A AYO J A N S C H O O L O F A R C H I T E C T U R E A N D D E S I G N , P U N E
EDITORIAL
SHARDUL LAHOTI (THIRD YEAR B.Arch)
ADITYA VAIDYA (THIRD YEAR B.Arch)
The journey of presenting to you 'SPACESCAPE', our first ever magazine has been an endless yet tireless one, from never ending meetings to multiple redoes. However, the journey matured us a lot and now we stand here, proudly declaring 'SPACESCAPE' as our brainchild. It was a Herculean task to publish our first ever magazine from a scratch trying to live up to the expectations of everyone and make our small mark, to set a benchmark for our later editions to come.We thank our respected Principal, Prof. Anand Ukidve for giving us all the support which helped us complete the work in time. It was he who coined the name 'SPACESCAPE'. We owe our deep gratitude to our Magazine guide Prof. Namrata Khatod and Prof. Manjusha Ukidve who took keen interest in our work and guided us all along by providing the necessary means and motivation which truly helped us achieve our goal. We would not forget to remember Prof. Ninad Katdare for his valuable inputs and moreover for histimely support and guidance till the completion of our magazine. We also thank our faculty members, Ar. Kiran Mahajani, Prof. Rajiv Raje and Prof. Amol Holey for having spared their time towards the contribution of 'SPACESCAPE'. Publishing this magazine has been the most adventurous task we’ve undertook, yet, as it gave us an opportunity to interact with a lot of new people .Just like any particular ‘SPACESCAPE’ it’s something that has kept on unfolding until we decided to stop. We, the magazine team bring to you the Glimpses of 'Aayojan School of Architecture and Design, Pune' through 'SPACESCAPE' and hope you have an amazing time unfolding the various events we've covered.
DIRECTOR’S NOTE
PROF. KIRAN S. MAHAJANI DIRECTOR AND PRINCIPAL, ASA, JAIPUR PRESIDENT ,SEDRAA
PRINCIPAL’S NOTE
PROF. ANAND UKIDVE PRINCIPAL, ASAD
Aayojan School of Architecture and Design, embarked on its journey exactly five years ago on the 5th of Sept 2012, Teachers' Day, also the auspicious birthday of Dr. S Radhakrishnan. With a modest beginning in small space in the city, Aayojan Pune has grown to its own campus in pristine seings of Purandar. We h a ve g ro w n i n s t re n g t h a n d determination, with many contributing in its journey till date. In the pursuit of excellence, Aayojan has always believed in growing together with all the stakeholders, students, faculty and staff. Architecture touches every aspect of everyone's life, every day, every moment. Space is all encompassing, we live and breathe in it, shape and get shaped by it. Architecture is an expression of a self, of society and its culture. It truly represents people and their time yet transcends beyond it and has ability to be timeless. It is this
expression which is most important in the creative field such as Architecture and Design. This is an extremely proud moment for all of us at Aayojan Pune that the first Magazine 'SpaceScape' is geing published. 'SpaceScape' is a platform for expression for the students, the faculty and entire Aayojan family. It is a kaleidoscopic glimpse of life at Aayojan, a pallee of ever-changing, all pervading 'Space' filled with all hues, shades and tints. I heartily congratulate the entire School, e s pe c i a l l y t h e M a g a z i n e te a m students and the faculty mentors, whose tireless toil has resulted in this beautiful publication. I wish them success for all the future issues. I believe that this is a good start to the publishing activity at Aayojan and the future will see us publishing magazines, Journals and books contributing to field of architecture and Design. Best Wishes
