dŚƵƐ͕ ƚŚĞ ĐŽůŽŶŝĂů ďƵŝůĚŝŶŐ ďĞĐĂŵĞ ĂŶ ŝŵƉŽƌƚĂŶƚ ŚĞƌŝƚĂŐĞ ĂŶĚ ŚĂĚ ƚŽ ƉƌĞƐĞƌǀĞĚ͘

WƌŽũĞĐƚ ƌŝĞĨ ŝŶŶĂŵŽŶ ŝƐ ĞŶŐĂůƵƌƵ͛Ɛ ĮƌƐƚ ůŝĨĞƐƚLJůĞ ƐƚŽƌĞ͕ ŽƉĞŶĞĚ ŝŶ ƚŚĞ LJĞĂƌ ϭϵϵϵ͘ /Ŷ ϮϬϭϰ͕ ƚŚĞ ƐƚŽƌĞ ǁĂƐ ƐŚŝŌĞĚ ĨƌŽŵ tĂůƚŽŶ ƌŽĂĚ ƚŽ ƚŚĞ ϭϴƚŚ ĐĞŶƚƵƌLJ ŚĞƌŝƚĂŐĞ ĐŽůŽŶŝĂů ďƵŶŐĂůŽǁ ŽŶ 'ĂŶŐĂĚŚĂƌ ŚĞƩLJ ƌŽĂĚ͘ dŚĞ ďƌĂŶĚ ŝŶŶĂŵŽŶ ǁĂƐ ƐƚĂƌƚĞĚ ďLJ Ăƌƚ ĐŽůůĞĐƚŽƌƐ ďŚŝƐŚĞŬ ĂŶĚ ZĂĚŚŝŬĂ WŽĚĚĂƌ ĂŶĚ ŝƐ ĂŶ ĞdžĐůƵƐŝǀĞ ĐŽůůĞĐƟŽŶ ŽĨ ƉƌŽĚƵĐƚƐ ĨƌŽŵ ĂĐƌŽƐƐ ƚŚĞ ŶĂƟŽŶ͘ dŚĞ ƐƚŽƌĞ ŝƐ Ă ĐŽůůĞĐƟŽŶ ŽĨ ƚǁĞůǀĞ ŚĂŶĚƉŝĐŬĞĚ ĚĞƐŝŐŶĞƌ dŚĞ ďŽƵƟƋƵĞƐ ǁŚŝĐŚ ĂƌĞ ƉŽƐŝƟŽŶĞĚ ĂƌŽƵŶĚ ƚŚĞ ĐĞŶƚƌĂů ĐŽƵƌƚLJĂƌĚ ŽĨ ƚŚĞ ďƵŶŐĂůŽǁ͘ dŚĞƐĞ ŝŶĐůƵĚĞ ĨĂŵŽƵƐ ďƌĂŶĚƐ ůŝŬĞ ZĂƐĂͲ:ĂŝƉƵƌ͕ ZĂǁ DĂŶŐŽ͕ ŚŝůLJĂ ĂŶĚ ŵŽƌĞ͘ ďŚŝũŝƚ ^ĂŚĂ͕ ƚŚĞ ĨĂŵŽƵƐ ĐŚĞĨ ŽĨ ĞŶŐĂůƵƌƵ͕ ƌƵŶƐ ĂĨĠ ĂƐŝĂ ĂŶĚ Ğůŝ ŝŶ ƚŚĞ ŚĞĂƌƚ ŽĨ ƚŚĞ ďƵŶŐĂůŽǁ͕ ƚŚĂƚ ŝƐ͕ ƚŚĞ ĐŽƵƌƚLJĂƌĚ͘ dŚĞ ƉƌŽũĞĐƚ ŝƐ ƚŚƵƐ Ă ũƵƐƟĮĞĚ ƌĞƐĞĐƞƵů ŐĞƐƚƵƌĞ ƚŽǁĂƌĚƐ dŚĞ Ɖ ƚŚĞ ƉƌĞƐĞƌǀĂƟŽŶ ŽĨ ƚŚĞ ŚĞƌŝƚĂŐĞ ďƵŶŐĂůŽǁ͘

