BACK COVER : PHOTGRAMS LASZLO MOHOLY NAGY
Nagar Yuwak Shikshan Sanstha's
SHRI DATTA MEGHE COLLEGE OF ARCHITECTURE
SDMCA
years of bauhaus
SHRI DATTA MEGHE COLLEGE OF ARCHITECTURE SDMCA
Wanadongri, Hingna Road, YCCE Campus, Nagpur-441110 Website: www,sdmca.edu.in | Email :- principal.sdmca@gmail.com, principal@sdmca.edu.in
REFLECTIONS
100
years of bauhaus
REFLECTIONS OUR INSPIRATION Hon’ble Shri Dattaji Meghe Shri Sagar Meghe Shri Sameer Meghe
EDITOR’S Dr. Sheeba Valsson Principal Ar. Apoorva Dandge, Asst. Prof EDITORIAL BOARD Ms. Trushita Ogare Mr. Saransh Gothi Ms. Madhura Patki Ms. Rebbeca Mathews Ms. Suhaya Rait
PICTURE SOURCE : UNSPLASH.COM
COVER PAGE DESIGN BY Shubham Salpe
Our iNS IRATION
ABOUT SDMCA
SHRI DATTAJI MEGHE Ex. Member of Parliament (Lok Sabha & Rajya Sabha) Chancellor, Datta Meghe Institute of Medical Sciences, (Deemed University), Wardha Chairman, Nagar Yuwak Shikshan Sanstha, Nagpur Chairman, Shri Vidyarthi Sudhar Sangh, Nagpur
SHRI SAGAR MEGHE Secretary, Nagar Yuwak Shikshan Sanstha Treasurer, Datta Meghe Institute of Medical Sciences Ex MLC, Maharashtra State
SHRI SAMEER MEGHE Secretary, Datta Meghe Institute of Medical Sciences Treasurer, Nagar Yuwak Shikshan Sanstha MLA, Maharashtra State
Shri Datta Meghe College Of Architecture was established in the academic session 2015- 2016 with an intake of 40 students which ourished in bright colours in 2016-2017 with an intake of 80 students and now in the fourth year of our college i.e. in the academic year 2018-2019 we are again shining brightly. This institute is the youngest in the Meghe group of institutions. Dynamic leadership by Hon’ Shri Datta Ji Meghe, Hon’ Shri Sagar Ji Meghe and Hon’ Shri Sameer Ji Meghe are tirelessly taking all round efforts to make the institute a premier institute. Shri Datta Meghe College Of Architecture is afliated to RTM Nagpur University, AICTE and Council Of Architecture. All staff members are highly dedicated and have presented and published several papers in National and International Journals and Conferences. Being a part of the larger group of institutes is benecial to students in terms of exposure to various activities from allied elds and a broader scope for curricular and co- curricular activities. We have visiting faculty who are very experienced practising architects with side range of projects under their banner. This has a added benet to our students in terms of wider exposure to practical knowledge.
PICTURE COURTESY : TRUSHITA OGARE
CONTENT PREFACE
WELCOME With our 3 rd edition of Annual Magazine “REFLECTIONS” we are celebrating the 100 years of Bauhaus. In this issue you will nd our outlooks, work, representation, achievement and our learning process. From students to faculty all of the work have been reected in this year’s Magazine. The purpose of Magazine is to inform, inspire and engage a diverse readership including faculty, staff, students, Parents and our other reader. by presenting an intimated and honest portrait of our college, SDMCA. HAPPY READING
OUTLOOK ON BAUHAUS
BEGINNER’S PERSPECTIVE
ARCHITECT’S 2018 & POEMS
MADE US PROUD
01 06 02 07 03 08 04 09 05
OUR LEARNING PROCESS
COMMUNICATING VESSELS
THRIVE PROSPER FLOURISH
MEET OUR TEAM
This Year In
COVER PAGE DESIGN SHUBHAM SALPE (1st YEAR) 2018-19
Magazine
The year 2019 marks the centenary of Bauhaus, a milestone marked in Germany with a widespread program of events and exhibitions all over the world under the theme "Rethinking the World"—tting for a movement that sought to "create a new society via art," While Bauhaus may evoke a style to many of us today, it was initially an art school that operated in post-World War I Germany from 1919 to 1933. The school, founded by pioneering architect Walter Gropius, Hannes Meyer and Mies van der rohe had the radical idea to combine craft and the ne arts, developing a curriculum in which all arts, including architecture, would be brought together to form a "total" work of art—in German, Gesamtkunstwerk. In many ways, the Bauhaus was in reaction to the increased separation between manufacturing and individuality, production and the hand that created it. Bauhaus sought to unite craft and creation again, through both practical skills and theoretical knowledge, immersed students in the Bauhaus ideology. The stress on experimentation and problem-solving which characterized the Bauhaus's approach to teaching has proved to be enormously inuential on contemporary art education. It has led to the union of the "ne arts" as the "visual arts" It's hard to overstate the impact of the Bauhaus on the world of design, and its legacy is as deep as it is complex—Together, these institutions and individuals helped change the face of modern art, architecture, graphic design, interior design, typography, and industrial design for decades to come. Today, the Bauhaus movement can be seen almost everywhere. Their commitment to nding solutions that were simple, rational, and functional is an approach that is still taught to artists and designers today. Bauhaus design is simple and useful, and the simplicity is what makes the everyday objects beautiful. Today's designers are still taught “Form Follows Function,” as modern technology encourages innovations to make our lives easier.
Cover page, the salient and the most striking feature of a successful magazine. This year the publications dept. arranged a cover page design competition on the theme Bauhaus for the annual college magazine which invited everyone to take part and contribute to the magazine and the winning entry is featured on the cover page by Shubham Salpe (1st year), caricatures of the three directors of bauhaus inscribed in the festive bauhaus 100 logo by publications dept.
Sketch by Shubham Salpe submitted for the poster design competition
‘‘
ONLY WORK WHICH IS THE PRODUCT OF INNER COMPULSION CAN HAVE SPIRITUAL MEANING
WALTER GROUPIS PICTURE SOURCE : UNSPLASH.COM
FROM
FROM
PRINCIPAL’S DESK
V. PRINCIPAL’S DESK
The mind is not a vessel to be lled, but a re to be kindled.” said Plutarch and a quote by Albert Einstein states that-“The true sign of intelligence is not knowledge but imagination.” REFLECTIONS our College Magazine kindles the imagination of all our staff and students. It provides a forum to bring out the latent creative abilities of all. All the team members of this ingenious and creative endeavor have put their heart and soul into it. I congratulate all the contributors and the editorial team who used various medium of expression to present their ideas. As long as our thoughts are encouraged and ideas expressed, we can be sure of learning, as everything begins with an idea. Shri Datta Meghe College of Architecture SDMCA- is the youngest technical institute of the Meghe Group of Institutions which has acquired the distinction of being the premier Institution of the country. It is indeed a matter of great pride and honour to have been associated with Meghe Group of Institutions, which has proved the marvelous academic track records of multiple feather to its cap. Empowerment of students for their all round development through education is our cherished motto. Today education means much more than merely acquiring knowledge and skills, it must also aim at building character and improving employability of the young talent. We abide to develop responsible individuals by considering the footprint of the place and also understanding the dynamics of growth at various levels. I am sure, being part of Culture of Meghe group of Institutions, we inherited a strong foundation to march ahead and achieve the within mentioned education objectives for a stronger and brighter India. Our students have marked their place as university toppers and are also winners of various curricular and co-curricular activities at university as well as various other levels. Measures initiated by the Hon. Management, college administration, the hard work and sincere contribution of the teaching and non-teaching staff and over whelming response and enthusiastic participation of my dear students have together contributed towards the overall growth of SDMCA.
I congratulate SDMCA editorial board and all the students who contributed to the 3rd magazine issue of SDMCA. Bauhaus = moment for change that was actually required to address the need of society then. And most of the great mentors to architecture belong in this era. Every era come with its need for a moment and the need for this era is to be more human more sensitive to the social issues. Social issues, why and how they are related to architecture? Some of the social issues and their relation is as follows Women Problems in society varies from security to her own space - If analyzed and addressed a simple welcoming house on street can address the security problem to make streets more safe rather than the close dead compound walls etc. Carbon footprint becoming larger - Development trends for more usage of resources and bigger foot print completely forgetting that the resources are going to get exhausted one day. The developed cities whose footprint is higher will face the most diverse effects where as the poor countries whose footprint is smaller will sustain. Hence to design the sustainable environment by Refuse – the use of non local building material, Reduce – optimum areas of construction, Reuse – the material, Recycle – water: have the probabilities to address this issue. With all things at the back of mind we need to raise the standards of design by developing concern and becoming more sensitive to humanities and social issues. CHANGE IS ONLY CONSTANT IN LIFE
Excellence is a continuous process and not an accident - A P J Abdul Kalam I once again congratulate all the contributors and the editorial team for bringing our the third edition of our college Magazine- REFLECTIONS HAPPY READING! Dr. Sheeba Valsson Principal, SDMCA
Dr. Purva Mange Vice Principal, SDMCA
EDITOR’S NOTE
Ar. Apoorva Dandge, Asst. Prof
Dear Reader I am happy to know that Shri Datta Meghe College of Architecture, Nagpur, is bringing out third issue of college magazine ' Reections' which provides the students, teachers a forum to express their ideas, thoughts and their experiences during the course of their stay in the Institution. The name and fame of an institute depends on the calibre and achievements of the students and teachers. The role of a teacher is to be a facilitator in nurturing the skills and talents of students. This magazine is a platform to exhibit the literary skills and innovative ideas of teachers and students. 'Reections' presents the achievements of students and contributions of teachers. We would like to place on record our gratitude and heartfelt thanks to all those who have contributed to make this effort a success. We profusely thank the management for giving support and encouragement and a free hand in this endeavour. We are thankful to all the authors who have sent their articles. We truly hope that the pages that follow will make an interesting read. It is said that “A weak link is better than a strong memory”. Nothing exemplies it better than the nostalgic feeling one gets when leang through the dusty old pages of his/her college magazine. Here I would like to take the opportunity to thanks our Principal Dr,Sheeba Valsson for her valuable guidance and my students editorial team Saransh, Trushita, Madhura, Rebecca, and Suhaya who have devoted their time and plunged into making this third issue of SDMCA'S College magazine. We proudly publish the third college magazine in order to show to the outside world, and also to remind the family of SDMCA, the progress we have made so far. We intend to continue presenting the talent and creativity of our staff and students through 'Reection'. I invite you to read and immerse yourself in the unfolding art and be exulted. Happy Reading!
EDITORIAL BOARD
Saransh Gothi rd 3 year
Trushita Ogare 3rd year
Madhura Patki nd 2 year
Rebecca Mathews nd 2 year
Suhaya Rait st 1 year
Designing an entire issue of magazine takes a lot of time and effort with a group of devoted people. Given the opportunity we gladly took it. We all think of an editor as a person who sits and looks at work done by others and then writes a few comments, changes a few things and asks them to revise certain aspects of the piece, but there's a lot more to it. Even with the ongoing academics everyone on the team contributed in the making and we couldn't have asked for a better team. With variety of the content we gathered the most interesting aspects of the theme and with articles from students and faculty, we compiled a magazine which is actually worth reading. overall it was a great experience, we learned a lot, and thoroughly enjoyed the process. We rd Gladly present you the 3 edition of “Reections” 100 years of Bauhaus.
