KATHAALAYA A place for appreciation of Folk Performing Arts SEMESTER V DESIGN STUDIO B.Arch IPSA, 2020
https://thewire.in/rights/mahua-commercialisation-sukracharya-rabha-theatre Credit: Badungduppa website
Studio Instructor- Riddhi Shah Designed by- Devashree Jadeja
A B O U T
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Kathaalaya was conceptualised as a center to promote and generate awareness about the dying folk performance arts of Saurashtra, Gujarat. The studio intended to help students design an institution and bring an awareness of the lesser known folk performing arts of the region. The focus of learning was in terms of four basic components: Places for Folk Performing Arts Response to a Place of Cultural importance Architectural character of a Complex Building Designing the Place for all The learning outcomes set forth were: 1. To read, visualize and comprehend the features of public space 2. To practice designing as an iterative process that focus on resolving different issues · Activities and the space that contains it · Inside-Outside and the in-between spaces · Movement and Circulation spaces (type, frequency and time) · Material and structural expression · Rainwater Harvesting · Spaces for specially abled
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3. To synthesize the lessons learnt about designing a public place with appropriate representation techniques
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TUTORS
Ne elkanth Chhaya Mentor
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Riddhi Shah Studio Faculty
Devashre e Jadeja Teaching Asst.
STUDENTS
Muskan
S.
N i r a v
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R i y a
T .
Naisargi
V.
Pa r t h
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Sh reya
M .
H r i s h i
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N e e l
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P r a n a v
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Ya s h
K .
M a n s i
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N i d h i
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R a j
Ye s h a
A .
M o x a
K .
A n c h a l
P .
H i m a l i
Drasht i
B .
H i r e n
D e e p
P .
D h a r a
H .
H a r m i n B .
G .
R .
V .
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I N D E X Design Brief Overview of the semester 01
Unit Design
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Complex Design
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First Impressions of Kathaalaya in 2D drawings........................................ 26
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First Impressions of Kathaalaya through model......................................... 28
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Understanding folk performing arts............................................................. 32
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Integration of part to whole in design........................................................ 36
0 7 Understanding scale through existing context............................................. 38 0 8 Identifying responses to site ........................................................................ 42 0 9 Spatial organisation and volumetric exploration....................................... 46 1 0 Building Study 1 1 Final Compilation
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Concluding Notes
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Prateeksha Tiwari https://www.sahapedia.org/scenes-night-of-bhavai
P R OJ ECT B R IEF
Premise: The Ministry of Culture (India) with its mission to preserve, promote and disseminate all forms of art and culture in collaboration with the royal families of Saurashtra has initiated a project for the preservation and promotion of folk arts of Saurashtra. The princely family of Rajkot has agreed to conduct different activities related to the promotion of Folk performing traditions (vaarta, sangeet-bhajan ane geeto, naatak) of Saurashtra. They have shown an interest in setting up a center in Rajkot for the same. They wish to name this center as ‘Kathaalaya’ (Kathaa - story + aalaya - home/dwelling in Gujarati, the term ‘aalaya’ is used as a place for group congregations)
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AR CHITECTUR AL PR O GR AM IN DETAIL The centre will engage in the activities of promoting and bringing awareness of different folk performances. It will also generate an opportunity for all the folk performances to be recognized and grow. 1. A Place for Learning: ADHYAYAN – 330sq. Mtrs There will be a learning center for the Folk Arts and people will be offered short term courses provided by the artists from the city or other places. Functional spaces required will be: - Rooms (2/3 in number) where folk performances could be taught and performed in small groups of 5-20 students. The students may be of any age group – 100sq. mtrs./room =200sq. mtrs - Interactive Platform – 100sq. mtrs. - Common toilets (3 each for M/F) – 30sq. mts.
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2. A Place for Expression: ABHIVYAKTI – 480sq. mtrs. Folk performances from the region as well as from all over different places will be organized at this place. It is hence, a place that allows different modes of expression to be enjoyed and appreciated. Apart from this, it will act like a commonplace for neighbourhood where regular screenings of films and plays will be done. The functions include: - An open-air theatre with a Stage – 200 people in the audience and individual/a group of 10-20 performers – 300sq. mtrs. - Green rooms – 30sq.mtrs. each for M/F = 60sq.mtrs. - Utility rooms for audio-visual effects and other additional things - 60sq.mtrs. - Public amenities like toilets and drinking water- (5 each for M/F)– 60sq. mts.