ŽŶĚŝƟŽŶ ŽĨ ƚŚĞ ŽƌŝŐŝŶĂů ƐƚƌƵĐƚƵƌĞ

dŽ ƉƌĞƐĞƌǀĞ ǁĂƐ ĚĞĐŝĚĞĚ

ZĞƐƉŽŶƐ

ϭ͘ hŶĚĞƌƉŝ Ϯ͘ ^ƟƚĐŚŝŶŐ ϯ͘ ƌŝĚŐŝŶŐ ϰ͘ 'ƌŽƵƟŶŐ ϱ͘ ZĞƉůĂĐŝŶ ϲ͘ ĂƉƉŝŶŐ ĂŶĚ ďĞĂŵ ϳ͘ /ŶƚƌŽĚƵĐ ƐƵƉƉŽƌƚ ĂŶĚ ƚƌĂŶ ϴ͘ /ŶƚƌŽĚƵĐ ƐƉĂĐĞĚ Ɖ ϵ͘ ZĞŵŽǀĂů ϭϬ͘ ůů DĂĚƌ ϭϬ͘ ůů DĂĚ ŐƌŽƵƚĞĚ͘ ϭϭ͘ ZĞǁŽƌŬŝ ƌŝĚŐĞƐ ĂŶ ϭϮ͘ ŽŵƉůĞƚ ϭϯ͘ DĂŝŶƚĂŝŶ ĐŽůŽŶŝĂů

dŚĞ ƌĞƐƚŽ ŽĨ ƚŚĞ ĐŽ

ZĂũ ĂŚĂĚƵƌ ƌĐŽƚ EĂƌƌĂŝŶƐǁĂŵLJ DƵĚĂůŝĂƌ ǁŝƚŚ ƚŚĞ ŽƌƉŚĂŶƐ ŝŶ ƚŚĞ ĐŽůŽŶŝĂů ďƵŶŐĂůŽǁ

Ϭϭ

dŚĞ ďƵŝůĚŝŶŐ ŝƐ ƐŝƚƵĂƚĞĚ ŝŶ Ă ƌĞŐŝŽŶ ǁŝƚŚ ĐůĂLJĞLJ ƐŽŝů͘ hŶĞƋƵĂů ƐĞƩůĞŵĞŶƚ ŽĨ ƚŚĞ ƐŽŝů ĂŌĞƌ ĞdžƉĂŶƐŝŽŶƐ ĂŶĚ ĐŽŶƚƌĂĐƟŽŶƐ ŚĂĚ ƌĞƐƵůƚĞĚ ŝŶƚŽ ƐŚĞĂƌ ƐƚƌĞƐƐĞƐ ůĞĂĚŝŶŐ ƚŽ ƉĂƌƚƐ ŽĨ ƚŚĞ ƐƚƌƵĐƚƵƌĞ ǁŽďďůŝŶŐ͘ dŚĞ ĨŽƵŶĚĂƟŽŶ͕ ĞĚŐĞƐ ĂŶĚ ĐŽƌŶĞƌƐ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐ ǁĞƌĞ ĚĂŵĂŐĞĚ͘

ϭ͘ LJ ĚĞĂůŝŶŐ ƚŚĞ ǁĂůů͘ Ϯ͘ LJ ĚĞĂůŝŶŐ ĞůĞŵĞŶƚƐ͘ ϯ͘ LJ ĚĞĂůŝŶŐ ŵĞŶƚƐ͘

dŚĞ Ƶŝů

ŝŶŐ ƚŚĞ ŚĂĚƵƌ ŽƌŵŝƐƚ ƉŚĂŶĂŐĞ͘ Ě ŝŶ ƚŚĞ

ŽīĞƌĞĚ ĂŵŝŶĞ ŝĨĞ ŽĨ

ŶĐĞ͘ Ăů͘ ƚ ŝƚ͛Ɛ ƉĂƐƚ͘ Ŷ ŵĞ ĂŶ

ƌƉŚĂŶƐ ŝŶ

LJĞLJ ƐŽŝů͘ ƐŝŽŶƐ ĂŶĚ ĞƐ ůĞĂĚŝŶŐ ƚŽ ĂƟŽŶ͕ ŵĂŐĞĚ͘

ŶĚ ŵŝŶŽƌ

dŚĞ ŽƌŝŐŝŶĂů ƌŽŽĨ ďƵŝůƚ ŝŶ ƚŚĞ DĂĚƌĂƐ ƚĞĐŚŶŝƋƵĞ ǁĂƐ ĐůĞĂŶĞĚ ĂŶĚ ƌĞƐĐƵĞĚ͕ ĚĞĐĂLJĞĚ ƟŵďĞƌ ďĞĂŵƐ ǁĞƌĞ ƌĞͲ ƉůĂĐĞĚ͕ ĂŶĚ ƚŚĞ ŽŶĞƐ ƚŚĂƚ ŶĞĞĚĞĚ ĞŶĚ ƉƌŽƚĞĐƟŽŶ ǁĞƌĞ ƉƌŽǀŝĚĞĚ ǁŝƚŚ ƐƚĞĞů ĞŶĚͲĐĂƉƐ͘