‘‘
THE BAUHAUS FIGHTS IMITATION INFERIOR CRAFTMANSHIP AND ARTISTIC DILETTANTISM
WALTER GROUPIS PICTURE SOURCE : FLICKR_FILES
PIONEER OF MODERN ARCHITECTURE - AYUSHRI KOMAJWAR 3rd YEAR
THE
BAUHAUS CENTENARY - SANKET PAWAR 2ND YEAR
The Bauhaus was founded in 1919 in the city of Weimar by German architect Walter Gropius (1883-1969).Its core objective was a radical concept to reimagine the material world to reect the unity of all the arts .Gropius explained this vision for a union of art and Design in the proclamation of the Bauhaus (1919), which described a utopian craft guild combining architecture ,sculpture, and painting into a single creative expression. Gropius developed a craft-based curriculum that would turn out artisans and designers capable of creating useful and beautiful objects appropriate to this new system of living. The Bauhaus combined elements of both ne arts and design education. The curriculum commenced with a preliminary course that immersed the students, who came from a diverse range of social and educational backgrounds, in the study of materials, color theory, and formal relationships in preparation for more specialized studies. The preliminary course was often taught by visual artists, including Paul Klee, Vasily Kandinsy, and Joseph Albers, among others.In 1925, the Bauhaus moved from Wiemar to Dessau, where Gropius designed a new building to house the school. This building contained many features that later became hallmarks of modern architecture, including steel-frame construction, a glass curtain wall, and an asymmetrical, pinwheel plan, throughout which Gropius distributed studio, classroom, and administrative space for maximum efciency and spatial logic. Under pressure from an increasingly right-wing municipal government, Meyer resigned as director of the Bauhaus in 1930. He was replaced by architect Ludwig Mies van der Rohe (1980). Mies once again recongured the curriculum, with an increased emphasis on architecture.The increasingly unstable political situation in Germany, combined with the perilous nancial condition of the Bauhaus, caused Mies to relocate the school to Berlin in 1930, where it operated on a reduced scale. He ultimately shuttered Bauhaus in 1933. During the turbulent and often dangerous years of World War 2, many of the key gures of the Bauhaus emigrated to the United States, where their work and their teaching philosophies inuenced generations of young architects and designers.
"There is something poetic to the often-repeated story that the founder and builder of one of the most important schools in the history of 20th century art, design and architecture could not actually draw. Whether sparked by this particular shortcoming or a grander desire to unify the arts, collaboration is a running theme in the life of Walter Gropius, an ideas man who did not always have the means to deliver. It is something he had a miraculous talent for, from paying students at college to complete his drawings, to bringing some of modernism's most mythic characters into his orbit.It became the underlying principle of the Bauhaus, a school that combined the education of arts, architecture and craft, with the vision of producing complete works of art.The Bauhaus was founded by Walter Gropius in Weimar. The German term Bauhaus—literally "building house"—was understood as meaning "School of Building", but in spite of its name and the fact that its founder was an architect, the Bauhaus did not have an architecture department during its rst years of existence.Nonetheless, it was founded with the idea of creating a "total" work of art in which all arts, including architecture, would eventually be brought together. The Bauhaus style later became one of the most inuential currents in modern design, Modernist architecture and art, design and architectural education. The Bauhaus had a profound inuence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.Like many modernists of the period, Gropius was interested in the mechanization of work and the utilitarianism of newly developed factories.We could write a lot about him and it won't be enough, by establishing a peculiar school like Bauhaus he had started a movement which not only changed the course of history but everything we experience today. It is really amazing what a person can do with just handfull of ideas. And who knows next revolution may be around the corner, we could be a part of it, resist it , embrace it, or like Walter be the one to start it.
UNCONVENTIONAL ART SCHOOL - AASHI FULZELE 3rd YEAR As the school was known for its unconventional teaching methods. In the 1920s and 30s, a period of increasing mechanization, Bauhaus teachers and students challenged the conventions of ne art, architecture and design by advocating a return to individual craftsmanship. They also rejected the owers and frills that dominated the design language of the early twentieth century, and instead sought solutions that were simple, rational, and functional – an approach that remains dominant in design today. Walter Gropius, an architect, was chosen to lead this design and art schools Bauhaus. In its existence of 14 years it was led by three architects namely Walter Gropius in Weimar, Hannes Meyer in Dessau and Mies Van de Rohe in Berlin. Despite the founder being an architect the school did not have a department of architecture until 1922. Gropius came up with an unprecedented teaching structure, the most talented students were admitted to this course. They received a year of basic training also referred to as the preliminary courses. This is where the main training began. The workshops included the studies of color pallets and One of the great insights of the Bauhaus movement is to recognise that creative education is about more than passing on and rening technical knowledge or skills. Not all people who came out of Bauhaus became architects many of them chose their elds as per their interest in the workshops. The Bauhaus teaching method replaced the traditional pupil-teacher relationship with the idea of a community of artists working together What set the Bauhaus school apart, that wasn't so much what they studied, but their new ideas about how to teach and learn
Influential women of Bauhaus - ABHISHEK B KUMAR 2nd YEAR
Mies van der Rohe, Walter Gropius, Le Corbusier these names strikes to our mind when we think about the Bauhaus school. But an exceptional yet lesser-known aspect - in early 20th century, the experimental German art school Bauhaus was one of the rst educational institutions that openly accepted qualied women in their program. Once entered into the program, women were not exactly treated as equals to their male peers, but in 1919 the acceptance of passionate women was the beginning of a wave, for modern female artisans who made their signicant remark, yet not recognized as contributions to the Bauhaus movement. founder Walter Gropius encouraged this contrast through his vocal belief that men thought in three dimensions, while women could only handle two. Female students, for instance, were encouraged to pursue weaving rather than male-dominated mediums like painting, carving, and architecture. Weavers, industrial designers, photographers, and architects like Anni Albers, Marianne Brandt, Margarete Heymann and Gertrud Arndt not only advanced the school's historic marriage of art and function, they were also essential in laying the groundwork for centuries of art and design innovation to come after them.Anni Albers educated from school of arts and crafts in Hamburg, Germany. In 1992, she arrived at the Bauhaus with an interest in weaving. Well known for Abstractions of Geometric Patterns. Throughout her career, she experimented with functions and the physical properties of materials. In 1933 when the Nazis took power, she continued her work, opening a studio that collaborated with international design and furniture in 1949, she gained major recognition from MoMA New York in a solo exhibition. Marianne Brandt continued to push the boundaries for women in the Bauhaus. At that time current Bauhaus director was impressed by the young Brandt and allowed the artist to use the metal workshop, a rst for women in the Bauhaus. She worked in the textile workshop under Gunta Stolzl. Throughout her life, she would pursue and excel in many elds like painting, sculpture and photography. Margarete Heymann entered the Bauhaus school with a strong interest in pottery and ceramics. Gropius allowed her into the workshop, but she left after a year due to frustrations with the Bauhaus administration and the limitations imposed on her. Heymann continued to experiment with ceramics after her time at the Bauhaus and set up, with her husband, a workshop. The school's women are largely unsung, but their legacy lives on. As Bauhaus architecture becomes a distant vision of the future, Bauhaus fabrics remain as useful, tactile and special as they were when these women set out to equal their male peers. As Gunta Stölzl (1897-1983) put it, "We wanted to create living things with contemporary art, suitable for an upcoming Life style. Huge potential of experimentation lay before us. It was essential to dene our imaginary world, to shape our experiences through material, rhythm, proportion, colour and form." Against the odds, they did.
MAKE IT SIMPLE BUT SIGNIFICANT
typeface :
93
- ADITI KANE 3rd YEAR
- SARANSH GOTHI 3rd YEAR Bauhaus was arguably the most celebrated art school for its revolutionary concepts that changed the way we design anything. It would be an understatement to say that current state of graphic design industry owes a lot to the Bauhaus movement. There are many forms of creative expression and Bauhaus almost inuenced each one of them. Graphic design and typography especially caught my attention as it was the rst school to introduce graphic design and stress the importance of purpose driven design as much as ne arts. The main principles of their design process were simplicity and functionality, they believed in making it simple but signicant. Almost 100 years later, as we exist in that very future which the Bauhaus imagined, we can see more clearly than ever the connection between good artistry and good design, but even with the best tools at our disposal, we fail to create it. Graphic design and typography is everywhere from digital to physical interfaces of advertising web design printing and the silly labels on medicines we ignore. Almost anything visually communicating with us or providing information can be designed better than it is these days. We tend to forget the simple fact that design can make life better. Knowing why we design, what we believe, and why we follow a certain process is critical for all designers. Once this becomes clear we have a better understanding, without this knowledge we blindly stab at our problems for solutions.There's an old phrase my English teacher use to use while teaching us how to write applications “hit the nail on the head” meaning go straight for the issue while addressing what's important, no beating around the bush. I would say it applies to mostly everything, there's a lot of work out there but only few decent ones stands out to our eyes and that is what we should aim for.
Bauhaus was a school whose approach to design proved to be major inuence on the development of graphic design as well as much of 20th century modern art. Founded by Walter Gropius in Weimar, Germany. They made a signicant contribution not only in eld of architecture but also in Typography. From many different disciplines that could have been bad to the Typography designers at Bauhaus chose to borrow elements of architecture principles to create a typeface.Herbert Bayer was the pioneer to create Bauhaus as a typeface. Herbert Bayer (1900-1985) was an Austrian-American painter, photographer and typographer. He was trained in art nouveau style. He rstly joined the Bauhaus as a student for 4 years and after some years Bayer was appointed by Bauhaus director of printing and advertising department. Gropius, commissioned Bayer to design a typeface for all Bauhaus communication and Bayer excitedly undertook this task. Bayer actually wanted to make it useful for whole society. Even today, it still looks sharp and impossibly modern for its vintage and shows all the class Bauhaus type characteristics. The font come together with simplicity and linearity of geometric features. The two most important qualities that a text should have are readable font such as Arial, or Helvetica which are mostly used everywhere as they are familiar &very easy to read. The innovations of Typography introduced by the Bauhaus are still very effective now days.Today unknowingly we come across thousands of fonts and type face, as we go through our smartphones, social media, websites, but rarely one thinks of the story behind it, a simple choice of typeface makes a large difference about how we interact with something visually talking to us, like a poster, advertisement or your resume. One could come up with a new font or typeface but we nd ourselves gossiping instead of sharing ideas and contributing to something.
BRINGINING ARTIST AND CRAFTSMAN TOGETHER - TANUSHREE 2nd YEAR
All it was started with just one step towards the drastic change of the era. Bringing artist and craftsmen together...Walter Gropius founded the Bauhaus –a new art school that was supposed to unite life, crafts and art under one roof. It was started in 20th CE and never ever will end. The artist and craftsman movement enhanced the techniques and creativity to a great extent. "Only work which is the product of inner compulsion can have spiritual meaning." - Walter Gropius. Also, within a highly nationalistic climate, the search began for a stylistic language that would complement Germany's worldwide industrial reputation. The gap was not just between ne arts and applied arts but also the application for the industries of mass production. Combination of architecture, sculpture, and painting into a single creative expression. The Bauhaus broke down the hierarchy which had divided the “ne” from the “applied” arts and differentiated between what can be taught technique and what cannot creative invention. Gropius believed that the ne arts had begun to decline as long ago as the Renaissance when their traditional links with the crafts became loosened as the painters and sculptors, seeking enhanced status, argued that their skills were superior to those of the artisans. he Bauhaus aimed to demolish these 'barriers' in order to forge a “new guild of craftsman” that were free from all preconceived creative thought and through cooperation would ourish once again. The school sought to restore the idea of the fundamental unity underlying all branches of design and to create type-forms that would meet all technical, aesthetic and commercial demand It changes the scenario of learning age. People with different styles of artistic passion displayed their work their own manner. They also implemented their art form into industries. Their work had taken great efforts to set the benchmark. This ear had given scope to the lot of passionate people. People started designing new art work with minute details. It helped shape to their work. Many thoughts like " He who works with hands and head is a craftsman", " He who works with his hands, head and heart is an artist” Inspired people. People started working day and night manufacturing incredible art material. This to fusion 2 thing had really hit of the great heights in industries. Many industries were started employing people related to their art form and typology is it still in running…....