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3. A Place for Reflection: PRATIBIMB – 420sq.mtrs. It is a place full of exposure to different folk performing arts across the world; in terms of exhibitions, physical & audio-visual resources, and a regularly functioning research and documentation cell. It allows one to intentionally ponder about different traditions across the world. - Gallery space to display the art/artifacts of folk art from Saurashtra and its nearby regions + Additional gallery space to host solo/group/government-sponsored traveling exhibitions – 150sq.mtrs. - Storage Room – 60sq.mtrs. - Library - showcasing collections of books, magazines, audiovisual references related to folk art. This library will also act as a neighborhood reading place. It will look towards the archival and documentation of these folk arts. It will have stacks and reading spaces -150sq.mtrs. - Research and Documentation cell – The researchers will conduct and promote activities to the Conserve region’s Living Traditions. It will have a workspace for 2-3 researchers and a common meeting area – 60sq.mtrs. 4. A Place for Discussion: VICHAAR-VIMARSH The site has the only open space in a dense neighbourhood. This place allows a human-nature and human-human interaction. Certain places with the opportunity that help people to pause-think-refresh in a natural situation are desired. This place will be accessible throughout the day by people of different age-groups and will be the most interactive place of the institute. It is assumed that there will be around 10-100 people occupying this place at a single time. 4
5. Stay for the artists: for those who are from other places + Researchers (3 rooms, pantry, meeting area, toilets) – 120sq. mtrs. 6. A Place for the Organization ‘Kathaalaya’ – 120sq.mtrs. Director Room – 1+3 visitors Administration + Account Section - 3 Inquiry space - 1 Formal meeting room – 15 Pantry Refreshing Rooms – 2 (1 each for Male and Female) 7. Parking – 10 four-wheelers and 50 two-wheelers It is assumed that vehicular access is restricted from the entrance to the Darbargadh from the Old City. All the people who are coming with their vehicles will have to park their vehicles at the East edge parallel to the river Aji. The parallel road is almost 9 meters below the site height.
Total Built-up area - 1470sq.mtrs.
The circulation must not exceed 15% of the total built-up area. The permissible limit of built on the ground - 60% of the total built-up
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P R OJ E CT SITE A ND CO NTE X T
The site for this institute is in a peri-urban area of Rajkot, along Kalawad road and in very close proximity to the village of Haripar, which is on the South-western fringe of the city. The institute also lies along the periphery of a folk temple called Naklank Dham, belonging to deity Ramapir. The village of Haripar has a total population of 760. People here are engaged in agriculture or go to nearby industries as labourers. Frequent performances by the folk group called Rama-Mandal take place narrating the folk-tales of their deities. Kathaalaya here will serve as a platform for the neighbourhood as well as for people from Rajkot to know and then preserve the intangible cultural heritage. This institution will also help revive the folk-traditions of Saurashtra through different programs.
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OV ERV IE W O F THE S EM ESTER
WEEK 1-6 M O D U L E
WEEK 7-15
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M O D U L E
FORMATIVE EXERCISES
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ITERATIVE EXERCISES
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Unit Design
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Understanding folk performing arts
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Complex Design
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Integration of part to whole in design
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First impressions of Kathaalaya in 2D
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Understanding approaches: Learning from friends
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Design discussions
10 Analysing approaches and its response
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First impressions of Kathaalaya in 3D
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Introduction of Site
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Design discussions
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Identifying responses to site
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Material and Construction Techniques
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Spatial organisation and Volumetric Exploration/Water managem
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Building study as a mode to understand material and its expressi
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WEEK 16-22 M O D U L E
I I I
SUMMATIVE EXERCISES
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Resolving and discussing architectural characteristics
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Building language through materials and construct
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Design for specially able-d
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Diwali-Break
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Diwali-Break
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Design discussion and inputs
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Final Submission & Jury
ment systems
ion/Reflection notes
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01 | U N I T D E S I G N Students are to make three kinds of meeting places to grasp the understanding of public places: I A place where two groups of opponents will discuss an important matter. II A place where friends will spend time and talk to each other as they wish. III A place where strangers will sit, waiting for something (say for example waiting for another friend to arrive, or waiting for being called for attending to something etc.). They are given 4 types of architectural elements with which to make the place. Any number of any element can be used. There are two sites. One is flat, with horizon visible on all sides. The other has a 1:4 slope, higher towards the north, and sloping down southwards. They have to design all three kinds of places for both sites. There will be a total of about 30 persons in each alternative.