MAGAZINE TEAM
VINIT VALUNJ
SHARDUL LAHOTI
KSHAMA LAD
ADITYA VAIDYA
KARTIK THAKKER
MOHAK GOGATE
ANUSHNA MALEKAR
AMOLA AGRAWAL
STUDENTS’ COUNCIL
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FROM LEFT:SOCIAL HEAD AKASH JAIN VICE SOCIAL HEAD AMBER SHUKLA
VICE GENERAL SECRETARY SANAT BHAVSAR
VICE MAGAZINE HEAD AMOLA AGARWAL
GENERAL SECRETARY KSHAMA LAD
MAGAZINE HEAD SHARDUL LAHOTI
VICE EXHIBITION HEAD ANAND KUNKULOL
VICE SPORTS HEAD RUSHUBH MUTHA
UNIT DESIGNEE JAYDEEP SHINDE
EXHIBITION HEAD NAKUL LUNAWAT
SPORTS HEAD ILA KATKAR
UNIT SECRETARY SHARDUL SAHASRABUDDHE
CLUBS HEAD MEHUL BARIS
VICE CULTURALS HEAD KETAN BHILARE
VICE CLUBS HEAD GAURI SOMAN
CULTURALS HEAD MRUGAJA KARANDIKAR
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CORE FACULTY
VISITING FACULTY
ADMINISTRATIVE STAFF
Director Ar. Kiran Mahajani Ar. PVK Rameshwar Advisor Ar.Hemant S. Sathye Prof. Design Chair Ar. Anand G. Ukidve Principal Prof. Design Chair Ar. Rajiv Raje HOD Urban Design Ar. Nikita Oak Ar. Akanksha Katare Ar. Amol Holey Ar. Dinesh Hipperkar Er. Gurudaa Ingale Ar. Manish Shah Ar. Manjusha Ukidve Ar. Namrata Khatod Ar. Nimesh Porwal Ar. Ninad Katdare Ar. Pooja Sohan Ar. Priyanka Jadhav Ar. Rajashree Deshpande Ar. Rakesh M. Shekatkar Ar. Rakshada Rode Ar. Rashmi Abhyankar Ar. Sanjay Tasgaonkar Ar. Shruti Bharadwaj Ar. Sneha Bendre Ar. Sonal Nirmal Ar. Sonali Herlekar Ar. Sukhada Dixit Ar. Supriya Joshi Ar. Tejas Naik Ar. Yogita Pandit
Ar. Aditi Navgire Ar. Ajita Deodhar Ar. Akansha Katare Ar. Akshata Dalvi Ar. Aniket Hundekar Ar. Anil Kulkarni Ar. Aniruddha Sane Ar. Anjali Shejwalkar Ar. Arthur Coutinho Er. Arun Atre Ar. Ashish Kelkar Ar. Bhagyashree Chutke Ar. Gayatri Deshpande Ar. Hemant Khire Ar. Hemant Lele Ar. Janpreet Kaur Dogra Ar. Mangesh Belsare Ar. Mugdha Pargunde Ar. Parag Bokil Ar. Pratik Devi Mr. Rajendra Kelkar Ar. Rishikesh Adhikari Ar. R.N. Gohad Ar. Rujuta Pendse Ar. Salil Sayyad Ar. Sanjeev Kulkarni Ar. Shirish Kembhavi Ar. Tejas Joshi Ar. Unmesh Vaidya Ar. Varsha Jog Ar. Venkatesh Adbal Ar. Vishal Avachat
Mr. Achyut Devale Mr. Daa Kudale Ms. Monal Mhaske Mr. Nilesh Deshpande Mr. Prashan Chavan Mr. Prashant Ghorpade Mr. Sagar Bhoite Mr. Tushar Thombare Ms. Ujwala Khamkar Ms. Vaidehi Belhekar
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ACADEMIC ACHIEVEMENTS COLLEGE TOPPERS FIRST YEAR
TANESH JUNAWANE
SECOND YEAR
THIRD YEAR
SIDDHEYA DESHMUKH
RUTUJA KHATU
RIYA PITALE
BHAVIKA JAIN
ATINDRA PONNADA
ADITI PAWAR
SURABHI RAO
MANDAR BORKAR
FOURTH
YEAR
FIFTH YEAR
JUI APTE
SUKRUT JOGLEKAR
ROHIT MAHAJAN
SHASHWATA JOSHI
SHARVARI DESHPANDE
DARSHAN SHEDGE
ACHIEVEMENTS
-ANSHUL YERVADEKAR
-ILA KATKAR -THIRD YEAR
-FOURTH YEAR 2016 - 2017 University Swimming Meet District - 5 gold, 2 silver Zonals -5 gold ,1 silver, 1 bronze Nationals selection for AIIU (All India Inter University. )
- PANKAJ ZURUNGE -SECOND YEAR Silver medal in 31st International Mix Martial Art Fight Competition held in Bankok, Thailand.