PHOTOGRAMS - TRUSHITA OGARE 3rd YEAR In between 1894-1989, The dynamic young Artist had illustrated himself as one of the prime movers and enthusiastic advocates of experimental photographic techniques. Moholy-Nagy provided the decisive impetus that led to the Bauhaus's engagement with photography. Laszla Moholy-Nagy introduced the 'New Vision' to the Bauhaus. They demonstrated their camera unusual vantages, challenging and dauntless perspectives with their various darkroom techniques that were remarked as tantalizingly expressive vehicle for the future – and thus helps to dene a new relationship between People and Architecture. As progressive sense of life this was quickly taken up by other photographers. Their photographs reect the life, utopianism and spirit of fresh departures of a new era. Photograms, created by placing objects on photographic paper and exposing them to light inspired, Bauhaus members to experimenting & exploring their Ideas and making use in potential medium. Before this, photography had only played a minor role. Bauhaus Pioneer Walter Gropius used it mainly for purposes of Documentation and publicity of the objects and architecture developed at the Bauhaus. Lucia Moholy became the ofcial documentary photographer and soon she developed her own individual style of Depiction. A separate photography course was only introduced 1929, as a special department of the Typography and Advertising Workshop in Bauhaus. It was headed by Walter Peterhans, who taught the students not only photographic theory and practice, but also how to see with precision to the shapes and textures and how use it as the photographic element. using meticulous lighting almost created magical effect. The smaller cameras and faster exposures gave them a new dexterity, enabling them to keep time with the energetic pace of school life. This emphasis on technical perfection was used as the development of new professional specialties in commercial and applied photography. As Bauhaus created the revolution in many Art forms. "Bauhaus Photography" had emerged with distinctive and identiable traits. it has shown and contributed its Drastic change to perspective of photography that photographs can be captured as a dramatic and the youthful verve and spirited freedom that was clearly present on both sides of the camera.
FROM BAUHAUS TO OUR HOUSE - DINESH BHENDE 3rd YEAR
From Designing poster, furniture to crockery, cutlery there exsiquite objects reects how the Bauhaus school shaped their idea of ne designing. there works described the simplicity in use of material. They had their TermsPRINCIPAL OF PRACTICALITY. An Object is dened by its nature “Groupies announced”. In order to design their main motive was to maintain the Functionality of object in Practical way. Not only they created the simple functional and elegant pieces but their design was useful for average person in daily life. They started to manufacturing more products. Even though in the process of designing the furniture practicality was the rst kept in mind, Designer started to experiment with innovative some materials - commonly their furniture included combinations of steel, wood, leather, plywood and woven textiles. The famous BRNO CHAIR designed as Meis Van der Rohe and Lily Reich, is based on the idea that a chair doesn't need four legs when built cantilever-style (with a single c-shaped bar supporting the entire chair) here they achieved PRACTICALITY + SIMPLICITY + MODERNITY. To make design more appealing they started work on using color palette. Used color for furniture also tended to be simple. Prints, patterns, and bright colors were rare. Most pieces concentrated on basic colors like black, brown, grey, and other natural colors. When bright colors were used in Bauhaus pieces, as in an iconic baby cradle designed by Peter Keler, they were used as accents. They were restricted to the primary colors: red, yellow, and blue. Like all the Classic design you will know when you see it. Meis van der rohes motto “Less is more” is good place to start Forms follows Function each element was plundered down to its Bare essential needs. Everything was used for its purpose. As in result the material was more likely Pleasing on the eye. There work is the most iconic works now available in productions, take something wide ranging he tubular chair, is now a feature of corporate boardrooms across the world. Bauhaus Style becomes ubiquitously - a New Normal in our daily life
PEOPLE’S NECESSITY NOT LUXURY - NIDHI SINGH 2nd YEAR
Bauhaus is well known for art and craft as well as modern constructivism and contemporary art. The school emerged out to reunite the applied arts and manufacturing, to reform education. When the manufacturing of several objects began. Bauhaus faced issues with production and consumption of modernism. In 1923 Walter Gropius set the aims of Bauhaus with a proclamation “Art and technology” a new unity which required advance use of new materials. Whereas his successor Hannes Meyer said “People's need instead of luxury”. Gropius failed to merge art and technology to move from the production of individual, luxury objects to mass reproduction. He designed eight models of teapots. The real sales hit, however, proved to be Gropius' aluminum wastepaper basket. The small teapot was designed and executed in 1924 by Marianne Brandt at the Bauhaus which showed all of the concepts that proclaimed – Sachlichkeit functionality, and use of modern materials. From all its appearance it was thoroughly modern object. But its production was at great cost. This pot's handle and knob are ebony, and it was available in, Thus it could be produced by hand in the metal workshop in limited quantities, but it was not - in form, material, or price – suitable for mass reproduction. In short a luxury object in need of an elite consumer – and not only who could afford it, but ones who understand its modern form. Bauhaus proposed to utilize industry to make goods that even the people could afford, it played to a privileged audience – especially members of industrial and educated upper middle class. Why there were no Bauhaus forks, an ordinary product that could be easily molded and stamped out in large quantities at low cost? Instead the school remained committed to producing these traditional and conventional objects- chess sets, teapots, ashtrays, and armchairs that already had place in upper middle class homes. As early as April 1922 and continuing into 1923, the Bauhaus masters and Gropius had discussed the necessity of organizing the workshop into a productive operation and indicated that they viewed the school itself as a locus of productive operations. Method of standardization and large scale sales as the only way that goods could be offered at a reasonable price. It's been almost a century completing for Bauhaus and they were clear about their production strategies which beneted the people and didn't just make prot out of products. Know where true value lies in one work is important and it was really interesting to know about where Bauhaus stood with its.
ART’S PURPOSE IN SOCITEY ?
ART IN BAUHAUS - ASHMIKA MANGLURKAR 3rd YEAR
- SHRUTI RAUT 3rd YEAR
Art should disturb the comfortable and comfort the disturbed. pages with few hundred words are not enough to dene one's perception. While writing about art there's no specic argument to follow, it makes us question a lot of things and it acts as a mirror to society we live in. Bauhaus was the single most inuential modernist art school . Its main approach was to teach relationship between art, society & technology , although it was a main reason for development of modernism throughout Europe and United States it totally gave new scope to ne arts , industrial design , Typography, interior design & architecture.Art communicates across barriers of language, color and creed. But due to technological advancements art is loosing its value and purpose. In other words art is freedom – being able to bend things most people seen a straight line . As rightly said by the walter gropius “ since art is dead in the actual life of civilized nation. It has been relegated to these grotesque morgues and museums”.Together we need to embrace & spread art with an approach to create a sense of beauty , spirituality for pleasure and to generate strong emotions which are unspoken but are felt by a piece of art. Most powerful art is that which expresses design of a built form to articulate passion, new buildings and structures should follow the same and evoke minds of viewers ,such art forms create a powerful impact. And its true value & concept behind every form can be felt. Therefore if the barriers between the exact form & the actual concept is resolved , the purposes of art can be fullled.Lastly by “walter gropius” let us together create the new buildings of the future , which will be everything in one forms , architecture, sculptures & painting would be real bless for all the founder , inventor to see world diverting toward idealistic or national works &ideas & eliminating the dimension of art in our society.
Throughout the 20th century, several styles of avant-garde art helped shape modern art. While many of these genres including subconscious-based surrealism and energetic expressionism predominantly favored paintings, the Bauhaus movement encompassed a wide array of mediums, materials, and disciplines. Its core objective was a radical concept to re-imagine the material world to reect the unity of all art forms. Groupies explained. This vision for a union of art and design in the proclamation of the Bauhaus (1919), which described a utopian craft guild combining architecture, sculpture and painting into a single creative expression. Gropius developed a craftbased curriculum that would turn out artisans and designers capable of creating useful and objects. No longer were students taught specic skills by a teacher – artists and designers worked together to develop a new way of working as well as new ways of living. The principles and powerless movement of this ancient use of communications is a beautiful way of this way of Art. The founder, Walter Groupis, and a number of his contemporaries were set out to reconcile creativity and realization, to bring theory back to practice, and vice versa. They had their color pallet using primary color. One of the most enduring inuences of the Bauhaus, though, is the color theory that was taught under four prominent artists. The contributions of Johannes Itten, Wassily Kandinsky, Paul Klee, and Josef Albers undergird much of what we currently understand and believe about color, and an examination of the teachings of these four artists helps us understand not only the formation of modern color theory, but indeed how color theory is developed and transmitted. Ranging from paintings and graphics to architecture and interiors, Bauhaus art dominated many outlets of experimental European art throughout the 1920s and 1930s. Though it is most closely associated with Germany, it attracted and inspired artists of all backgrounds. Today, its inuence can be found in art and design all over the world, whether within the walls of a museum or on a suburban street or in the furniture. Their designing in building contained many features that later became hallmarks of modern architecture, including steel-frame construction, a glass curtain wall, and an asymmetrical, pinwheel plan, throughout which Gropius distributed studio, classroom, and administrative space for maximum efciency and spatial logic.
THE directors OF THE BAUHAUS - DR. SHEEBA VALSSON
THE RENAISSANCE OF ART, ARCHITECTURE AND MORE - VINAYA NANDEDKAR
Year 2019 will mark a century since the founding of the world-famous Bauhaus. The Staatliche's Bauhaus, commonly known as the Bauhaus, was a German art school operational from 1919 to 1933 that combined crafts and the ne arts, and was famous for the approach to design that it publicized and taught. The Bauhaus, a German word meaning "house of building", was a school founded in 1919 in Weimar, Germany by architect Walter Gropius. The school emerged out of late19th-century desires to reunite the applied arts and manufacturing, and to reform education. In 1925, the institution was transferred from Weimer to Dessau, both for political and comfort reasons. Gropius' Bauhaus school building – a perfect example of what Bauhaus architecture was, ideally, to be – was just nished in this town. The school nally had a proper context to grow in. It was also the year in which Gropius had his rst negotiations for the establishment of architectural studies, and Gropius invited his colleague, Hannes Meyer. 3 years later, Meyer became the new director, after Gropius resigned. The school brought together many disciplines under one roof – painting, architecture, furniture design, typography – and design was given as much importance as ne art. During the two years of Meyer's leadership, the school supposedly progressed immensely, in terms of building commissions and nancial prot. Meyer was a pure functionalist, or in other words, a pragmatist. He did not tolerate anything he deemed “aesthticized”, anything that seemed to distract the architecture from its social role, or on the other hand, the students from the fundamental educational goal. This radicalism was perhaps interesting for his architectural approach, as it dealt with what the users essentially want and need, rather than what the building should stylistically reect. Under Meyer the Bauhaus actually began to nd a way to bring modern designs produced by the school to the industrial market place and the school made a prot. Regardless of the capitalist prots of the Bauhaus, the presence of a Communist head of the school could not be supported in such a politically turbulent world. Meyer stepped down and Mies van der Rohe took his place as director in 1930. Under Mies, the school became very conventional. The priority was still that of architecture and a new emphasis was placed on interior design. Space, rather than structure, became the major focus. The Preliminary Course was eliminated and the Bauhaus became downright academic with written exams appearing for the rst time. These changes could be seen as an attempt to make the Bauhaus seem more conventional to satisfy the authorities. Pinned down by such regressive attitudes, Mies had no choice but to retreat to interior design. But the days of such a progressive school were numbered. In a last ditch attempt to save the school, Mies privatized the Bauhaus and moved it to Berlin in 1932 where it fought against its fate. But nothing could save the Bauhaus from a regime that hated all things “modern,” “foreign” and “non German”. In April 1933, the Nazis closed the Bauhaus.