dŚĞ ĂƉƉƌŽĂĐŚ ŽĨ ƚŚĞ ĂƌĐŚŝƚĞĐƚƐ ŝƐ ĂůƐŽ ǀĞƌLJ ƐŝŵŝůĂƌ͙ ŵĂŝŶƚĂŝŶŝŶŐ ƚŚĞ ŚŝƐƚŽƌŝĐ ĐŚĂƌĂĐƚĞƌ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐ ďƵƚ Ăƚ ƚŚĞ ƐĂŵĞ ƟŵĞ ƵƟůŝnjŝŶŐ ŝƚ ŝŶ Ă ŵŽĚĞƌŶ ĐŽŶƚĞdžƚ͘ hŶůŝŬĞ ŽƚŚĞƌ ƉŽƉƵůĂƌ ĐŝƟĞƐ ŽĨ /ŶĚŝĂ͕ ĂŶŐĂůŽƌĞ ŚĂƐ Ă ĐŽŵƉĂƌĂƟǀĞůLJ ůĞƐƐĞƌ ĂƌĐŚŝƚĞĐƚƵƌĂů ŚĞƌŝƚĂŐĞ ƚŽ ƚĂůŬ ĂďŽƵƚ ͘ dŚƵƐ͕ ŝŶŶĂŵŽŶ ŝƐ ĂŶ ĂƉƉƌŽĂĐŚ ƚŽǁĂƌĚƐ ƉƌĞͲ ƐĞƌǀŝŶŐ ƚŚĞ ǀĂůƵĂďůĞ ŚĞƌŝƚĂŐĞ ďƵŝůĚŝŶŐ ŽĨ ĂŶŐĂůŽƌĞ͘

dŚĞ ŽƌŝŐŝŶĂů <ĂĚĂƉƉĂ ŇŽŽƌƐ ǁĞƌĞ ƌĞƚĂŝŶĞĚ ĂŶĚ ĞŶŚĂŶĐĞĚ ǁŝƚŚ ĐĞŵĞŶƚ ƐŬŝƌƟŶŐ͘ dŚĞ ĐŚŝƉƉĞĚ ĞĚŐĞƐ ŽĨ ƚŚĞ ĂƌĐŚǁĂLJƐ ǁĞƌĞ ĐŚŝƉƉĞĚ ŝŶ ŽƌĚĞƌ ƚŽ ƌĞǀĞĂů ƚŚĞŝƌ ŝŶŶĞƌ ďƌŝĐŬǁŽƌŬ ŵĂŬŝŶŐ Ă ƐƚĂƌŬ ĐŽŶƚƌĂƐƚ ƚŽ ƚŚĞ ĨƌĞƐŚ ŶĞǁ ůŝŵĞ ƉůĂƐƚĞƌ ŝŶƐŝĚĞ͘

/ŵŐ ϴ͗ WĞďďůĞĚ ĂƌĞĂ ǁĂůŬƚŚƌŽƵŐŚ

sŝƐƚĂƐ ŚĂǀĞ ďĞĞŶ ŽƉĞŶĞĚ ƵƉ ǁŝƚŚŝŶ ƚŚĞ ďƵŝůĚŝŶŐ ƚŚƌŽƵŐŚ ƚŚĞ ĂƌĐŚǁĂLJƐ ĂŶĚ ĂůƐŽ ƚŚƌŽƵŐŚ ƚŚĞ ǁŝŶĚŽǁƐ͘