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- RUTUJA KULKARNI & KARAN AHIRE
Secured individual third rank at the all India Inter-university Rope Mallakhamb competition held at Punjab University, Chandighar.
-FIRST YEAR Secured ďŹ rst prize in the category of F. Y .b arch for the competition ARCH N PAPER. ( Arch n paper is an Architectural Inter College Academic work competition.)
- RUTUJA K. KHATU -THIRD YEAR Secured third rank in third year in Savitribai Phule Pune University.
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EXHIBITION “AMORPHOUS”
“Jhaanki’’ 2016-17was a great learning experience for the students. "A journey of a thousand miles begins with a single step" ... Lao Tzu.
Prof. SONAL NIRMAL (Associate Professor) Faculty Exhibition Co-ordinator 2016-17
For us, the exhibition team, the thought was to pay a tribute to Zaha Hadid, whom we lost last year. With this as the theme, began the challenging task of seing the right name and designing the right installation apart from the regular task of puing up the students' academic work. The name 'AMORPHOUS' was nalised as it re ects in some manner the works of Dame Hadid (free forms following the principles of parametricism) and yet d oe s n o t d i s c l o s e t h e co n ce p t completely to the visitor. The venue available though daunting initially, offered the scope to have a free- owing circulation and to put up many large-scale installations. Each was designed in an integrated manner
to complement the theme and one another, creating focus and directing the visitor to the right spot or just activating the space. A new addition this year was the live display of students' talent along with a few workshops at the venue. Each work, in this whole process, taught a lot to the students. After a few minor hiccups, the venue was beaming with excitement on the day of the inauguration and later 2 days too. The inauguration at the hands of the SPPU Vice Chancellor Prof. (Dr.) W. N. Gade was a cherry on the cake.
13 It was a pleasure to receive a positive note about the exhibition and the students' work from a person of his stature. The exhibition was appreciated by the visitors many of whom comprised of senior architects from the city. All this was possible because of the incessant enthusiasm and excellent teamwork among the students, right guidance and constant support from faculty and the patient leadership of the exhibition Head, Nakul Lunawat and the Vice Head, Anand Kunkulol. A special mention to the entire Student council lead by Kshama Lad and the other students who are the backbone of the council.
A special thanks to the administration and support faculty too. I would like to thank our Principal, Ar. Anand Ukidve who was a constant support at each level and last but not the least Ar. Sanjay Tasgaonkar who would take care of seemingly impossible tasks with great ease. With this I convey my best wishes to new council.