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VIEW 3 Himali Gajera A0918 Kathalaya Ipsa Rajkot
MANSI MEHTA A-1818 DS - 5 KAATHALAY
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Fig 01 .
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A PLACE FOR INFORMAL DISCUSSION:
INFORMAL DISCUSSION CAN TAKE PLACE ANYWHERE. I HAVE NOT ADDED WALLS IN THIS SPACE AS DISCUSSIONS IN OPEN SPACE CAN BE MORE INTRESTING.
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DESIGN STUDIO 5 IPSA RAJKOT 2020-21 MOXA K. B4618
FACULTIES: NC BS PM RS DJ RL
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Fig 1. Mansi M. Fig 2. Raj R. Fig 3. Himali G. Fig 4. Anchal P. Fig 5. Neel B. Fig 6. Moxa K. Fig 7. Nirav R. Fig 8. Pranav S. Fig 9. Dhara H. Fig 07 .
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ISOMATRIC VIEW
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Fig 10. Naisargi V. Fig 11. Yesha A. Fig 12. Yash K. Fig 13. Himali G. Fig 14. Mansi M. Fig 15. Yash K. Fig 16. Hiren T. Fig Fig Fig Fig
17. Riya V. 18. Moxa K. 19. Raj R. 20. Pranav S.
Fig 18 .
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0 2 | COM P LE X D ESI G N Introducing collage exercise . Given are Plan A and Plan B (Jahaz mahal and Fateh pur sikhri ) Students are to make a integrated plan of the whole complex for the following programs of a hospital, hub for amazon shipping and represent in cutouts or layouts.
Parking
Open Space
Wards
Section
Garden
DESIGN STUDIO -V
Plan
ANCHAL PANDEY B-3118
Fig 22 . 1parking 2 watchmen cabin 3 inquiry space 4 admin 5 kathalay 6 pratibimb 7 storage 8 adhyayan 9 meeting room 10 canteen storage 11 dinning area 12 canteen 13 stay for the artist 14green room 15 abhivyakti 16 vicchar vimarsh CA2 _G3_B4918_HIREN_T_PLAN A
Fig 21 .
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Fig 23 .
1.ENTRY 2.GUARD OFFICE 3.PARKING 4.LAWN 5.SPACE FOR THE ORGANIZATION ‘KATHALAAYA’ 6.STAY FOR THE ARTIST 6.S 7.VICHAAR-VIMARSH 8.ABHIVYAKTI 9.PRATIBIMB 10.ADHYAYAN 11.PANTRY 12.STORAGE 13.WATER BOODIES 13.
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Fig 21. Hiren T. Fig 22 Anchal P. Fig23. Naisargi V. Fig 24. Himali G. Fig 25. Riya V. Fig 26. Neel B. Fig 27. Himali G. Fig 28. Drashti B. Fig 26 .
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0 3 | F I R S T I M P R E S S I O N S O F K A T H A A L AY A_1 Designing a complete unit for the following activities: Each place has two parts to it, different in the way they work and the general atmosphere. Design to suit each appropriately, but the total should show unity. Think as if this is the only thing to be built in stage one. So all facilities – water, toilets, pantry, storage etc. should be provided. The design should give a pleasant and comfortable space, of a scale that is neither too big or too small. The given areas are for hinting at rough size, but you can vary them if you feel the need. Give thought to how plants, trees, windows, height of roof or ceiling – all these affect the quality of the spaces. A place for telling stories An adjacent place for learning performance art. 20 people and 2 instructors in each case. (50 sq. Metres each).
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䌀䄀㌀开䜀㌀开䈀㐀㤀㠀开䠀䤀刀䔀一开琀开瀀氀愀渀 愀渀搀 猀攀挀琀椀漀渀
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Fig 29. Anchal P. Fig 30. Hiren T. Fig 31. Yesha A. Fig 32. Yash K. Fig 33. Parth K. Fig 34. Deep P. Fig 35. Pranav S. Fig 36. Parth K. Fig 37. Anchal P. Riya V. Fig 35 .
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04 |
F I R S T I M P R E S S I O N S O F K A T H A A L AY A_2
Making model using 4 elements mentioned below: 1) Planar (chapat) 2) Linear 3) Solid (Ghan) 4) To join Based on the previous discussions students are to make 1:50 representations of their idea in 3dimension.
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Fig 38. Himali G. Fig 39.
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Fig 40. Neel B. Fig 41. Mansi M. Fig 42. Yash K. Fig 43. Riya V. Fig 44. Shreya M. Fig 45. Yesha A. Fig 46. Hiren T. Fig 44 .