dŚĞ ĞdžƚĞƌŝŽƌ ŝƐ ĐŽĂƚĞĚ ŝŶ ůŝŵĞ ƉůĂƐƚĞƌ͘

/ŵŐ ϵ͗ sŝĞǁ ŽĨ ƚŚĞ ĞŶƚƌĂŶĐĞ /ŵŐ ϭϬ͗ sŝĞǁ ŽĨ ƚŚĞ ĐŽƵƌƚLJĂƌĚ

dŽ ƉƌĞƐĞƌǀĞ ƚŚĞ ŽƌŝŐŝŶĂůŝƚLJ ŽĨ ƚŚĞ ŚĞƌŝƚĂŐĞ ďƵŝůĚŝŶŐ ŝƚ ǁĂƐ ĚĞĐŝĚĞĚ ƚŽ ƌĞƚĂŝŶ ƚŚĞ ƐƚƌƵĐƚƵƌĞ ĂƐ ŵƵĐŚ ĂƐ ƉŽƐƐŝďůĞ͘ dŚĞ ĞŶƚƌĂŶĐĞ ǀĞƌĂŶĚĂŚ ĐŽůƵŵŶƐ ǁĞƌĞ ƌĞƚĂŝŶĞĚ͘ dŚĞ dŚĞ Ğ ƌĂŝƐĞĚ ƉůŝŶƚŚ Ăƚ ƚŚĞ ĂƌƌŝǀĂů ŝƐ ŶŽǁ ĂĐĐĞƐƐŝďůĞ ďLJ Ă ƌĂŵƉ͘

ZĞƐƉŽŶƐĞ ƚŽǁĂƌĚƐ ĚĂŵĂŐĞĚ ĨĂĐƚŽƌƐ

dŚĞ ďĂƐŝƐ ŽĨ ƚŚĞ ƉŝůůĂƌƐ ŝŶ ƚŚĞ ĐŽƵƌƚLJĂƌĚ ĂƉƉĞĂƌ ƚŽ ĚƌĂǁ ƚŚĞŵƐĞůǀĞƐ ƵƉ ĨƌŽŵ ƚŚĞ ŇŽŽƌ

ϭ͘ hŶĚĞƌƉŝŶŶŝŶŐ ŽĨ ĨŽƵŶĚĂƟŽŶ Ϯ͘ ^ƟƚĐŚŝŶŐ ŽĨ ƚŚĞ ǁĂůů ĐƌĂĐŬƐ ǁŝƚŚ ƐƚĞĞů ϯ͘ ƌŝĚŐŝŶŐ ŽĨ ƚŚĞ ǁĂůů ĐƌĂĐŬƐ ǁŝƚŚ ƐƚŽŶĞ ƐůĂďƐ ϰ͘ 'ƌŽƵƟŶŐ ŽĨ ĐƌĂĐŬƐ ϱ͘ ZĞƉůĂĐŝŶŐ ĚĂŵĂŐĞĚ ƌĂŌĞƌƐ ŽĨ ƚŚĞ ƌŽŽĨ͘ ϲ͘ ĂƉƉŝŶŐ ŽĨ ĚĂŵĂŐĞĚ ĞŶĚƐ ŽĨ ƌĂŌĞƌƐ ĂŶĚ ďĞĂŵƐ ϳ͘ /ŶƚƌŽĚƵĐŝŶŐ Ă ƐƚĞĞů ƉƌŽƉ ƚŽ ŚŽůĚ ƚŚĞ ŵĂũŽƌ ƌŽŽĨ ƐƵƉƉŽƌƚ ĞůĞŵĞŶƚƐ ƚŽ ƚĂŬĞ ƚŚĞ ůŽĂĚ ŽĨ ƚŚĞ ďĞĂŵƐ ĂŶĚ ƚƌĂŶƐĨĞƌƌŝŶŐ ŝƚ ƚŽ ƚŚĞ ǁĂůůƐ͘ ϴ͘ /ŶƚƌŽĚƵĐŝŶŐ Ă ƚǁŽͲǁĂLJ ƐLJƐƚĞŵ ŽĨ ĚŝīĞƌĞŶƟĂůůLJ ƐƉĂĐĞĚ ƉƌŽƉƐ ĨŽƌ ƚŚĞ ǁĂůů͘ ϵ͘ ZĞŵŽǀĂů ŽĨ ƚŚĞ ŽůĚ ƉůĂƐƚĞƌ ĂŶĚ ƌĞĚŽŝŶŐ ŝƚ͘ ϭϬ͘ ůů DĂĚƌĂƐ ƚĞƌƌĂĐĞ ƐůĂď ǁĞƌĞ ŐƌĂǀŝƚLJ ůŝŵĞ ϭϬ͘ ůů DĂĚ ŐƌŽƵƚĞĚ͘ ϭϭ͘ ZĞǁŽƌŬŝŶŐ ŽĨ Ăůů ƚŚĞ ƌĂŝŶ ǁĂƚĞƌ ƐƉŽƵƚƐ ĂŶĚ ƌŝĚŐĞƐ ĂŶĚ ǀĂůůĞLJƐ ŽĨ ƚŚĞ ƌŽŽĨ͘ ϭϮ͘ ŽŵƉůĞƚĞůLJ ƌĞĚŽŝŶŐ ƚŚĞ ǁĂƚĞƌƉƌŽŽĮŶŐ͘ ϭϯ͘ DĂŝŶƚĂŝŶŝŶŐ ƚŚĞ ŽƌŶĂŵĞŶƚĂů ĨĞĂƚƵƌĞƐ ŽĨ ƚŚĞ ĐŽůŽŶŝĂů ďƵŝůĚŝŶŐ͘