It had to happen. It was waiting to happen. And it had to happen in Germany. The potpourri was boiling since the unrest after the World War and the Industrialization. The perfect storm for this renaissance had long started brewing with the migration of rural to urban, the stringent compounds of cities being unable to accommodate and expand their limited resources to these new, poor slums… thus leading to the need for faster, cheaper, mass production of Goods. Art Craft. Architecture. This soulless mass manufacturing of boxes of concrete sans any humane touch led to the idea of conglomeration of Art, craft and Architecture. Hence Bauhaus. Why Germany...? The up-rise or the rebellion against the existing happens when there is either suppression or imbalance .it doesn't matter if it is political, social or cultural. The reasons are all the same. Always. The growing insecurities of Nazis, the suppression by the government, the increasing social inequality was not only leading to the social up-rise but a reformist Modernity movement in Art, Design, Philosophy, Literature and also in Architecture. The school building of Bauhaus in Germany, started by Ar. Walter Gropius saw a paradigm shift in teaching Design in varied art forms such as wall paintings, handicraft, murals, sculptures. The Architecture Design included Aesthetic Principles, Graphic Design, Theory of Design, Colour Theory, Industrial Design as formal courses. He experimented to unify the art and craft into architecture which can be prototyped and can be available and affordable to the common man. The inclusion of paintings and sculpture even in ofce buildings and utilitarian building types was one such example. The elitism clinging to ne arts until then was dismantled and ne art and craft became public. The beautiful and functional design of Wassily Chair produced with tubular steel is another such example which is still in use for mass production in ofce interiors even after nine decades. The Modern movement was then emphasised by the total absence of ornamentation and decoration, the integration of Art and Craft and mass production techniques, more and more inclusion of geometry, straight lines, cubes. The whole new architectural school of thought for the whole new modern world of public housing, Industries and ofces. “Form follows Function” The shift from the fanciful, lacy expressionism to more functional, useful and prototypical architecture was smooth though was debated by the intellectuals of Bauhaus for long. The 'International Style' is now truly international with Gropius and Breuer teaching in Britain producing masters Philip Johnson, I.M. Pei who worked in America whereas Mies resettled in Chicago. The radically simplied architecture of glass and steel by Mies Van Der Rohe, showcasing the products of art and craft at the world exhibition was embraced by the Architecture fraternity and the new world with equal enthusiasm. The functional Architecture was now getting ready for new design products. It had tremendous inuence on the other branches of Interior Design, Product Design, Graphic Design, Industrial Design and Furniture Design as well. The Indian context 'The desire to decorate everything about one is a false spirit and is abominable small perversion 'or 'The more people cultivated, the more decor disappears 'These profound quotes by Le Corbusier state how deeply he appreciated and supported the Bauhaus movement. But unlike Gropius theory of 'Inclusion of Art and Craft in Architecture ', Corbusier 's works exhibited his principle 'Modern decoration has no decoration '. The only farfetched link to post independence Indian architecture to Bauhaus is the Bauhaus sympathetic Corbusier who designed the Chandigarh. Other than that modern Indian architecture can be termed as bankruptcy of ideas and Ideals, as there is no post-independence structure that stands out on the world forum. Young Indian Architects have the potential to work on fresh concepts and the next international architecture 'ism 'may start in India. Who knows?
‘‘
ARCHITECTURE IS LIKE WRITING. YOU HAVE TO EDIT IT OVER AND OVER SO IT LOOKS EFFORTLESS
THE BAUHAUS DESIGNED TRAY PICTURE SOURCE : BAUHAUS.DE
ZAHA HADID
Choosing Architecture - ABHISHREE MANDALE 1st YEAR
“Career” the important checkpoint of any person's life. It is a profession or eld chosen that will be the person's life work towards the future. It is important for the person to get into a work eld to sustain in the society. After the schooling or after the education since childhood the students get the ability to bifurcate and sail into their own boats of different careers. Sitting back in the life's turning years of mine I remember I was in 10th std. Me and my friends were just discussing about the boards. When one of my friend raised question what after the boards? The question struck in everyone's mind. Many of us were puzzled while two had great visions of their future. When I was asked what was i going to do in future, I got bewildered and said I am yet to decide. After that my every situation went with the question of what will I do in future? I came home sat alone for a while and thought and thought. While sitting alone I could hear my breath. With every breath getting in the question about the future got intense. My mother saw me and came to me and asked what happened? I uttered everything happened that day. After listening she smiled and asked what do I think I can do? Instead think about what I had been doing since my childhood as a hobby or interest and carry that forward. Don't get piled up but seek where you can get the comfort to work. This words struck my ears and I came up with my interests of designing and sketching. But I never wanted to be an artist, also I had interest in technical education but I didn't want to be an engineer. Then I felt of mixing both the interests and I came to know about “architecture”. Architecture, where art and science both comes together. Architecture is the eld where you can explore freely without any bound keeping in mind the rules of science. Architecture is not just about the drawing, but it requires your best logical and analytical thinking. They say when your work and interest gets coupled you become happy, so if you have the keen interest you can feel the happiness coming out for everything. Hence if you have that interest in architecture it gets reected in your designs. Architecture not only nurtures your designing capability but also shapes your communication skills. Architecture is internally dependent on communicating skills and team work. So, you also get to know different people and their working strategies, which is helpful for building your personality. The qualities of communicating and understanding will help to sustain in the society. Also if you are dedicated and hardworking architecture will take you to the highest of the levels. After all, nding your life's purpose, passion, mission, potential and work will guide you to the happy and successful life
Beginner In Architecture - SUHAYA RAIT 1st YEAR
Beginning of new things is good for life. But you also have to face ups-and-downs in your life. it always introduces us with different phases of life, these will be unique and challenging but sometimes you will be excited for it. I was welcoming my new phase because as it was about to change my life. Inspiration and interest play an important role in making career decisions. My inspiration is my father. Earlier he worked in construction sector. As he does his most of the work in front of me, he always showed me architect's plan on which he was working, which inspired me to turn my hobbies into a profession. Before starting any projects, architects try to understand the needs of client. Architecture is not only about plans, but a medium to communicate complex ideas through Creativity. There is a lot of hard work in architecture, and it can be a fun. Becoming an architect involves education, experience and creative problem solving. It takes a lot of commitment and passion to become an architect. Nobody becomes architect because they think it's sounds cool or they like to draw. There is lot more to it. When I tell people, I wanted to be an architect since I was 13 years old, some people say it is very easy because its only drawing, but it is not. Being a budding architect, I would say architecture is all about working hard and you will achieve your wildest dreams. Architecture student can make a great living ahead but they need to nd a balance between work and play, and multitask through busy times. In architecture plenty of self condence and own initiative is required as we have to present our work and convey our ideas. In the beginning of semesters, you will require to experiment and explore your design ideas. As I learn more and more every day architecture is helping me expand my artistic side.
CIVIL ENGINEER & ARCHITECT
ART & ARCHITECTURE - ABHISHREE MANDALE 1st YEAR
- SHARVARI KONDE 2nd YEAR
To design is to make something new, something that did not exist before. A design can be an idea, a principle, a depiction, an impression, a proposal, a scheme, "an ART". Art is a diverse range of imaginative and conceptual ideas. " Art is the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power� - Oxford dictionary Art is a visual object or experience consciously created through an expression of skill or imagination and so is architecture.
There are many forms of art and
architecture which is a classical bond of art. Art is been a source of inspiration to the architecture. On the note of which I get back to the memories of the study tour with friends to Delhi, where I didn't just saw but actually felt the delightful composition
Many a times people ask me why I chose architecture and not civil engineering they are more or less the same thing.
of art and architecture, where architecture of the
I would bet most of the people around you pursuing both majors wont clearly tell you the difference. Usually people
structure was not casted for just residing, but to set
think architecture is far more similar to that of civil engineering, and I do not blame them, but it would be outrageous
into it with the feel of royal living. Every wall and
to accept that fact lightly. here's my understanding of how they are sister branches. Both civil engineering and
part got its own importance. Every piece was
architecture are involved in planning and designing structures. However, architecture focuses more on spatial
depicting a graceful story. The forts, mausoleums,
functionality and aesthetics of the development work and is more concerned with the artistry, look, feel and
tombs, minarets, everything was showcasing an
functionality of the design, while civil engineering concentrates on structural elements of the design. Even though
elegance of art through it, which showed the
civil engineers are involved in the design process Architects take the lead role in terms of the design of the structure.
credibility of art into the architecture. This also got
Architects will initiate and create the design, including shape, colour and space then civil engineer will analyse it to
me into the perplexed thoughts of how the perfect
ď€ nd ways to make construction design possible. Architect's primary concern is designing the development work
balance of the art and architecture is maintained
while civil engineering's responsibility is ensuring that design can be implemented in safe and reliable manner. But
throughout the composition. Although the
sometimes civil engineers and architects may overlap each other's work. the good relationship between the two professions will make construction job more effective and successful. A civil engineer's work has never been
practice of traditional art in architecture is somewhat demolished but designers and architects, today also ensure
surfaced in history, but an architect's is always remembered, when a historic monument is recalled. When people
that the art must not get faded away. The century architects like Le Corbusier have highlighted the intersections
visit famous buildings like Burj Khalifa they aren't more interested in how it was built but more about how one came to
between art and architecture in his Notre dame du haut in France. Also, then emerged the different modern
a idea of such a structure. Civil engineering is not a creative job but a technical one whereas architect's work is lot
styles that charmed the beauty of the architecture today. Artistic touch to the architecture with the modern
creative and as well as technical. Civil engineering is about how much cement, steel, water, loads, digging, soil
outlook is the demand of the society to keep their traditions alive. It can be a direct depiction or an abstract
testing, mapping etc. is needed. architecture is about planning, where different rooms are located. It literally
formation. May it be conceptual or symbolic style art is never going to leave the designs of architecture. The face
dictates how you live and interact with the space. I do not mean to disrespect any ď€ eld of work, but I take pride in
of art may change but the effect will always remain intact. The bond of art and architecture is secure by the lock
mine. Civil engineering is tough but architecture is not an easy job either
whose key is never to be found
BREAKING RULES IN DESIGN - YOGITA BHUSARI 2nd YEAR
SLEEP A PERPETUAL WANT - REBECCA MATHEWS 2nd YEAR
“A GOOD LAUGH AND A LONG SLEEP ARE THE TWO BEST CURES FOR ANYTHING” According to the science an average Adult needs 7 to 9 hours sleep each night. But for an Architecture student it is beyond imagination. When I decided to pursue architecture as my career, the comment I received was “AN ARCHTECT CAN'T SLEEP” which I am experiencing now. Not sleeping enough during working hours doesn't actually make your work better. In fact, it just makes it harder for you to think, have creative ideas and makes you more erratic. Usually if I've pulled an all nighter, it is because I was not focused and committed to my design decisions early on and maintaining my work ethics throughout the term. And if you pay attention to the other students around you, the folks pace themselves and put in a solid work day and go home at a decent time - they often tend to do just as well or better than those who burn the midnight oil and cram. Architecture college can be a challenge for many students. Despite how grueling obtaining the degree can be, college and studio can actually be fun. Sleep is a sore subject for us , and we spent a lot of time pondering over its necessity. Students in other majors may claim to get no sleep……But it is now proven that an Architecture student gets the least amount of sleep out of any major. I would say 90% of us become night owls and start to love coffee more, as a peaceful sleep is no longer a luxury we can afford. All nighters generally do more harm than good, hardly any inspiration strikes after midnight. I have learned to Prioritize sleeping when possible and manage your time wisely.