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CHANGING LIFESTYLE, CHANGING SPACES
SANAT BHAVSAR (SECOND YEAR B.ARCH)
OLD IS GOLD is one of the very ancient saying and not too much, to our astonishment this saying is hundred percent true. When it comes to Indian logics of spaces, it is tested and proven to be one of the most efficient and effective planning. From designing huge temples, forts and Wadas Indian a r c h i t e c t u ra l h a s a l wa y s b e e n inspiring. Though due to the in uence of European style of living there have been a lot of changes in our living spaces. India being a country of vivid culture yet holding on the strings of togetherness, joint family was a major concept of living. Through ages India has always nurtured the concept of joint families. Be it of any religion or in any caste. The basic underlying principle of a joint family that is togetherness and job distribution were rmly controlled and followed very efficiently. Due to this culture a lot of daily chores and tasks were completed effectively in time, as these tasks were
mostly done in the house itself and a lot of common spaces were created which in turn increased the family bonding. This joint family concept has majorly been in uenced by the new lifestyle that has been adopted. Families have started to separate and the new nuclear family concept has been acquired. This kind of a living surely provides a lot of privacy and e x ce s s i ve a m o u n t o f a e n t i o n provided only to the ones residing in the residence. This change in lifestyle totally changes the spaces like the kitchen which was supposedly been used by around six to seven female is now controlled and owned by a single person. Back then where there used to be separate living rooms precisely divided as, a formal living room where all the guests and the visitors are entertained and the informal living room where the family sits together,
15 chit chats together and have fun, has now been replaced by a single common living room. On one hand we say by creating a nuclear family, we are trying to aain privacy while contrastingly we do not provide a separate space for the visitors and allow them to disturb our privacy. The old houses had court yards where entire family used to sit and the daily chores rotated around this courtyard, hence one of the most important spaces for interaction was the courtyard. These courtyards also had always been open to air which provided a direct contact with the sky. This connection with the sky and the atmosphere is considered to be sacred and pure, and that's why all the prayers used to take place here. But in today's apartment you hardly even get a balcony which can be considered as a replacement of the space where you can directly have contact with the sky. This space has been totally exterminated from today's lifestyle. Changing lifestyle has de nitely hampered our spaces and maybe not for a bene t this time. The new changes have their own bene ts of privacy, less space utilisation and a lot of new neighbours. As we all know CHANGE IS CONSTANT and CONTINUOUS , we would always observe a change in
lifestyle and as EVERY COIN HAS TWO SIDES even this change as well has its pros and cons; it's on us how we adapt to it in our daily lives.
CULTURALS “AAYOTSAV”
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AAYOTSAV 2016-17 – Lasting Impressions…
Prof. YOGITA PANDIT (Assistant Professor) Faculty Culturals Co-ordinator 2016-17
Aayotsav (Cultural fest organised at Aayojan school of Architecture and Design, Pune) for the year 2016-17 was organised form 2nd Jan 2017 to 4th Jan 2017. All the events were coordinated by the Student's council members - G.Sec. Kshama Lad, V.G.Sec S a n a t B h a v s a r a n d Fa c u l t y representatives Prof. Priyanka Jadhav, Prof. Yogita Pandit along with inputs from the PIC Ar. Anand Ukidve. The preparations for this three day event started almost a month before the actual Aayotsav. Throughout the month of December 2016, various e x t ra - c u r r i c u l a r a c t i v i t i e s l i ke workshops, sports events, College Marathon and so on were planned to slowly build the festive mood of the students and the faculty for upcoming Aayotsav. The Cultural Events Student coordinators Head- Mrugaja Karandikar
and V. Head Ketan Bhillare along with the Faculty representatives conducted serious auditions for the performances and anchors. The month of December also saw students working diligently on various aspects such as: 1. Planning and execution of various installations to be set up during the cultural week in the college campus as well as at the Exhibition venue. 2. Planning and rehearsing dance, Music (College band) and drama performances for the nale night. 3. Collecting, Sorting and Organising the Student's work to be put up in the College Exhibition. 4. Planning all the ancillary things like stage design and backdrop, lighting and sound arrangement, seating arrangement, Catering etc. for the nale night. 5. Planning of various activities to be conducted during the 3 days of Aayotsav. 6. Working out and managing the budget for all the events planned.
17 Faculty representatives conducted serious auditions for the performances and anchors. The best were selected, re ned and then showcased at the Aayotsav Finale night. 25th December i.e. Christmas Eve, gave students another opportunity to celebrate and keep up the festive mood which they did by organising Secret Santa and a Bon re in the Campus.
Aayotsav 2016-17 i.e. from 2nd Jan to 4th Jan 2017, saw various activities happening simultaneously at the Campus. DAY 1 – Traditional day – On the Spot Games, Photography and Acrylic Painting Workshop, Installations in campus. DAY 2 – Halloween day – Halloween Fashion Show, On the Spot games, Final touches to installations on Campus and rehearsal for the nale Night. DAY 3 – Twin Day – Fun Fair, Stage and seating arrangements, Lights and Sound, Final rehearsal etc. The Aayotsav 2016-17 nale night was a mesmerizing event, thanks to all the student co-ordinators, anchors, performers and aendees who graced the occasion. The highlights of the event were enthusiastic and graceful dance performances by the students and soulful rendition of select songs by the college Band.