KŶĞ ŽĨ ƚŚĞ ƌĞƚĂŝůƐ ŝŶƐŝĚĞ͕ ƌƩĚŝŶŽdž ŝƐ ĚŽŶĞ ďLJ &Z ͘ KŶĞ ŽĨ ƚŚĞ dŚĞ ŝĚĞĂ ďĞŚŝŶĚ ƚŚĞ ĚĞƐŝŐŶ ŽĨ ƚŚĞ ƐƚŽƌĞ ǁĂƐ ƚŽ ƌĞĐƌĞͲ ĂƚĞ ĂŶ ͚/ŶĚŝĂŶ ŽůŽŶŝĂů ĞƌĂ͛ ůĞĚ ƌĞƚĂŝů ĞŶǀŝƌŽŶŵĞŶƚ ĂŶĚ Ă ŵŽĚĞƌŶ ƌĞƚĂŝů ĞdžƉĞƌŝĞŶĐĞ͘ dŚĞŝƌ ŵĂŝŶ ŵŽƩŽ ǁĂƐ ƚŽ ĐŽŶǀŝŶĐĞ ƉĞŽƉůĞ ƚŽ ƐƉĞŶĚ Ă ƋƵĂůŝƚLJ ƟŵĞ ŝŶ ƚŚĞ ƐƉĂĐĞ ĂǁĂLJ ĨƌŽŵ ƚŚĞ ĐŚĂŽƟĐ ĞŶǀŝƌŽŶŵĞŶƚ ŽĨ ƚŚĞ ŽƵƚƐŝĚĞ ǁŽƌůĚ͘

dŚĞŶ

dŚĞ ƌĞƐƚŽƌĂƟŽŶ ŚĂƐ ĞdžƚĞŶĚĞĚ ƚŚĞ ůŝĨĞ ŽĨ ƚŚĞ ĐŽůŽŶŝĂů ďƵŝůĚŝŶŐ ϭ͘ LJ ĚĞĂůŝŶŐ ǁŝƚŚ ƚŚĞ ĐŽŶŶĞĐƚĞĚ ƐŚĞůů ĞůĞŵĞŶƚƐ ŽĨ ƚŚĞ ǁĂůů͘ Ϯ͘ LJ ĚĞĂůŝŶŐ ǁŝƚŚ ƚŚĞ ƌŽŽĨ ĂŶĚ ŝƚƐ ƐƚƌƵĐƚƵƌĂů ĞůĞŵĞŶƚƐ͘ ϯ͘ LJ ĚĞĂůŝŶŐ ǁŝƚŚ ĨŽƵŶĚĂƟŽŶ ĂŶĚ ŽƚŚĞƌ ƐƚƌƵĐƚƵƌĂů ĞůĞͲ ŵĞŶƚƐ͘

EŽǁ /ŵŐ ϭϬ͗ sŝĞǁ ŽĨ ƚŚĞ ĐŽƵƌƚLJĂƌĚ

Ϭϯ

dŚĞ Ƶŝůƚ &Žƌŵ 91

ĂƐŝĂ ĂŶĚ Ğůŝ ŝŶ ƚŚĞ ŚĞĂƌƚ ŽĨ ƚŚĞ ďƵŶŐĂůŽǁ͕ ƚŚĂƚ ŝƐ͕ ƚŚĞ ĐŽƵƌƚLJĂƌĚ͘ dŚĞ Ɖ dŚĞ ƉƌŽũĞĐƚ ŝƐ ƚŚƵƐ Ă ũƵƐƟĮĞĚ ƌĞƐĞĐƞƵů ŐĞƐƚƵƌĞ ƚŽǁĂƌĚƐ ƚŚĞ ƉƌĞƐĞƌǀĂƟŽŶ ŽĨ ƚŚĞ ŚĞƌŝƚĂŐĞ ďƵŶŐĂůŽǁ͘