Rules are put in design to establish a standard to ensure one thing: safety and functionality. There are tons of design rules that get stuck in your head like grid, emphasis, scale, balance, hierarchy and form follows function but the last thing you need to learn is 'how to break them'. Because what makes a great design is how smartly were the rules broken. The rules can restrict your thinking and you will become part of the crowd, which is exactly what you are trying to avoid as a designer. Creativity is asking what if?... what if we go against assumptions and bring two things that aren't supposed to go together? Being a rule breaker can be tricky because you have to have the mindset at the start of a design to follow the rules and break them down the road. Therefore, we have an opportunity to think through the project with a different approach. we shouldn't jump on every possible chance to go against. The project should dictate the rule, but the rules shouldn't dictate the project. Designing is a crucial thing but I would say there's fun in breaking rules whenever you feel like you are stuck on a concept or design. When everything seems boring to you, it is a good time to try something crazy and unique. Breaking design rule can produce phenomenal results if done right, but can also fail badly if you don't make the right choice as to what rule to break and when, by thinking about the aim of your project or design. Don't just break the design rules because you are bored (that's really not a good reason to do much of anything). Just because you break the rule doesn't mean you have to be sloppy about it, hone the new idea as effective and easy to use as possible for yourself and others. Always look at unique ideas rst while using a standard design as backup. Always challenge yourself and keep variety in mind. don't allow the boundaries of rules to decide your design Break the boundaries and do whatever you want Design something unique which is not created by any one.
NATURE & ARCHITECTURE - VAIDEHI KAWARE 2nd YEAR
They say “Nature is not mute, it's a man who is deaf”. There's so much in the world outside that keeps me amazed in the most unexpected ways, it's all the simple little things that makes a comfortable living. Architects have always been inspired by nature, they've tried to pull something out from nature in some way or another. Evidence of its inuence can be seen throughout the ages, from the natural symbolism of ancient Greek and Roman architecture to the work of 20th-century visionary Frank Lloyd Wright, who designed building to compliment the natural landscape. Nature is often an inuencer in the world of architecture known as biomimicry. Biometric architecture draws its inuence from the earth. Human kind has studied nature for inspiration for solving all kinds of problems, not just architectural or building. The relationship between architecture and the nature cycle from harmony to deance over and over again throughout the history of construction. New technologies are now helping architects to recreate complex structures found in the nature by using modern construction methods and materials. From India's dream like Lotus Temple to Singapore's Spiraling Helix Bridge, discover man's relationship with nature at these architectural wonders. In Japan, the line between nature and built environment is a blurred one and the country's leading architects are using these concepts to create innovative and cutting edge design. Sou Fujinoto is at the forefront of Japan's forward thinking design and is known for integrating nature into his work. His design includes cloud-like structures like the futuristic Serpentive Pavilion, in London, and glass transparent houses in Tokyo inspired by the life of tree. More such structures have been keeping us awestruck throughout the history and with the mankind's grace of developing technology and creativity, the world is going to get more of it till the longest of the time. Today we copy from one source or more
COLOR & TEXTURE - MANSI MESHRAM 1st YEAR
Colours ,Colours ,Colour everywhere. It lights up the whole nation. And bring life to a vacant or inauspicious/nasty place. Also it plays very important factor in architecture in terms of design and shades and texture. Architectural importance of colours and textures depends upon the requirements of clients as choice differs in male and female as the dark shades makes room appears small and light shades makes rooms appears larger in size. We generally prefer candy shades in interior and bright shades on in exterior. Whenever we go there is a colour, the sky, grass , shadows, birds, owers etc. Each colour has its different importance. There are innite colours with its shades and tints, textures. It makes everything attractive(emphasis) eye-catching. It gives a new form to anything, and makes it creative. Colour is naturally gifted to Humans by God. Texture are of several types it can be made using comb, brushes, knifes and many more depending upon requirement and site of selection. It plays very crucial role in Architecture. The architect must consider the colour effect of every element of a buildings construction, from the earthy colours of primary construction materials like wood, stone, brick, and marble, to the expansive variety of colours available for paint, doors, windows, siding, and trim. Material with a smooth surface in a cool colour will be perceived as colder then materials with a smooth surface in a warm colour. The ruggedness and structure of a material inuence how warn or cold a material is perceived to be, irrespective of the colour of the material. With respect to the perception of colour, this indicates that colours between the yellow and red spectre are perceived as warmer than those between the blue and yellow-green spectre, Darker and more chromatic shades are also perceived to be warmer. Achromatic colour i.e., when you add complementary colour you get achromatic colour. Different colours give different effects:- Red-Exciting Orange-Cheering Yellow-Cheerful, stimulating GreenRelaxing Blue-Retiring Purple-Lively Pink-Calm White-Disconserning Grey-Neutral Black-Ominous Colour and Texture is a characteristic of all building materials, it is a constant feature of architecture. But building materials are selected primarily for there structural value. These includes pigment, which usually preserved the texture of the original surface and veneers of stone, wood and a variety of manufactured products that entirely alter the surface character. Selection of colour and texture make great impact on building or any project.
TOUR delhi agra - VIPUL MENDHEKAR 1st YEAR
As part of our curriculum we travelled to Delhi and Agra for our rst year educational tour, educational I say because architecture is a full time learning experience, and visiting historic places such as these, we get to experience the grandeur. Sharing this with my fellow mates adds to the joy. The onlookers feel an infectious enthusiasm when they see a busload of students singing in gay abandon and waving at them. The proximity of friends and the absence of parents is an invitation to mirth and mischief. Some close friendships may be forged during this period for we understand more about people when we stay with them for some days. The saddest part is coming back home to the same old routine. Delhi, the capital of India is one of the best cities to enjoy the best of Indian culture. If India is the body then Delhi is its heart. it is a magnicent city of cultures, history, food, temples. The Sightseeing helps you in beating the heat of the city by traveling. Barring a few occasions, Delhi has all along enjoyed a pride of place among the major cities. During the medieval period it was a big center of power and politics. Even under the British, the city enjoyed the same status. The archaeological monuments, buildings, museums and minarets are reections of its glorious past. The buildings, roads, etc. named after eminent personality's neonate the importance that the city enjoyed in the past. Taj Mahal. ( Mahal is the word in urdu language used for Palace) How can one describe The Taj Mahal? You can't, it's impossible. You just have to experience it. To gaze in wonder at that magnicent dome and elegant gardens will be a moment that you remember for the rest of your life. It is one of the greatest sights in the world, some say the greatest, and like Victoria Falls, The Grand Canyon, and Macchu Picchu, it simply is one of those things you have to see in your life. The architectural grace and symmetry of the Taj Mahal just takes your breath away. We had chosen our visit carefully--the sun was setting and the light that washed over the Taj was golden in color. The minarets were now stark against the setting sun. The actual dome was a surprise, it is not yellow-white but blue-white and covered in inscriptions and detail. From below it looked like something out of "Arabian Nights." But inside were the tombs of Mumtaz Mahal and Shah Jahan. The central tomb is a lofty chamber with light streaming through ne latticework, and hanging above was an elaborate lamp. Words cannot describe its beauty when you stand on that marble platform overlooking the Yamuna, with the setting sun turning it into a golden ribbon.
Principles of ARCHITECTURE - VAIDEHI KANER 1st YEAR
I remember when I was in 7th standard, once my wish to cook took me towards the kitchen. My recipe was just to cook a dish. I wanted to do everything by myself, but when I started doing it everything went in a wrong way. I even burnt the utensil and unfortunately my nger. This whole scene came into notice of my mother, she came and advised me that there is a way to conduct anything, there has to be a procedure, “a principle” which is to be followed to reach the proper destination.“A principal is the proposition that serves as the foundation for a system.”A principal is the concept, a guide. Which helps to maintain everything and everywhere. The whole universe or system is grouped by principles. May it be cooking or designing, principles needs to get indulged. Which further helps to get the steps of the ladder to reach the destination arranged perfectly.As we enter the history, we nd that how the early civilizations had their lives full of principles and regulations that used to get reected in the ancient designs. May it be Mohenjo- Daro of Indus or may it be the great Pyramid of Giza there was a system that worked. The principles started then are also being followed today, hence we come to know that the principles of design today are the fruit of the hard work done in the history.Initially when we see there are no boundaries of specic principles that compacts exploration in design but there are to be maintained the scientic laws according to logical and analytical thinking that provides great atmosphere of understanding and the principles. The pre modern designs were specic and majorly based on calculations but the designs postmodern cut downs the calculation and majorly focus on the of inspiration. That inspiration can be found everywhere and anywhere .The Heydar Aliyev centre building of Zaha Hadid in Azerbaijan is the one of the classic examples of the breakthrough from old principles that shook the early principles of straight blocks and designing and uplifted the curves in the design..but we also see the buildings like Burj Khalifa which are balancing the modern principles of asymmetrical blocks with the old principles of height and structure of minaret and pyramid respectively. principles are meant to give a basic foundation. They are not the only important factor for any design but they are one of the important factors that sustain the livelihood of the design.
‘‘
THERE WILL NEVER BE GREAT ARCHITECTS OR GREAT ARCHITECTURE WITHOUT GREAT PARTONS
EDWIN LUTYENS PICTURE SOURCE : BAUHAUS.DE
pritzker laureates BALKRISHNA DOSHI - ABEER BABREKAR 3rd YEAR
Analysis being the key word for architectural exploration, solely depends upon thoughts, observations, versatile study of philosophies rather than focusing onto just the conventional perceptions of its understanding. Beginning from the basics a thought process should ow with the generalized observation of the surrounding moving onto rational and technical study. Indian Architecture in itself is a path that travels through its base of history, tradition, cultures, ethics to a wider yet practical approach of theoretical and technical study. Built over years of analytics of great philosophers, historians and to be more precise “ARCHITECTS”-talking of structures and built spaces. These processes need appreciation and recognitions as a token for more creations and revolutions to enlighten generations to follow this ow of thoughts. One such visionary and insightful personality Indian Architecture has been gifted by is the Laureate Architect 'Balkrishna Vitthaldas Doshi', the rst Indian Architect to win Pritzker Prize. The Pritzker Prize is awarded annually to honor a living architect whose works 'demonstrate the qualities of vision, commitment and contributions through his works to humanity and environment'. Born in Pune (August 26, 1927), into an Indian family involved in Furniture Designing which displayed aptitude of art and creativity at a young age, and is a former sir JJ School of Architecture Graduate. Working under laureates like Ar. Le Corbusier & Ar. Louis Kahn gained him a lot of experience which molded his perception of Architecture. Hiring two Architects under self- formed foundation “VASTUSHILPA” (1956), (Vastushilpa Consultants) now. He has completed over 100 projects. Practicing Art and Architecture and contributing to humanity for over 60 years. Pritzker Prize jury recognizes his exceptional works as reminiscing distinction of Winners yet reciprocated by Personication. Including the knowledge and understandings inherited by the previous inuencers the concept 'Robust forms of concrete', Doshi went beyond these and took on Indian traditions and culture to the upmost consideration and started analysis and constructive approach towards the same. He united Prefabrication and local craft and developed these theories in harmony. With a sense of Responsibility and understanding, DOSHI has contributed his construction to Indian classes never following trends rather implementing what is credited via the countries necessities. As stated by him -” It seems I should take an oath and remember it for my lifetime to provide the lowest class with the proper dwelling” Buildings location, spaces, windy areas and environmental surroundings inuenced by social economies being the key for his designs, DOSHI has created sustainably engaged spaces using Patios, Courtyards and covered Walkways. His own studio “SANGATH” (Ahmedabad, India, 1980) a Sanskrit word meaning 'to move together' maintaining equilibrium into the design. The structure is semi-underground with well-planned and beautied interior spaces in harmony creating a modesty of appearance and a connect to the masses-the philosophies that arise from the understanding of human behaviors, needs and requirements of localities. His works solely denes that a great architecture need not be a uniformed and aesthetically appealing structure, but must account climate, site, technique and craft along the context and also go beyond functionality. A lecturer, teacher, represented, an author and the greatest contributor to architectural discipline, Architect B.V DOSHI has been and will be admired throughout India & Internationally as revolutionary for today and generations to follow.