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P R E S E N T A T I O N B Y P R O F . C H H AY A
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0 5 | U N D E R S TA N D I N G F O L K P E R F O R M I N G A R TS
Study of Folk Performances and its spaces during the course of semester Staging Change: Theatre in India. Marg: A Magazine of the Arts. March 2019 Indigenous Knowledge Systems Volume XIV. Context: Built, living and Natural, 2018 Intangible Cultural Heritage in India – INTACH Journal of Heritage Studies, Vol 2 No 1 2016 YouTube videos shared while discussing key aspects in online class The below list is not in any specific sequence. However, these videos were shared at during the studio sessions as a tool to make online teaching interactive and interesting. The spatial understanding required to design folk performance and learning spaces was the focus. Classical Dance Vs Folk Dace | Differences and Facts https://www.youtube.com/watch?v=QKJVr50Mwgw The architectural wonder of impermanent cities | Rahul Mehrotra https://www.youtube.com/watch?v=Kc6hkHGHQQc&t=36s Ochintu Koi Mane | Dhruv Geet|Dhruv Bhatt | Stage performance by Shabnam Virmani https://www.youtube.com/watch?v=t19ZmwHAM-I Shabnam Virmani and Vipul Rekhi singing in Solidarity with JNU Students on Indefinite Hunger Strike https://www.youtube.com/watch?v=tCcrfhLQNT8&t=128s Kaachi Chhe Kaaya Thaari https://www.youtube.com/watch?v=_mq_EIEaIZA ‘Kichhu Din Mone Mone’ by Parvathy Baul https://www.youtube.com/watch?v=tNh2kjmSzPw Ramamandal | Toraniyadham | Part 10 | Naklank Nejadhari Ramamandal https://www.youtube.com/watch?v=ONADcuo0cA4&t=612s Ramamandal pithad PART :-6 ( Village Lilapar ) https://www.youtube.com/watch?v=2rTBt-e4_1M&t=13s Matajina Dakla - Hamir Gadhvi https://www.youtube.com/watch?v=s7ZY2Itkw1Q 26
MATAJI NO NAVRANGO MANDAVO LIVE PROGRAM || MATAJI DAKLA https://www.youtube.com/watch?v=XRVaZbKeyRY Kakkarissi Natakam https://www.youtube.com/watch?v=qVFwMCu0wzE Beautiful Holiday Folklorico Dancers Showcase Mexico at Epcot https://www.youtube.com/watch?v=Rjw0AhiC0x0 The architectural wonder of impermanent cities | Rahul Mehrotra https://www.youtube.com/watch?v=Kc6hkHGHQQc The Griot tradition of West Africa | Sibo Bangoura | TEDxSydney https://www.youtube.com/watch?v=QdrPmZwsXiM ‘Thaara Rang Mahal Mein’ sings Prahlad Singh Tipanya https://www.youtube.com/watch?v=cApx92qpFks Bhuchar Mori Talvar Ras Guinness Book Of World Record Talvar Ras At Sahid Van, Dhroll, Jamnagar https://www.youtube.com/watch?v=Rn5dA0ci-4A THE HUNGRY CATERPILLAR STORY https://www.youtube.com/watch?v=_hxHnFNRsMc&t=39s Gajapati Kulapati & undhiyu https://www.youtube.com/watch?v=WMokBT7mTGA
Understanding performance spaces through videos, articles and other secondary data sources. Then representing their understanding through sketches and plan sections of spaces they inhabit. Understanding the process from preparation to final performances.
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FOLK PERFORMANCE THIS IS A ABSTRACT FORM OF DHIMARIYA FOLK PERFORMANCE WHICH CONSIST OF SONG AS WELL AS DANCE . IT PERFORMANCE ONLY IN BUNDELKAND ONLY BY DHAMARIYA PEOPLE DURING PHALGUNA SEASON . FOLK MUSIC WHICH HAS PASSED ON SEVERAL THOUSANDS OF YEARS, ACROSS GENERATIONS..... NO AUTEURS..... NO SPECIFIC TALENT..... JUST CELEBRATING LIFE AND ITS MYRIAD COLOURS.
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Fig 47. Anchal P. Fig 48. Neel B. Fig 49. Himali G. Fig50. Mansi M. Fig 51. Riya V. Fig 52 .
Fig 52. Hiren T. 29
0 6 | INTE G R ATI O N O F PA R T TO W H O LE IN D ESI G N To understand the relationship between unit to whole total of four functions are introduced to students as a part of kathalaaya program and students have to design an institute for it to act as a whole through models.