ŽŶĚŝƟŽŶ ŽĨ ƚŚĞ ŽƌŝŐŝŶĂů ƐƚƌƵĐƚƵƌĞ

ZĂũ ĂŚĂĚƵƌ ƌĐŽƚ EĂƌƌĂŝŶƐǁĂŵLJ DƵĚĂůŝĂƌ ǁŝƚŚ ƚŚĞ ŽƌƉŚĂŶƐ ŝŶ ƚŚĞ ĐŽůŽŶŝĂů ďƵŶŐĂůŽǁ

Ϭϭ

dŚĞ ďƵŝůĚŝŶŐ ŝƐ ƐŝƚƵĂƚĞĚ ŝŶ Ă ƌĞŐŝŽŶ ǁŝƚŚ ĐůĂLJĞLJ ƐŽŝů͘ hŶĞƋƵĂů ƐĞƩůĞŵĞŶƚ ŽĨ ƚŚĞ ƐŽŝů ĂŌĞƌ ĞdžƉĂŶƐŝŽŶƐ ĂŶĚ ĐŽŶƚƌĂĐƟŽŶƐ ŚĂĚ ƌĞƐƵůƚĞĚ ŝŶƚŽ ƐŚĞĂƌ ƐƚƌĞƐƐĞƐ ůĞĂĚŝŶŐ ƚŽ ƉĂƌƚƐ ŽĨ ƚŚĞ ƐƚƌƵĐƚƵƌĞ ǁŽďďůŝŶŐ͘ dŚĞ ĨŽƵŶĚĂƟŽŶ͕ ĞĚŐĞƐ ĂŶĚ ĐŽƌŶĞƌƐ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐ ǁĞƌĞ ĚĂŵĂŐĞĚ͘ ϭ͘ ϭ͘ dŚĞ ǁĂƚĞƌƉƌŽŽĮŶŐ ůĂLJĞƌ ǁĂƐ ĚĂŵĂŐĞĚ ĂŶĚ ŵŝŶŽƌ ĐƌĂĐŬƐ ŚĂĚ ĚĞǀĞůŽƉĞĚ͘

dŚĞ ĐŽƵƌƚLJĂƌĚ ĂŶĚ ƚŚĞ ǀĞƌĂŶĚĂŚ ƐůĂď ĐŽŶĚŝƟŽŶ

dŚĞ ŵĂŝŶ ĞŶƚƌĂŶĐĞ ĐŽŶĚŝƟŽŶ ďĞĨŽƌĞ

Ϯ͘ ƌLJ ůĞĂǀĞƐ ĂŶĚ ŽƚŚĞƌ ǁĂƐƚĞ ŚĂĚ ĂĐĐƵŵƵůĂƚĞĚ ŝŶ ƚŚĞ ƌĂŝŶ ǁĂƚĞƌ ƐƉŽƵƚƐ ƌĞƐƵůƟŶŐ ŝŶƚŽ ƚŚĞŝƌ ďůŽĐŬĂŐĞ͘ ϯ͘ DŽƐƐ ĂŶĚ WĞĞƉĂů ŚĂĚ ƐƚĂƌƚĞĚ ŐƌŽǁŝŶŐ ŶĞĂƌ ĂŶĚ ŝŶ ƚŚĞ ƌĂŝŶ ǁĂƚĞƌ ƐƉŽƵƚƐ͘ dŚĞŝƌ ƌŽŽƚƐ ŚĂĚ ƐƉƌŽƵƚĞĚ ĂŶĚ ƐƚĂƌƚĞĚ ŐĞŶĞƌĂƟŶŐ ĐƌĂĐŬƐ ŶĞĂƌ ƚŚĞ ũƵŶĐƟŽŶƐ ďĞƚǁĞĞŶ ǁĂůůƐ ĂŶĚ ƌŽŽĨ͘