REMEMBERING ROBERT VENTURI - MADHURA PATKI 2nd YEAR
Robert Venturi is described as one of the most original talents in contemporary architecture, the very inuential American architect whose buildings and best-selling books inspired the movement known as postmodernism. Venturi was very well known for having coined the maxim "Less is a bore", a postmodern antidote to Mies van der Rohe's famous modernist dictum "Less is more". He was a Pritzker Prize (1991) laureate along with AIA medal for Complexity and Contradiction in architecture (1978) and many others. Venturi's major design philosophies included drawing inspiration from various sources, such as historic design styles and popular culture, consisting contemporary commercial architecture, combining design elements in surprising and unexpected ways. He was always against the modernist tendency; he argued that a building derives meaning from its context, and different contexts require different forms of architectural expression. He is an architect whose work cannot be categorized; to him there's never a single solution. One of his projects to be built which captured the attention of architectural community was a house for his mother, Vanna Venturi in the Chestnut Hill section of Philadelphia, Pennsylvania. In 1989, it received the AIA's Twenty-ve Year award as a design of “enduring signicance that has withstood the test of time”. The house is a composition of rectangular, curvilinear and diagonal elements coming together (creating juxtaposing) in such a way that it creates complexity and contradiction. In order to create more such effect, Venturi experimented with the scale. The role of architect's in shaping communities has been much debated over the years. We claim our designs will instantly revitalise community and change perceptions, reshape society through the power of art which is lovely if an unsubstantiated notion. Venturi's work provided a key inuence at important times in the careers of many architects. His architecture has had worldwide inuence. Venturi died on September 18, 2018, in Philadelphia due to the complications of Alzheimer's disease. He has been a great, inspiring architect who opened millions of minds to creativity and to new ways of thinking about the uniqueness of our architectural world, and whose diverse work will continue to surpass labels and time
POEMS मात िपता
र
GITANJALI JAIN 1st YEAR
मात िपता गु भु चरणो ं म णवत बारं बार, हमपर िकया बड़ा उपकार ।।धृ।। माता ने को क उठाया, वे ऋण कभी नं जाय चुकाया। अंगुली पकड़कर चलना िसखाया, ममता की दी शीतल छाया। िजनकी गोद म पलकर हम कहलाते होिशयार... हम पर िकया बडा उपकार... िपता ने हमको यो बनाया, कमा कमाकर अ खलाया। पढ़ा िलखा गुणवान बनाया, जीवन पथ पर चलना िसखाया। जोड़ जोड़ अपनी संपि का बना िदया हकदार... हम पर िकया बडा उपकार...
िबन
त ान गु ने दशाया, अंध:कार सब दू र भगाया। दय म भ ी दीप जलाकर, भु दशन का माग बताया। ारथ ही कृपा कर वे िकतने बड़े है उदार... हम पर िकया बडा उपकार... भु कृपा से नरतन पाया, संत िमलन का साज सजाया। बल, बु और िव ा दे कर,
े
- PRADHNA BHADANGE LIBRARIAN, SDMCA
मासब जीवो ं म े बनाया। जो भी इनकी शरण म आता कर दे ता उ ार... हम पर िकया बडा उपकार... त िपता गु भु चरणो ं म णवत बारं बार ... हम पर िकया बडा उपकार... अरे ि परमा
त: वर कर मानवा ात लीन होऊन जा मानवा।।धृ।।
तू तर चेतन पी एक अखंड िनराकार अ पी सद् गु ा वाणीला ऐक मानवा परमा ात लीन होऊन जा मानवा।।१।। ज ोज ी चतुगतीत िफरला ओळख त:ची नेहमी िवसरला आता ओळख त:ची कर मानवा परमा ात लीन होऊन जा मानवा।।२।। शुभयोगाचे नरभव हे िमळाले ानीजणां चे भा हे जागले आता चूकू नको ान धर मानवा परमा ात लीन होऊन जा मानवा।।३।।
िक ो म आज कल के र े बोझ म लदे ए से उ ीद खोए मन म सपने संजोए.... नये जमाने का यह द र री ा बदलने को हर एक आतुर अ ्तमन से जो था कभी जुड़ा शत पर हात, वह अब खड़ा दोलत तराजु म तोले जा रह अब र े िक ो म आज कल के र े आनी-बानी पर,मर मरते कभी रह गये अब , बस शानो-शौकत के यह र े िक ो म आज कल के र े गुम अब हो गई वह िमठास तरस गए सुनने को अ ास नई सदी के यह अनोखे र े जमाना था कभी, माटी के चुले थे, आं गन म झले ु थे मन नही ं कभी िकसी के मेल थे खुली हवा थी लेने क सास मन म थी ब त सी आं स घु ादे दम िनभाने को जनाब नई सदी के ये मा◌ॅ डन र े
I AM AN ARCHITECTOF SORTS - AMEYA KARNIK 3rd YEAR
Architect I am an architect of sorts I create houses for people houses that keep inside all the things they wish they said all the things they wish they didn't All the happily ever after that never came to be all the good bye and farewells that were ever someone's displeasure of letting out I create houses that hold all the possibilities of tomorrow and yesterday and forever I am an architect of sorts but I don't build houses for people to live in today I build houses for people to live in yesterday for people to live in tomorrow I build houses that contain the moments that never happened in each mind the times that were wished to be gone I create, with words for living moments, pieces that immortalize memories and experiences lasting for forever the words I lay serve as the foundations of humanity I am an architect of sorts
‘‘
THE ILLITRATE OF THE FUTURE WILL BE THE PERSON IGNORANT OF THE USE OF THE CAMERA AS WELL AS THE PEN
PICTURE SOURCE : UNSPLASH.COM
LASZLO MOHOLI NAGI
PAINTINGS
SKETCHES
SUHAYA RAIT (1ST YEAR) ROHINI ARSOD (1ST YEAR)
MRUNAL GADEKARE (3rd YEAR)
ADITYA AYUSH ALISHA AKSHADA VAIDEHI ANUSHREE ASHWINI ANUPRITA ABHISHREE (1ST YEAR)
PALLAVI DHARMIK (1st YEAR)
MR. VINOD RAUT
ABHISHREE MANDALE (1ST YEAR)
SUHAYA RAIT (1ST YEAR)
TRUPTI MANDOKAR (1ST YEAR)
SUHAYA RAIT (1ST YEAR)
ADITYA MANKAR (1ST YEAR)
AR. ANKUSH MALVE
sdmca
photography MR. VINOD RAUT
MONALI KAURATI (1ST YEAR)
SHAIVIK (1ST YEAR)
MR. VINOD RAUT
SANDEEP BHATTU(1ST YEAR)
ADITI KANE (3RD YEAR)
SHAIVIK (1ST YEAR)
ADITI KANE ( 3RD YEAR)
SHAIVIK (1ST YEAR)
MONALI KAURATI (1ST YEAR)
‘‘
EXPERIENCE IS A TRUER GUIDE THAN THE WORDS OF OTHERS
PICTURE SOURCE : UNSPLASH.COM
LEONARDO DA VINCI
EVENTS
INDUCTION PROGRAMME The Induction Programme for the rst year students was held on 3rd August 2018. Hon. Shri Dattaji Meghe graced the function with informative words about MGI and motivated the students. Before the Induction programme, ten days orientation event for the rst year students of Shri Datta Meghe College Of Architecture was conducted to orient the students towards art, architecture and creativity. News letter of SDMCA 'Archi Newsline' was also released by the hand of Hon. ShriDattajiMeghe. Dr. Sheeba Valsson, Principal, SDMCA, addressed the gathering & informed the students that apart from creativity it is important to be sincere and hard working to excel in this course. The convener and the coordinator of the programme, Ar. Sheetal Gadekar-Bagde, delivered a presentation on infrastructure, code of conduct, facility and faculty of SDMCA and concluded the programme with vote of thanks.
One week orientation program for the rst year students of SDMCA was conducted to orient the RD students towards art, architecture and creativity. This concluded with Day program on 3 august 2018 Investiture ceremony of the student council 2018-19 Shri Datta Meghe College of Architecture welcomed its new student council leaders with an installation ceremony held on 5th October 2018 . Ar. Apoorva Dandge & Ar. Megha Panchariya conveyer of the program, asked respected principal mam and the teachers to sworn students with their respective batches , later speaking on the occasion, Dr.Sheeba Valsson , Principal SDMCA congratulated the newly appointed Student Council Members and pepped them up to shoulder responsibility with actions and bring out positive results in all area.
STUDY TOUR Study tour to Delhi, Agra and Fatehpur Sikri was organized to make students understand the broader vision towards architecture both historical and contemporary. Monuments like Qutub Minar, Humayun's Tomb, Taj Mahal and Buland Darwaza having architectural and historic importance were visited. Study tour to Mumbai and Goa was organised for second year students to understand the design aspects of planning on a contouring land and school of architecture which helped student understand the actual site conditions and meet was arranged with Ar Gerard da cunha and Dean d’Cruz.
ARCHI- ALIVE – Annual Event The college conducted 'Archi-Alive' an annual event which included Sports and Cultural Events for the students and the faculties. The two day event of which, the rst day was dedicated to Sports and the other to Cultural Activities. The Sports day was organised on 17th February, 2017;All the students and the faculties were in full enthusiasm and showed great spirits of sportsmanship. The day two of Archi-Alive was Cultural Programme. The programme was conducted in Shri Datta Meghe Auditorium and coordinator for the same was Ar Priya Raut. Dr Sheeba Valsson, Principal of the college addressed the students & their parents and gave her best wishes. The Chief Guest for the programme was Shri Sagarji Meghe Sir, he also unveiled the college's rst ever magazine and congratulated the students and staff for their venture of Archi-Alive. The Cultural programme then progressed with prize distribution, a musical event by MY FM 94.3, fashion show, dances drama and songs.
workshop
"Paint A Bamboo"
a bamboo painting workshop
cum competition held at Van Sabhagruha, Seminary Hills, Nagpur on 1st and 2nd sept. 2018 conducted by 'Camlin Kokuyo' and ' Nation Next' where in students were made to paint a piece of bamboo with their creative ideas which lead to very beautiful and interesting outcome
“FILL IN.....” A 3 DAYS WORKSHOP CONDUCTED FROM 9TH -11TH JULY 2018 a 3Day Workshop which SDMCA conducted on 9th, 10th and 11th of July was a wonderful experience for the students of our college. The students of 2nd , 3rd and 4th year were distributed in the groups of 10-12 . The students participation in this activity was excellent as they were excited to transform their college which they will be using for the years to come. They had put all the efforts to transform the places into interesting areas for all the three days. This workshop results in the transformation of the college building and the interesting spaces for the students interaction. This workshop was conducted by Ar. Ashwini Deo, Ar. Ankush Malve and Vinod Raut and was appriected by Dr. Sheeba Valsson.
MODEL MAKING WORKSHOP FOR 2ND YEAR A one day model making workshop was conducted for the second year students on 12th October 2018 by Ar. Nayana Tajne, Ar. Sheetal Gadekar, Ar. Ankush Malwe, Ar. Bhawana Agrawal. This workshop was organized for the better understanding of the students of the topic.
MODEL MAKING WORKSHOP FOR 4TH YEAR STUDENTS A one day model making workshop was conducted for the Fourth year students on 5th September 2018 by Ar. Megha Panchariya. This workshop was organized for the better understanding of the students of the topic.