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Fig 53. Hiren T. Fig 54. Riya V. Fig 55.
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Fig56. Mansi M. Fig 57. Neel B. Fig 58. Pranav S. Fig 59. Shreya M. Fig 60. Neel B. Fig 61. Yesha A. Fig 59 .
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07 | UNDERSTANDING SCALE THROUGH EXISTING CONTEXT By placing their design in an existing complex of Darbargadh, students tried to comprehend the scale of an institute.
AJI ER
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Fig 64 . movement axis
expression 450 sqm reflection 290 sqm l e 400 a sqm r n i n g
discussion 420
1:500 Plan Kaathalay Mansi Mehta A-1818
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Fig 65 .
pratibimb
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Fig 62. Anchal P. Fig 63.
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0 8 | I D E N T I F Y I N G R E S P O N S E S TO S I T E Students are to diagrammatically represent the concerns or issues identified on site and generate a detailed programme (probable number of people in each space, area and nature of spaces) These learnings are to be ideated in drawings. They have to, design the institute as a single entity. All the spaces mentioned in the program must be designed such that each space responds to another; it allows the proposed activity to be performed well and also gives an opportunity for the visitors to use them in different ways. Design the inside-outside and the in-betweens, and the spaces for regular and occassional visitors (how would they use space and which ones they would use).
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Fig 71. Parth K. Fig 72. Naisargi V. Fig 73. Neel B. Fig 74. Himali G. Fig75. Mansi M. Fig 76. Yesha A. Fig 77. Nirav R. Fig 78. Pranav S. Fig 79. Anchal P. Fig 77 .
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LE A R NIN G F R OM P E ERS - LO O K I N G
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AT V O L U M E A N D A C T I V I T Y
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09 | SPATIAL ORGANISATION AND VOLUMETRIC EXPLORATION A detailed iteration of design to be reviewed in following compartments: 1) Spatial organization and volumetric exploration with context set-up 2) Area requirements and activities
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.Fig 68. Hiren T. Fig 69. Yesha A. Fig 82 .
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DISCU S SI O N S O N D ESI G NIN G F O R S P E CI A L LY - A B LED :
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A LE CTUR E BY A R . A N A ND SO N E CH A O N SCH O O L F O R B L IND
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DIS CU S S I O N S O N CA S E S TUDIES
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10 | B U I L D I N G S T U DY Students are expected to draw proportionate plans of buildings chosen as base study and should be indicative of the material and it’s construct. They are to look at one building of their choice in detail and understand it on the basis of following parameters: 1. Region and climate 2. Primary elements (planar(square,circle, rectangular etc. and volumetric (cube, cylinder, cone etc))) 3. Organization of spaces (linear,radial,cluster etc.) and ordering principles (symmetry, rhythm, harmony etc.) 4. Movement through space ( circulation and open spaces) 5. Structure and light in those spaces (light walls/ cavity walls/ massive masonry)
BUILDINGS STUDIED DURIN G THE S EM ESTER ARE: Newman Hall, Ahmedabad Gandhi Labour Institute, Ahmedabad Darpana Academy of Performing Arts, Ahmedabad Natrani Theatre, Ahmedabad Visual arts centre, Ahmedabad Kala Kendra, Auroville Kala Academy, Goa Indian Institute of Management, Banglore Bharat Bhavan, Bhopal Hunnarshala, Bhuj Khamir, Bhuj International Management Institutie, Kolkata Nehru Pavilion, New Delhi National Crafts Museum & Hastkala Academy, New Delhi National Institute of Immunology, Delhi Sanskriti Kendra, Delhi Garden of Five Senses, Delhi Kochi-Muziris Pavilion, New Delhi The school at Rudrapur, Bangladesh Meti school, Bangladesh 48
location : Cabral Yard, Kochi project : Koodaaram | Kochi- Muziris Pavilion pavilion size : 560 sq. mt. capacity : 420 pax year : 2018 designers : Anagram Architects, Delhi; Manjunath & Co., Bangalore The pavilion is a part of the complex designed for organising one of the contemporary arts festivals of Asia called Kochi-Muziris Biennale (KMB)
The pavilion’s design type is based on Koodaram/ Kootambalam, which are the similar types of Keralian buildings for drama-dance Theatre. Initially these buidlings were part of temple complexes. Above is the plan and external view of theatre at Kalakshetra in Chennai. extra On the right is the section of Natyashala at Vadakunnathan Temple complex at Trichhur. It shows a Natyagruh (within the building) - a place where performers perform.
arctificially air conditioned space + daylight catching
seat profile from that of vernacular style
environments at different times in a day
DS-5_2020_Kathaalya_A3018_Riya
The pavilion has a column free wide space and it is largely formed of metal frame structure. The roof is in the form of a shallow shell made out of metal and wood members. The hues of timber maintain the warm quality of the space and the slender metal members almost resemble the braches of the tree - altogether creating a large canopied shelter.