sŝĞǁ ŽĨ ƚŚĞ ĐŽƵƌƚLJĂƌĚ ĨƌŽŵ ĂĚũŽŝŶŐ ǀĞƌĂŶĚĂŚ

dLJƉŝĐĂů ǁŝŶĚŽǁ ŵŽĚƵůĞ ͗ ^ĐĂůĞĚ ĂŶĚ ŽǀĞƌ ƉƌŽƚĞĐƟǀĞ

ϰ͘ dŚĞ ƌŽŽƚ ŐƌŽǁƚŚ ŚĂĚ ƌĞƐƵůƚĞĚ ŝŶƚŽ ƚŚĞ ƐƚƌƵĐƚƵƌĂů ǁĞĂŬĞŶŝŶŐ ŽĨ ŵƵĚ ŵŽƌƚĂƌ ǁĂůůƐ͘ ϱ͘ dŚĞ ŝŶŐƌĞƐƐŝŽŶ ŽĨ ǁĂƚĞƌ ĂŶĚ ŵŽŝƐƚƵƌĞ ŝŶƚŽ ƚŚĞ ǁĂůůƐ ŚĂĚ ƐŽŌĞŶĞĚ ƚŚĞ ŵƵĚ ŵŽƌƚĂƌ ĂŶĚ ƚŚĞ ǁĂůůƐ ŚĂĚ ďƵůŐĞĚ͕ ĐƌĂĐŬĞĚ ĂŶĚ ůŽƐƚ ƚŚĞŝƌ ǀĞƌƟĐĂůŝƚLJ͘ ϲ͘ ϲ͘ ƵƌŵĂ ƚĞĂŬ ďĞĂŵƐ ĂŶĚ ƌĂŌĞƌƐ ŚĂĚ ƐƚĂƌƚĞĚ ƌŽƫŶŐ ĚƵĞ ƚŽ ƚŚĞŝƌ ĐŽŶƚĂĐƚ ǁŝƚŚ ŵŽŝƐƚƵƌĞ͘ dŚĞLJ ǁĞƌĞ ƌŽƩĞĚ ŵŽƐƚůLJ Ăƚ ƚŚĞŝƌ ƉŽŝŶƚ ŽĨ ĐŽŶƚĂĐƚ ĂůŽŶŐ ƚŚĞ ůĞŶŐƚŚ ĂŶĚ ƚŚĞŝƌ ƉŽŝŶƚƐ ŽĨ ŝŶƐĞƌƟŽŶ ŝŶ ƚŚĞ ǁĂůůƐ͘ ϳ͘ dŚĞ ǁŽŽĚ ŚĂĚ ďĞĐŽŵĞ ŵŽŝƐƚ ĂŶĚ ŚĂĚ ďĞŶƚ ƌĞƐƵůƟŶŐ ŝŶƚŽ ůĞƐƐĞƌ ƐƵƉƉŽƌƚ ƌĞŶĚĞƌĞĚ ƚŽ ƚŚĞ DĂĚƌĂƐ ƚĞƌƌĂĐĞ ƐůĂď͘

dLJƉŝĐĂů DĂĚƌĂƐ ƚĞƌƌĂĐĞ ƐůĂď ƐĞĐƟŽŶ

dŚĞ ĞĂƐƚ ĨĂĐĂĚĞ ůŽŽŬŝŶŐ ŶŽƌƚŚ

dŽ ƉƌĞƐĞƌǀĞ ƚŚĞ ĂƵƚŚĞŶƟĐŝƚLJ ŽĨ ƚŚĞ ŚĞƌŝƚĂŐĞ ďƵŝůĚŝŶŐ ŝƚ ǁĂƐ ĚĞĐŝĚĞĚ ƚŽ ƌĞƚĂŝŶ ƚŚĞ ƐƚƌƵĐƚƵƌĞ ĂƐ ŵƵĐŚ ĂƐ ƉŽƐƐŝͲ ďůĞ͘