Icing on the cake was a captivating drama “Naandi” (Marathi Ekankika) presented by the college drama club. It addressed and underlined the signi cance of Woman in all her varied r o l e s s u c h a s M o t h e r, F r i e n d , Companion and so on. The Grand event ended with a dinner organised at the campus. Aayotsav 2016-17 gave students many opportunities to showcase their talent in numerous elds – be it sports, performing arts, visual arts and also planning and management. The spirit of Aayotsav 2016-17 will be fondly remembered by all and cherished forever.
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ON MYTHOLOGY Some myths are just stories old, Through generations they are told. Some are based on happenings true, While others are remembered by few. They make us think and entertain, Sometimes they tell of others' pain They may consist of creatures strange, And people who can faces change.
GURJYOT SINGH (FIRST YEAR B.ARCH)
With destruction that monsters crave, And a world that heroes save. Comprising of some evil lords, And legends who ďŹ ght all odds. All of them are joy to hear, But they always a moral bear. So hear them with the moral seeing, And become a beer human being.
TEN COMMANDMENTS FOR ARCHITECTURE STUDENTS
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A guideline for SUCCESS ... !
PROF. RAJIV RAJE (PROF. DESIGN CHAIR)
After choosing Architecture as a field of study for a career, every student sooner or later begins to think about the future and what lies ahead. What should one do ? Continue further studies for Masters qualification ? Take a job in some Architectural Firm and start earning ? Or start one's own practice ? A successful career in Architecture requires many more skills and qualities that go far beyond the technical knowledge and the limited artistic skills that are introduced in the five years of Architectural education. To PREPARE for a successful career in Architecture, here are TEN COMMANDMENTS for every student of Architecture :
01 READ and TRAVEL : Acquisition of "General Knowledge" is vital in our field, just as fluency in the English language is unavoidable. How will you, as an Architect, be able to 'Design' something for people if you cannot communicate with them ? How will you talk with people in a social gathering ? How will you develop fluency in the English language ? The simple answer to this question is - "READ" ! Being a 'Well read' person is the KEY to a successful career in Architecture ! For Architects, general knowledge of all subjects is vital for survival. Reading need not be confined only to Architectural Books. You may read Novels, Newspapers, Magazines, Journals, Articles, and even Jokes and Trivia you may find in any Bookshop, Library, or on the InterNet. The next best alternative to acquiring knowledge, besides Reading, is to TRAVEL. There is no beer substitute for knowledge gained through personal experience and exposure, and travel both in India and Abroad - offers the BEST of such exposure.
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PHOTOGRAPHY
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SUDEEP GURUMAYUM THIRD YEAR B. ARCH
PROF. NINAD KATDARE
ANAND DIXIT THIRD YEAR B. ARCH
PROF. NINAD KATDARE
SUDEEP GURUMAYUM THIRD YEAR B. ARCH
SHARDUL Y. LAHOTI THIRD YEAR B. ARCH
SHARDUL Y. LAHOTI THIRD YEAR B. ARCH
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VINIT VALUNJ THIRD YEAR B. ARCH
SHARDUL Y. LAHOTI THIRD YEAR B. ARCH ANAND DIXIT THIRD YEAR B. ARCH
SUKRUT JOGLEKAR FIFTH YEAR B.Arch.
SUDEEP GURUMAYUM THIRD YEAR B. ARCH
MOHAK GOGATE THIRD YEAR B. ARCH
VINIT VALUNJ THIRD YEAR B.ARCH
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SOCIAL WORK
AKASH JAIN (THIRD YEAR B.ARCH)
In this era, man thinks only for himself and for his family. He has completely forgoen that he is the part of society and must work towards its beerment. He works for himself to feed him and his family, but so do animals. Hence the question arrives "WHAT ARE WE DOING FOR SOCIETY ? HOW ARE WE CONTRIBUTING FOR IT?" as responsible youth, we are the only ones who can change the society . We should be the ones to strengthen and improve the society . We should unite for good will. To serve this purpose the council put up some events, to do our bit towards a beer society. These were, blood donation camps , tree plantation , cloth es donation.
