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“The disguises in architecture are numerous: facades, arcades, squares and even architectural concepts. Like masks they place a veil between what is assumed to be reality and its participants. So sometimes you desperately want to read the reality behind the architectural mask.� *Bernard Tschumi- The Pleasure of Architecture Mask [Mask, mahsk] –noun A covering for all or part of the face, worn to conceal o ne's identity. A grotesque or humorous false face worn at a carnival, masquerade, etc.: Halloween masks. Anything that disguises or conceals; disguise; pretence: A likeness of a face, as one molded on the face in plaste r. A covering of wire, gauze, etc., to protect the face, as from splinters, dust, or a pitched ball. Gas mask. Any protective covering, as paper, cardboard, plastic, or the like, used for masking something, as of a photograph or window. The dark shading on the muzzle of certain dogs. A representation of a face or head, generally grotesque, used as an architectural ornament or as a decorative device in weaponry, furniture, etc. A person wearing a mask; masker. A piece of cloth, silk, or plastic material covering the face of an actor to symbolize the character being represented: us ed in Greek and Roman drama and in some modern plays.
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Architectural elements present themselves with the aim of enticing the observer to respond. These elements in themselves can be considered as „the maskâ€&#x;. The experience of architecture is not self generated but a response to the illusion that architecture creates. The role of architecture is to seduce its observer. Its only when the observer gives in to the illusion of architecture that it becomes pleasurable. There is no one single understanding of these masks. The
desire to read the leave the reader
reality behind these masks can grappling with a never ending process of uncovering mask under mask. The deductions one draws in unearthing the reality behind the mask is a dark,
unconscious
stream.
Mask & Architecture
These tales of old disguising, are they not Strange myths of souls that found themselves among Unwonted folk that spake an hostile tongue, Some soul from all the rest who'd not forgot The star-span acres of a former lot Where boundless mid the clouds his course he swung, Or carnate with his elder brothers sung Ere ballad-makers lisped of Camelot?
*Three Profiles, the One in the Middle Vertical from Play on Heads by Oskar Schlemmer
Old singers half-forgetful of their tunes, Old painters colour-blind come back once more, Old poets skill-less in the wind-heart runes, Old wizards lacking in their wonderlore: All they that with strange sadness in their eyes Ponder in silence o'er earth's queynt devyse?
Masks by Ezra Pound. 18
personae
For Pound, the were a way of working through a specific poetic problem. In this sense, the persona is a transparent mask, wearing the
traits of two poets and responding to two situations, old and new, which are similar and overlapping. Pound's personae were poets and could be considered in good part alter-egos.
As a poetic device and psychological defence mechanism, the mask projects an alternative aspect of the self rather than an opposite, in contrast with the shadow, the repressed unconscious and unwelcome self are the heart of Carl Jung‟s analytic psychology.
Thus the grappling reader that Tschumi mentions, essentially reads architecture as a projection of his unconscious.
This “feeling” is essentially what Jung further investigates. He describes the unconscious as the real reason for our instincts. He also goes on to suggest that our unconscious is not ours alone. It is in fact part of a much older and larger collective. When Diane Ghirardo talks of architecture of a feeling she cites Christopher Alexander's example of the “primitive feeling” evoked by a “pitched roof”. Jung maintains that a lot of answers can be found in dreams and the unconscious however he states that mankind, each day steps away from it to a conscious and more rational experience of things. There is a need to simplify things and understand it in a scientific fashion. A similar contrast is drawn up by Ghirado who talks of moving towards “universal harmony” by developing a “universal architecture”.
Mask & Personae Christopher Alexander maintains that “the core of architecture depends on feeling”. “Underlying this archeology of the primitive forms is a desperate search, shared with the formalist, for a universal architecture and a universal standard of value”
Mask & the Unconscious 19
Diane Ghirardo- The Architecture of Deceit
“Cultural anthropolo gist show that the same symbolic patterns can be found in rituals or myths of various tribal societies.”
Ritual uses a very peculiar way of adapting to existing spaces and then subsequen tly determini ng the character of those spaces”.