dƌĞĞƐ ƚĂŬĞ ƌŽƵƚĞ ǁŝƚŚŝŶ ƚŚĞ ǁĂůůƐ ĂŶĚ DĂĚƌĂƐ ƚĞƌƌĂĐĞ

ŝŶŶĂŵŽŶ͗ dŚĞ ŽƵƟƋƵĞ

EŽƌƚŚͲĞĂƐƚ ĐŽƌŶĞƌ ŝŶ ĚŝƐƚƌĞƐƐ ĚƵĞ ƚŽ ĨƌĂĐƚƵƌĞ ŝŶ ĨŽƵŶĚĂƟŽŶ

dŚĞ ĐŽƵƌƚLJĂƌĚ ĐŽƌŶĞƌ ĐŽůƵŵŶ

Ɛ ŽŶĞ ĞŶƚĞƌƐ ƚŚĞ ƐŝƚĞ͕ ŚĞ ƉĂƐƐĞƐ ƚŚƌŽƵŐŚ ƚŚĞ ŐŝĂŶƚ ŵĞƚĂů ĚŽŽƌǁĂLJ ǁĂůŬŝŶŐ ƚŚƌŽƵŐŚ ƚŚĞ ƉĞďďůĞĚ ŇŽŽƌ͘ ͞ ůĞŐĂŶĐĞ͟ ŝƐ ƚŚĞ ǁŽƌĚ ƚŚĂƚ ĐŽŵĞƐ ŝŶƚŽ ŽŶĞ͛Ɛ ŵŝŶĚ͘ Ɛ ŽŶĞ ǁĂůŬƐ ƚŚƌŽƵŐŚ͕ ŽŶĞ ƐĞĞƐ ƚŚĞ ƋƵŝƌŬLJ ĂƌƟĨĂĐƚƐ͕ ĂĐĐĞƐƐŽƌŝĞƐ ĂŶĚ ĐůŽƚŚĞƐ ĂƌƟƐƟĐĂůůLJ ƉůĂĐĞĚ ĂƌŽƵŶĚ ƚŚŝƐ ƉůĂĐĞ͘ dŚĞ ƌĞƚĂŝů ǁĂƐ ĐƌĞĂƚĞĚ ĂƐ Ă ƚŚĞƌĂƉLJ ĂŶĚ ƚŚĞ ĐĂĨĠ ĂƐ Ă ƌ Ă ƌĞĨƵĞů͘

ƵůŐŝŶŐ ĂŶĚ ĐƌƵŵďůŝŶŐ ůŝŵĞ ƉůĂƐƚĞƌ ĂŶĚ ŵƵĚ ŵŽƌƚĂƌ ŵĂƐŽŶƌLJ

dŚĞ ƉƌŽĚƵĐƚƐ ŽĨ ƚŚĞ ƐƚŽƌĞ ĨŽůůŽǁ ƚŚĞ ŝĚĞĂ ŽĨ ƵƐŝŶŐ ƚƌĂĚŝƟŽŶĂů ƚĞĐŚŶŝĐƐ ĂŶĚ ĐƌĂŌƐ ƚŽ ĐƌĞĂƚĞ ĐŽŶƚĞŵƉŽƌĂƌLJ ĂĞƐƚŚĞƟĐƐ͘

dŚĞ ĞĂƐƚ ĨĂĕĂĚĞ ůŽŽŬŝŶŐ ƐŽƵƚŚ

ϬϮ

Ϯ͘ LJ Ě ĞůĞŵĞŶ ϯ͘ LJ Ě ŵĞŶƚƐ͘

dŚĞ

ŚĂŶƐ ŝŶ

ĞLJ ƐŽŝů͘ ŽŶƐ ĂŶĚ ůĞĂĚŝŶŐ ƚŽ ƟŽŶ͕ ĂŐĞĚ͘

Ϯ͘ LJ ĚĞĂůŝŶŐ ǁŝƚŚ ƚŚĞ ƌŽŽĨ ĂŶĚ ŝƚƐ ƐƚƌƵĐƚƵƌĂů ĞůĞŵĞŶƚƐ͘ ϯ͘ LJ ĚĞĂůŝŶŐ ǁŝƚŚ ĨŽƵŶĚĂƟŽŶ ĂŶĚ ŽƚŚĞƌ ƐƚƌƵĐƚƵƌĂů ĞůĞͲ ŵĞŶƚƐ͘

EŽǁ /ŵŐ ϭϬ͗ sŝĞǁ ŽĨ ƚŚĞ ĐŽƵƌƚLJĂƌĚ

Ϭϯ

dŚĞ Ƶŝůƚ &Žƌŵ

Ě ŵŝŶŽƌ

ƚĞĚ ŝŶ ĐŬĂŐĞ͘

ƌ ĂŶĚ ŝŶ ƚĞĚ ĂŶĚ

KůĚ ďƵŝůĚŝŶŐ ƉůĂŶ

EĞǁ ƐƚŽƌĞ ƉůĂŶ

ƵĐƚƵƌĂů

ƚŚĞ ǁĂůůƐ ŚĂĚ WůĂŶ

EŽƌƚŚ ůĞǀĂƟŽŶ

ƌŽƫŶŐ Ğ ƌŽƩĞĚ ŐƚŚ ĂŶĚ

ƚ DĂĚƌĂƐ

^ĞĐƟŽŶ ͛

ďƵŝůĚŝŶŐ ŝƚ ĂƐ ƉŽƐƐŝͲ ĞƚĂŝů

Ğ ŐŝĂŶƚ ŇŽŽƌ͘ ŵŝŶĚ͘ ƟĨĂĐƚƐ͕ ŽƵŶĚ

ĐĂĨĠ ĂƐ

ƵƐŝŶŐ /ƐŽŵĞƚƌŝĐ

/ƐŽŵĞƚƌŝĐ

Ϭϰ

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