TEACHER'S TRAINING PROGRAMME AT SHRI DATTA MEGHE COLLEGE OF ARCHITECTURE, NAGPUR. The COA-TRC Teacher's Training Programme on “Green Buildings and Energy Efciency in Buildings” th th was organized from 20 to 24 August 2018. Ar. Ashok Mokha was the chief guest for the inauguration of this 5 days training programme which was followed by expert lectures by renowned Architects, Ar. GaurangLele, Ar. UmangAgrawal and Ar. MohakZanwar. Dr. SheebaValsson, Principal, SDMCA addressed the participants about the importance of Green Buildings and need of Energy efciency.Apart from expert lectures, hands on exercises along with site visit to 'MadhavNetralaya' was also conducted.'MadhavNetralaya' is platinum rated green building designed by Ar. RajendraDongre. Participants from all over the country enthusiastically participated in this programme. The velidictory functionof this 5 days event was presided over byAr. P.S. Ahuja and Dr. SachinUntawale, CEO of MGI. The training programme was co-ordinated by Ar. MadhuraFadnavis and Er. Saili Kalamkar nd
A one day clay modelling workshop was conducted for the st rst year students on1 September 2018 by Mr. VinodRaut ,This workshop was organized to developed interest in students to make Ganesh Murti as the Ganesh festival is around the corner. The students learnt different carving techniques and learnt scale and proportion of the murti. Student made different forms of Ganesh Murti with different size and shape.The session ended with a photo session.The workshop was well appreciated by the principal Dr. SheebaValsson
A one day workshop was organized for the 3rd and 2 year th students on 7 March 2018 . The workshop was conducted by Ar. Hemant Shinde from Astral Informatics Pvt. Ltd. on Presentation skills and Portfolio Presentation. He talked about various software's used for portfolio designing like Auto-cad, Revit, 3D-Max, Sketch up, V-ray, Photoshop, etc and he gave demonstration on no. of software's used for design. there was hands on activity in which students actually worked on Photoshop software and they composed one sheet with raw material
The design problem for 2 n d semester is to design
site visit
Kindergarten. For that they have to understand the basic data about Kindergarten like their requirements, Anthropometry data and surrounding, etc. To understand what is Kindergarten a visit was conducted for the 2nd semester students at KIDZEE Kindergarten, Nagpur. 55 Students visited this site, documented and understood the space requirement, furniture measurements and circulation
Site Visit was conducted for students of 2nd year to Chitnavis Wada, Mahal, Nagpur . The purpose of the visit was to make student's understand the Documentation of a Architectural Building. Chitnavis Wada opens doors of Maharashtrin hospitality. The wada has been restored in the most beautiful way possible, without ruining its old-world charm. Student also learned the aspects of vernacular architecture, with hand work sheets and sketches.
The design problem for 2nd semesteris to design Kindergarten. For that they have to understand the basic data about Kindergarten like their requirements, Anthropometry data and surrounding, etc. To understand what is Kindergarten a visit was conducted for the 2nd semester students at IMPETUS KINDERGARTEN, Nagpur. 64 Students visited this site, documented and understood the space requirement, furniture measurements and rd
SITE visit for 3 year student was arranged for Layout Marking for a residence at Dabha, Nagpur on 4th August 2018. The site was of a small residence having plot area 1500 sft. with built up of 1480 sft. belonging to Mr. Raju Bharshankar. Student learnt do the marking for layout. They understood how the right angle has to be measured on site. They also learnt about marking of plot. Student had clear their ideas about centerline plan. The site visit was for 1 day.
nd
rd
and 3 year to
circulation. This site visit was helpful to them as they
Indian Institute of Youth Welfare,Nagpur. The purpose of site
understood furniture details and other requirements for
Site Visit was conducted for students of 2
visit to understand rainwater harvesting system on site for 3
rd
Kindergarten.
year students. Second year students also visited this site where they understood how campus planning should be done and
The students of second year visited Panchwati and Soham
how open spaces are designed on Site. All aspects of site
for their case study on 6.12.2018. As per the design project
planning and rain water harvesting were explained by
i.e Activity centre for the senior citizen, the main objective
Ar.Vinaya Nandedkar Madam. This site visit was very helpful to
was to see the special considerations taken for them and
understand campus planning and site level services.
the spaced designed accordingly. The students well sensitized with the psychological and emotional aspect by
th
Site visit for 4 year student was arranged at empyrean housing , kathewada, dist. Nagpur for their th design problem on 29 june 2018. 15 students accompanied by Ar. Nayna Tajne, Ar. Bhawana Agrawal & Ar. Shubham Bhujade.
Site visit for 3rd year students was arranged at ycce campus temple, nagpur to practically th study the process of plaster on 25 june 2018 under construction technology & materials- v.
visiting these places. Ar.T anya Saluja, Ar. Sheetal Gadekar, Ar. Mohini Dhande,Ar. Sakshi Surekha, Ar. Megha Panchariya, Ar.Ankush Malve, Ar. Pooja Padole accompanied 55 the students. Thus it was a fruitful site visit for them.
guest lecture A guest lecture was arranged for the students of SDMCA wherein Ar.Vinaya Nandedkar enlighten them on topic “Exploring Design”, it was an interactive session, where she also shared with students her personal experiences as a practicing architect in evolving various projects .
GUEST LECTURE BY AR.AHOK MOKHA SIR was arranged for students of sdmca of all years on 20.08.18. A seminar on students excellence was conducted at SDMCA which was given by Ar. Ashok Mokha, Chairman, IGBC Vidharbha Chapter. The session was purely on how a student can excell in different elds with concentration and determination. The inputs given by him were
An Expert Lecture by renowned architect, Dr. st nd Ruxandra Crutescui, was arranged for 1 , 2 and rd 3 year students on “Sustainable Development and Architecture – New Challenge Due to Change in Climate”. Dr. Ruxandra Crutescui , associate professor, Spiru Haret University, Bucharest, Romania and is the head of the Research Development , Innovation Department at Passive House Institute accompanied by Dr. Daniella who is lawyer by profession.
truly aspiring and he also shared his professional experiences with the students which help them to keep their goal and he also motivated students with his valuable words. A Guest Lecture was conducted for 4th year students on Temporary Structures at SDMCOA, Nagpur. The purpose of guest lecture conducted was to understand the basic concept of temporary structures, the construction technique involved on site and types of installation techniques. Construction aspects using building materials like timber and steel, how it is designed on site. All aspects of designing and drafting questions on temporary structures were also explained by Ar. Ramesh Bhambhani Sir. This guest lecture was very helpful to understand the temporary structures using timber and steel sections.
Guest Lecture on “design approach for kindergarten” on 6th February 2018 for second semester students. The guest speaker was Ar. Sandeep Pathe, owner of Sakha Studio at Nagpur. The lecture was preceded by focusing on his approach toward designing kindergarten its concept of understanding, anthropometry, colour scheme and child phycology. In his talk he emphasized the importance of how to design spaces with its requirements with specic examples in the case of Impetus Kids which he recently designed.The lecture was received with admiration by the students and they also found the slides appropriate for the subject.
An expert lecture on 'Building Automation System (BAS)' was delivered by Dr.Pratima Dhoke, for third year students, in this the concept, technology of Building Automation System in the building was explained through the power point presentation The different components, functional aspect along with installation and Their applications for the services like plumbing, electrical, air-conditioning, etc. were elaborated. The question – answer session cleared the doubts of the students.
A guest lecture was organized for the 3rd and 2nd year students on 20th February 2018 in Shri Datta Meghe College of Architecture as a part of curriculum. The guest lecture was conducted by WIDEA Architects on Presentation skills and Portfolio Presentation. WIDEA Architects PVT.Ltd is Nagpur based rm founded by Sumit Singh, Shubham Bhujade & Jhanu Chanthar. They pursued there degree in Bachelor of Architecture from National Institute Of Technology, Calicut, Kerala. WIDEA Architects has been established with an idea to empower creative minds by enabling them to integrate knowledge, academic freedom, and creative thinking. Team of these young architects is known for their work and graphical presentations.
‘‘
I CAN’T BUT WE CAN
PICTURE SOURCE : UNSPLASH.COM
ANONYMOUS
igbc 2018
Conservation of heritage structures is an important tool in city development. It plays an important role to define the landmark within the heritage area therefore Architectural Documentation is the first step for conserving heritage structures. Documentation provides us the base which helps us to explore further and to understand the built fabric of the precincts. In the contemporary world where the value of the rich cultural heritage of India is unknown to young generations, the importance of training to protect and preserve our culture was realized by the Shri Datta Meghe College of Architecture faculty and students and thus,‘Heritage Documentation cell’ of Shri Datta Meghe College of Architecture, came out as its result.
One day conference was conducted on “Sustainable and Liveable Cities” by Indian Green Building Council, IGBC Vidarbha chapter and Shri Datta Meghe College of Architecture at Hotel Centre Point, Ramdaspeth on 19th April 2018. The opening speech was delivered by Mr. Rahul Dixit, Chairmain, CII Vidarbha Zonal Council. Dr. Sheeba Valsson , Principal of Shri Datta Meghe College of Architecture The theme was addressed by Ar. Ashok Mokha, Chairman, IGBC Vidarbha chapter, keynote speaker was Mr. Girish Gandhi, president Vanrai Foundation. Special address was delivered by Dr. U P Waghe, Principal YCCE, Nagpur. One day workshop was conducted on “INSTITUTIONAL CAMPUS WASTE MANAGEMENT” by Shri Datta Meghe College of Architecture in coordination with IGBC. Mr. Rajeev Dhande, CEO, Avadhoot Urja Abhiyan LLP, was key note speaker. The opening speech was delivered by Dr. Sheeba Valsson, Principal SDMCA. Prof. Nayana Tajne & Ar. Parikshit Mudholkar coordinated the workshop. the information was given about how and how much waste is generated in global scenario. session was about how the waste can be disposed and how the avenues are open to generate revenue. Speaker also talk about the hierarchy of three “R” ie. REDCE, REUSE, RECYCLE. With this workshop student become aware how to reduce waste generation, how to segregate the waste
A half day workshop was conducted on “IGBC campus rating system” at Shri Datta Meghe College of Architecture on 14th Nov 2017.A welcome address was given by Principal Dr. Sheeba Valsson. An activity was conducted with the use of coloured cello tape, paper cups to represent an urban level settlement. A presentation on IGBC rating system was given by Prof. Nayana Tajne. About Wanadongri campus rating audit, a presentation was given by Ar. Parikshit Mudholkar. Workshop was concluded with question answer session followed by lunch. All the principals and Head of Department of MGI with total number of 39 attended the workshop. The aim of this workshop was to make aware about campus rating process and how to get credits of various components of the campus for IGBC rating. Waste Management Awareness Programme In Collaboration With IGBCDate: 21st February 2018 A Waste-management Awareness Program was conducted by Ar.Nayana Tajne and Ar. Parikshit Mudholkar at Mahatma Gandhi High School wanadongri , nagpur on 21/02/2018 in collaboration with IGBC.
nasa 2018-19
NATIONAL ASSOCIATION OF STUDENTS OF ARCHITECTURE, INDIA
DANNISH FAROOQUI USEC - UNIT SECRETORY
“
NASA is a great platform or event to showcase every colleges' works done throughout their academic year. It elevates the student's motivation towards architecture and also the institute's standards. Every student of Architecture should once attend this in their 5 years of academic. It was really a life time experience for me to lead a college at national level. we got to learn different things, got to see work of students from other colleges, it will be very helpful for me in future academics as well as my career. Now, we are suiting up for annual NASA convention and I am sure we will bring more glory and achievements to our college with more enthusiasm.