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Fig 85. Riya Fig 86 .
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Fig 86 Neel B. 49
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Fig 87. Yesha A. Fig 88. Pranav S. 51
11 | F I N A L C O M P I L AT I O N Fig 89 . NEEL B.
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Fig 90 . NEEL B.
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Fig 91 PRANAV S.
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Fig 92 PRANAV S.
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Fig 93 RIYA V.
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Fig 94 YASH K.
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Fig 95 YASH K.
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Fig 96 YASH K.
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Fig 97 HIREN T.
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Fig 98 HIREN T.
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DESIGN STUDIO V Excerpts from post-jury conversations
External Jury Panel Day 1 - 0 4 / 12 / 2 0 2 0 : Uday Andhare Day 2 - 0 5 / 12 / 2 0 2 0 : Mausmi Andhare The structure of the program and the initial exercises were just incredible; because the manner in which the notion of an institute being amalgamating but also having individual characteristics within it, as components that can be understood as each entity as a stand-alone entity and which is often the case that it amalgamates and I think it opens up a dialogue between the four components of the institution their diverse characters (at some point these characters overlap and mingle into each other and you almost don’t see a division between them, but at the same time – the architectural potential always remains open-ended and at that level the conception of the whole program of Studio V was too exciting and fully loaded for the students to move in certain directions; so I thought that that was the fun part of the studio… …and also the manner in which the studio exercises happened in absence of person to person contact; through digital mediums and certain orientations that the students would absorb; like watching films and videos and looking at plays and other material which they would normally not look into … I think that has pushed that understanding into a very different dimension which came in through some of the sketches and interpretations of how they were trying to imagine spaces and translate them into possible diagrams to then consolidate into some sort of built expression. So I thought that exercise was really VALUABLE TO the process… …and in the end out of the 11 we saw today, I thought 6-4 really excelled the way in which they took the exercise forward; such that when the hand-holding stopped, they were able to glide on their own and then other 6 could understand the individual characteristics of the four elements that were given at the outset but they were not able to visualize the centrality of the institution. I really enjoyed it Uday Andhare 72
The process of the studio was really interesting; to involve students and hand holding and going from the sequence of understanding scale, space making, formalities, ways of putting things together, was quite enriching. However, when there as a shift from the initial studies to their own work; I found that there was a schism that it didn’t work. In some of the works the learning translated but in others it got lost. There was a strict adherence to rationality and lack of process drawings that gives a clue of the shift from initial learning to the final design. …I loved the site and the context and all the knitting that it should have for a nice level 5 studio. It would have been fun to do it myself! Mausmi Andhare Studio opened up different discussions. The exercises became the starting point for a lot of explorations – each one explored it in their manner (they need to do these explorations by themselves!). Third year is very important in the ‘sociology of the school’; the translation of the learning of History and Construction learnt in first and second year to designing institutions. Neelkanth Chhaya The studio (program and process) and students’ work provoked important aspects worthy of contemplation. Interestingly, the conversation started with the observations by the reviewers on students work, led to opening up interesting provocations and ended with the sharing of learning experiences of the faculties and reviewers. Listening to the recordings of these conversations made it rewarding for me as it added various dimensions and meanings to the aspects stated. Riddhi Shah 73
Post-Jury Conversations Initial design process is important. The discourse brought forth clearly there could be different beginnings. • The Importance and meaning of Exercises to enable designing • Shortcomings of the current education system and our methods to complement them in architectural education • Inculcation of an attitude to questioning and commitment to achieve the answers through the design. • There is a link of different courses to design studio and its learning helps in taking positions for the design; for eg. History of Architecture and Construction to Studio Or Humanities (Society and various art forms) to Studio • Relationship of Teacher and student/ teacher and learner • Sociology of the School and its impact on the Output of Studio (the discussion happened on what is important and must be sustained while teaching studios, and what must not be compromised!) • Changes in modes and mediums of communication and its impact of learning in current time.
read, see, listen, and go to places!
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A pe ek into online jury discussions...
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