BLOOD DONATION CAMP For the very first time our college, organized a blood donation camp . We hosted this camp on 14th February 2016 valentine's day, showing our love by sharing what we could . Many of the students of our college donated their blood. This was a great start and a very fulfilling experience.
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TREE PLANTATION
CLOTH DONATION CAMP
On 1st July 2016 we planted trees in our college campus, to express our support for the government's project of planting 1 crore trees in Maharashtra. We had a great response and support from the hostelites. The students of hostel have adopted one plant each and have been nurturing their plants since.
We decided to celebrate the foundation day of our college by donating old clothes to the needy. We collected old clothes from students and donated those to a support group, an NGO named, 'Goodwill India foundation.’ Charity begins at home. To do our bit, we need every individual to realise that it is only when we begin, that we can bring about the change we need and we begin with our college. The social team has received great response and we are grateful for your participation. Aayojan looks forward to many more such events and hope that we spread more kindness and love.
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CLUBS DANCE WORKSHOP
TREK The clubs of Aayojan lie dormant usually for most of the year except during the culturals week. So a plan was laid out to activate the Trekking club which had hardly set out before. Therefore an easy trek was to be planned, and so Lohgad trek was planned. Situated near the Malavli railway station the fort of Lohgad is accessible by a long winding road and then steps to get to the top. Taking into consideration the trek being a very easy one we got a lot of response which included first timers. We set out at 6 in the chilly morning and reached the Malavli station at 7:30 after which we had breakfast and tea there itself. After a brief break we set out for Lohgad on a tar road, occasionally taking an off road to cut short the distances in between.Even with an easy road we got tired and had to take a break asthe sun rose above our heads and so did the heat. We reached the top around noon and then explored the fort after which we
went to have lunch with a view at “Vinchu Kata”, the end point of the fort. After a long lunch break we went to the water tank to get some cool air and see the temple by it After the site seeing we got down our way Malavli station.to catch the and hurried on our way to the earliest exhausted from the heat and exertion. We reached Shivajinagar station at 5 and reached home earlier than expected with loads new experiences.
One cannot resist the rhythm and can't help but move to it. A person may deny that he can't dance but it's not true. Dance resides in all of us.Releasing the students from their stressful and hectic schedule all the students were invited to the dance workshop which was held in the college itself. Everyone was eager to get in and groove to the beats.Two volunteers from Dance Curve Academy conducted the workshop. Their
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CALLIGRAPHY The session started with a short warm up. Bending and stretching really loosened up our cramped muscles. Learning Bollywood dance from them seemed very easy. Everyone was combining easy steps and creating a dance stream made the session more fun. An amateur also found it easy to dance. To gear things up the instructors switched to the most popular songs. Eve r yo n e fi re d u p ! Th e e n e rg y wa s c o n t a g i o u s . A l l d a n c e d w i t h immense energy and no one seemed tired till the end. No one wished to leave. The dance workshop was a great success and was worth remembering.
Calligraphy is an art of creating decorative handwriting and requires a skilled hand. The art of producing leers in an harmonious manner is worth learning.To introduce this graceful art to the students, a well known calligraphy artist visited our college to teach the students this art. He taught what calligraphy is and demonstrated some of the beautiful techniques used. He described that calligraphy is not writing characters but expressing them in an artistic form on a paper. Students learned various ways of recreating the English and Marathi words in a beautiful manner. Calligraphy is not done only with
pen but is also done using different tools. A p a r t f ro m c h a m fe re d , p o i n t e d objects,various brushes, exploring various tools was a great learning experience.A person doesn't need a specific writing tool for calligraphy. It is a field which reflects the creativity of a person. Creating our fonts and exploring numerous tools was an exciting task.The session concluded with everyone writing their own name and the college name in various styles. At the end of the session, the artist took a group photo with everyone's artwork as a token of remembrance.