Masks were often used to keep a required balance of power or a traditional relationship of inherited positions within a
culture.
Believing everything in nature to possess a spirit, man found authority for himself and his family by
identifying
with this specific nonhuman spirit. He adopted an object of nature; then he mythologically traced his ancestry back to the chosen object. This belief gave rise to „the ritual‟.
Ancient Myths and Modern ManJoseph L. Henderson
Streets: A Critical Perspectiv es of Public space – Richard Ingersoll
Mask & the Ritual 20
Masks were often used to keep a required balance of power or a traditional relationship of inherited positions within a culture. Believing everything in nature to possess a spirit, man found authority for himself and his family by identifying with this specific nonhuman spirit. He adopted an object of nature; then he mythologically traced his ancestry back to the chosen object. This belief gave rise to „the ritual‟. The ritual helps in the understanding of the community and its
myth. However this concept placed in the city would demand to communicate a more ideological message into the public realm. But the city continues to harbor „the ritual‟ in the form of various
informal practices.The
„informal city‟ is a parallel modality that shapes the urban condition. It is pervasive phenomenon spanning a spectrum of economies.
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The gaothan in the city stands out as anthropomorphic in nature. This allows it to set up almost anywhere in the city. Most markets are a result of the daily practices of the various users.
To study the various anthropomorphic forms of the gaothan. To understand the key players of the, daily practices/ rituals of the observer. Understanding the gaothan as the alter-ego of the city and comparing it with the formal city.
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Definition Scope for changes Objective Procedure
Heritage Grade III comprises of buildings, and precincts of importance for
cityscape.
They evoke architectural aesthetic or sociological interest though not as much as in Heritage Grade II. These contribute to determine the character of the locality, and can be representative of the lifestyle of a particular community or region and may be distinguished by a street line, special character of the facade and uniformity of height, width and scale. the
Heritage Grade III deserves protection of its unique features and attributes.
In case of redevelopment of 'A' category cessed buildings (constructed before 1940) undertaken by the landlord or Cooperative Housing societies of landlord or occupiers, the total FSI shall be 2.5 of the gross plot area, or the FSI required for rehabilitation of existing occupiers plus 50% incentive FSI, whichever is higher. In case of 'B' category cessed buildings permissible FSI shall be the FSI required for rehabilitation of existing occupiers plus 50% incentive FSI. Though some buildings may belong to 'C' category (may not belong to 'A' or B' categories), they may be so dilapidated and dangerous that their reconstruction is most urgently necessary to this end, the Government has granted additional incentive FSI as per Point No.1 above for redevelopment of buildings of any category declared as dangerous, prior to monsoon of 1997.
External and internal changes and adaptive reuse would generally be allowed. Changes can include extensions, additional buildings in the same plot or compound provided that the extension / additional building is in harmony with and does not detract from the existing heritage building, precinct or area, especially in terms of height and / or facade. Reconstruction may be allowed when the building is structurally weak, unsafe, when it has been affected by accidental fire or any other calamity or if reconstruction is required to consume the permissible F.S.I.
*source: INTACH Pune Chapter
Development permission would be given for changes by the Planning Authority itself but after consulting with the guidelines laid down by the Government in consultation with the Heritage Conservation Committee.
E X I S T I N G
INDIVIDUALLY OWNED COMMERCIAL BLDGS B.M.C MARKET INDIVIDUALLY OWNED RESIDENTIAL BLDGS COMMUNITY/TEMPLE BLDGS
P R O P O S E D
ARTISANS WORKSHOPS ART GALLERIES/MUSEUMS/DISPLAY ARTIST IN RESIDENCIES STUDIOS
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SITE PLAN not to scale
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Year Five ’10-’11 Building Construction Examples from the Building Construction portfolio. The drawings detail out the construction techniques for a given design. The details out three roof systems respectively
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III Year Three ’08-’09 Working Drawings
Examples from a set of working drawings. This set detailed out construction techniques and building details for a given design.
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Year Five ‘11-’12 Working Drawings Examples from a set of working drawings. This set detailed out construction techniques and building details for a given design.
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