SDMCA panel at the convention DANNISH FAROOQUI USEC - UNIT SECRETORY SAHIL QURESHI UDSEC - UNIT DESIGNY The Annual NASA Convention is the annual get together of National Association of Students of Architecture. It is a four-day-long event held towards the end of January and is attended by around 5,000 students. Called Annual NASA when it was started more than fty ve years ago, the convention has gone on to become an integral part of all architecture colleges not only in India but as well as in the SAARC Nation. With more than hundred events, NASA Convention offers a variety of fare to choose from for both the participants who are out to chill out and those who come for serious competition, in almost any literary or cultural activity. SDMCA is participating as a observer from the year 2018 and soon aim of becoming a permanent member of NASA. As an observer SDMCA Participated in The Annual NASA Design Competition (ANDC)trophy and entries has been selected amongst the top 80. SDMCA also participated in two trophies at the Zonal Nasa at Singhagad College Pune and was amongst the top 8 in the Product Design Trophy with the brief of Five Senses
“
. NASA gave me condence to work hard to represent our work, to explore many things in a different way apart from our study schedule in the course of Architecture.it was motivating as well as learning experience. We just have to keep patience, condence and work with team spirit to achieve more in future conventions.
RUCHITA GYANCHANDANI 3rd YEAR
“
At the end we were lled with memories, new experiences and knowledge, after participating in such events we realize there's a lot we need to be doing already, as the competition grows everyday, and students use every tool at their disposal. NASA did elevate our interest and motivation towards architecture and we gained a lot of knowledge by learning many new things.
PRAJWAL GURAO 2nd YEARS
OPEN JURY
INDIAN INSTITUTE OF ARCHITECTS
EARTHQUAKE RESISTANT PRACTICES
IIT KANPUR
17th - 23rd June, 2018 A Seven day Workshop titled“Earthquake Resistant Practices for Students of Architecture”is scheduled to be held at IIT Kanpur from 17th - 23rd June, 2018 by National Information Centre of Earthquake Engineering (NICEE). The objective of this workshop is to sensitize students of architecture in earthquake resistant design practices through technical lectures followed by design studios where they will be given hands-on guidance in earthquake resistant design by working on an architectural design project. Following students are selected from Shri Datta Meghe College of Architecture from 6th Semester for IIT, Kanpur Workshop. Kajal Dilip Chawla, Harshita Kishor Gourkar, Neha Vijay Bajaj, Pranjali Gandhare, Diksha Yadavrao Machale, Vaishnavi Sanjay Wagh, Prachi Walkalwar
GAYATRI PANDE 4th YEAR
Sheets Of Gayatri Pande Being a student of rst batch of our college it was my privilege that I got a chance to represent our th college in 10 SA Deshpande design trophy organized by IIA Maharashtra chapter. It was the rst time when our college was going to participate in this design competition, and getting shortlisted for nal open jury was much more than expected. This competition encourages one to think out the box, it can be said that it is an exercise to our creative minds which sometimes gets tired of learning technical subjects monotonously. When it comes to the topic of this competition it is always something unique, something which someone has never thought of, as this time it was “The Djinis of Bhootpur”, which demands the 7 atmospheric drawings generating the aura of uncanniness. We were free to choose any abandoned site like mountain, train, ships, etcetera or it could be just somewhere on earth or also maybe out the earth. The best part of this competition was the challenge to generate the idea and design which pushes one in the valley of uncanny, haunt and terror. This competition helps one in developing their architectural vocabulary, presentation skills, obviously some great design ideas and lastly, one's stage fear. Every top 15 have their own idea, their own way of generating the aura of uncanniness but mine was to club the stereotypical elements of hauntedness, uncanniness and terror in the 7 different layers. By plotting a hypothetical story of, “what if the earth got swallowed by the black hole; by assuming the immortal time in the black hole the 7 stages of fear, rather the 7 layers of fear which one will go through when this happens was my plot for the design, generating the aura of haunt, uncanny and terror. As for getting inspiration for design and ideas the brief had mentioned some movies and books to watch and read which played a major role for me in selecting the elements of fear in my design. And also, you get a chance to watch movies in college hour without getting scolded by faculty, what can be better than that! But this time period of 7 days, the jury days, were very fruitful for me as I got to learn many things from this and one was majorly that – “architecture is responsible for the aura of any place, it's the architecture which gives a meaning to the place and how you feel after being in that place”.
VAISHNAVI WAGH 4th YEAR Initially we got introduced to the form lling procedure and all the details of IIT Kanpur. The workshop was based on earthquake resistant building. The main aim of the workshop was to teach us how to design an Earthquake resistant building. The workshop was of seven days where in the rst few days they taught us the theory that we are supposed to know during the designing of a building and later on we were introduced to the project. The project was to design an ofce complex with the residential complex for the people working in that ofce, hailing from different cities. We were in a group of two to design this project and also we were allotted a mentor for the discussion. Our designs was checked by the RESIST SOFTWARE, they also taught how to use that software. This experience was something that taught us how to work in a team with a person whom you have never met before. By this time you make new friends, learn different things from them, exchange knowledge. IIT Kanpur workshop is the experience that everyone should get once. I would suggest my juniors to ll the form, work hard, get selected and go, experience the new world of architecture of unknowns and come back with a box full of good memories and also with bag of knowledge of earthquake resistant building concepts and much more.
‘‘
YOU HAVE TO REALLY BELIEVE NOT ONLY IN YOURSELF; YOU HAVE TO BELIEVE THAT THE WORLD IS ACTUALLY WORTH YOUR SACRIFICES
PICTURE SOURCE : UNSPLASH.COM
zaha hadid
ACHIEVMENTS
PUBLISHED JOURNALS 2018 DR. SHEEBA VALSSON International journal Paper titled reviving the vernacular architecture of gond tribes of gondia district_a sustainable case study in today's context is published in international journal of engineering research (ijer), special issue 2(nceta-2018) of volume 7 dated 11th and 12th jan 2018. International conference Paper titled- 'urbanization, climate and the phenomenon of urban heat island' published in international conference on innovative a realm in civil engineering, organized by kdk college of engineering, nagpur and institute for engineering research and publication (iferp) from 24th to 25th jan 2018.
The students of Shri Datta Meghe College of Architecture, Wanadongri Nagpur participated in the Annual Rashtrasant Tukdoji Maharaj Nagpur University Intercollegiate swimming tournament which was held at Kamgar Kalyan Kendra Swimming Pool from 26th September to 28th September 2018. Two Students from SDMCA participated in the swimming tournament. Vaidehi Kadway third year student of SDMCA, won the Bronze Medal in 50 m Free style (Women). The students were guided by the Sports Ofcer Mrs B. R Sapate and Sports In charge Ar. Apoorva Dandge. The enthusiasm and the efforts taken by the students were worth appreciating. Dr, Sheeba Valsson Principal of Shri Datta Meghe College of Architecture praised the students for their efforts
National conference Paper titled- 'reviving the vernacular architecture of gond tribes of GondiA district a sustainable case study in today's context was published and presented in national conference on emerging trends in architecture: education and practice, held at mit school of architecture on 11th and 12th january 2018.co-author – prof. Seema burele. AR. MEGHA PANCHARYA International Journal
MGI Sports Meet ,17th February 2018 SDMCA faculty Ar.Nayana Tajne ,Ar.Megha Panchariya ,Mrs.Shimla Singh and Mrs Varsha Bondre stood second in the relay race at the MGI Sports Meet, also Ar.Naina Tajne secured second prize in musical chair organize for women
Paper Titled “BRIDGING GAP BETWEEN THEORY AND PRACTICE IN ARCHITECTURAL EDUCATION WITH LEARNING BY DOING (EXPERIENTIAL LEARNING)” Is Published In International Journal Of Current Advanced Research (IJCAR), Volume 7, Issue, 2(H), pp. 10152-10155, February, 2018.
BRICK BOND competition organized by RGCER in which our students of rst year secured 2nd Position with cash prize of Rs.1000/- . Participants name:- Avanti Ingole, Payal Papinwar, Pallavi Sakure, Amruta Birole, Awanti Deshmukh
AR. SHEETAL GADEKAR International Journal
FACE PAINTING competition organized by DBACER ( CIVIL DEPARTMENT) in which two groups of our rst year students secured 1ST Position. Participants name:-Ojasvi Ingole Mrunal Khadse Amruta Birole Sujit Yerawar Rashmi Tagade
Paper Titled “FORMAL-INFORMAL SPACES: AN ADDITIONAL ROOM TO THE URBAN POOR” Is Published In International Journal Of Recent Scientic Research (IJRSR), Volume 9,Issue, 4(K), pp. 26277-26280, April, 2018
TOWN PLANNING competition organized by DBACER ( CIVIL DEPARTMENT) in which our rst year students secured. The 1st position was secured by: Prajwal Gurao, Shalaka Dhande, Sharvari Konde. 2nd position was secured by Anjali Gour, Ankita Kumari, Sanket Pawar
ER. RANGOLI JIWANKAR
WALL PAINTING competition organized by RAISONI COLLEGE OF ENGINEERING in which our student Sujit Yerwar secured 1ST Position with cash prize of Rs.2000/-.
Er. Rangoli Jiwankar given guest lecture on Parameters of Green Buildings at KDK COLLEGE Er. Rangoli Jiwankar published paper in IJSRD on “COMPARISON OF COURSE FOR WIND FOURCES USING IS-875:2005
LAN GAMING competition organized by RGCER in which our student Pranay Lipte from Second year secured 1ST Position
‘‘
WE ARE NOT A TEAM BECAUSE WE WORK TOGETHER WE ARE TEAM BECAUSE WE RESEPECT TRUST AND CARE FOR EACH OTHER
PICTURE SOURCE : UNSPLASH.COM
ANONYMOUS
STUDENT COUNCIL
YASH GYANCHANDANI PRESIDENT
NIDHI SINGH VICE PRESIDENT
AASHI FULZELE SECRETARY
DINESH BHENDE JOINT TREASURER
PRAJWAL GURAO JOINT SECRETARY
SARANSH GOTHI PUBLICATION INCHARGE
TRUSHITA OGARE PUBLICATION INCHARGE
VAIDEHI KADWAY SPORTS INCHARGE
NAMRATA TIWARI CULTURAL INCHARGE
KETKI DAIWATKAR EXHIBITION INCHARGE
ASHMIKA MANGLURKAR EXHIBITION INCHARGE
2018-19
MADHURA PATKI PUBL. CO INCHARGE
SHARVARI KONDE EXHIB. CO INCHARGE
SURBHI NAGRANI EXIHIB. CO INCHARGE
TANUSHREE CHAWHAN CULTU. CO INCHARGE
PRIYANKA JETHANI CULTU. CO INCHARGE
YOGITA BHUSARE CULTU. CO INCHARGE
ABHISHEK B KUMAR SPORTS CO INCHARGE
PRASHEEL INGLE CULTU. CO INCHARGE
ADITI KANE CULTURAL INCHARGE
SUHAYA RAIT PUBL. CO INCHARGE
NEHA MANSANI CULTU. CO INCHARGE
PRANJALI LOKHANDE CULTU. CO INCHARGE
ADITYA MANKAR CULTU. CO INCHARGE
REBECCA MATHEWS PUBL. CO INCHARGE
SANJYOT GAJAM SPORTS CO INCHARGE
MANSI MESHRAM SPORTS CO INCHARGE
MANALI RAUT EXIHIB. CO INCHARGE
HARSH KESHWANI EXHIB. CO INCHARGE
SDMCA FAMILY
SHRI DATTA MEGHE COLLEGE OF ARCHITECTURE, NAGPUR
TEACHING STAFF SDMCA
STUDENT COUNCIL 2018-19
NON - TEACHING STAFF SDMCA