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FIRST YEAR
STUDENTS’ WORK
VIRANGULA KENDRA
CLINIC AT DHAMAPUR
KARAN AHIRE
USE OF LIGHT &SHADOWS
VAIBHAV JAIN
ATINDRA PONNADA
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STUDY TOUR MODEL BY B DIVISION CLIMATOLOGY
VERTICAL CITY
RUTUJA MALPURE
APURVA GUJARATHI
ART REVIVAL CENTRE
AKASH GODSE
ART REVIVAL CENTER
RUCHA JADHAV
SECOND YEAR
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WORKING DRAWING- BUNGALOW
NATURE HUB -INITIAL STAGEANKITA YEOLA
AMOLA AGARWAL
NATURE HUB
PILGRIMAGE CENTER
NIHAR GHODKE
CULTURAL HUB
BHAVIKA JAIN
NIKITA GHOGARE
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BUILDING TECHNOLOGY AND MATERIALS - STAIRCASE
LALIT WANI
HUMANITIES- DURGA TEMPLE, AIHOLE
ANAND KUNKULOL
CULTURAL HUB
PILGRIMAGE CENTER
JANHAVI KAMAT
SHANTANU BHOSALE
THIRD YEAR
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NATUROPATHY CENTER
SUHAS KONDE
BUS TERMINUS AND COMMERCIAL OFFICE
WORKING DRAWING- BUNGALOW
SHARDUL CHASKAR
MEASURED DRAWING - SHIVAJI MARKET
MANDAR BORKAR
GROUP WORK
LANDSCAPE-RESORT
VINIT VALUNJ
BUILDING TECHNOLOGY AND MATERIAL- FURNITURE
VENKATESH WAGH
SAURAV CHATTERJEE
WELLNESS CENTER
SAURAV CHATTERJEE
WELLNESS CENTER
SHREYASA PATIL
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HOUSING COMPLEX AT KHILAREWADI
COMMUNITY HOUSING
COMMUNITY HOUSING FOR RESIDENTS AT SADASHIV PETH
S
NIKITA DOSHI
FIFTH YEAR
CHURCH COMPLEX
SAGAR KHOJE
FISHERMAN’S VILLAGE ART AND CRAFT VILLAGE
SHRUTI MULEY
INDRAPRASTHA SANSKRITI KALA KENDRA
INDRAPRASTHA SANSKRITI KALA KENDRA
ART AND CRAFT VILLAGE
SHIVANI SOOD
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these trips . . . you get to meet total
special place in my heart. After two
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SIDDHANT GADADE (THIRD YEAR B.ARCH) CALLIGRAPHY BY: MOHAK GOGATE
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GARGI JAMKAR MAHIMA KULKARNI GURJYOT SINGH (FIRST YEAR B. ARCH)
Dhamapur village is located in Malwan Tehsil of Sindhudurg district in Maharashtra. Nestled amongst the thick foliage and undulating terrain of Sahyadri, the small village of Dhamapur seled in the interiors of Konkan region, was our study tour destination. There are about 285 houses in Dhamapur village. On the 10th January we started our 10hrs journey to Dhamapur from Pune. As we entered Sahyadris the journey of straight wide roads was now making us face deep turns and narrow spaces. The soil was turning from black to red and the aroma of paddy elds lingered in the air. Next day we had an early start along with the villagers. The twisted roads, high and low play of the terrain and the social beliefs breaks the village in thirteen Wadis. The Wadi culture was very common in this region. Even though the village was divided into these Wadis, a strong bond and unity was observed among the villagers. Houses here are an excellent example of vernacular architecture. Combination of sloping
roofs clad with Mangalore tiles and walls made up of Chira, responds well to the climate. The houses being different, share some common elements like Tulsi Vrindawan, cale sheds, aangan, wells etc. which gave them an authentic Indian touch. Early morning an hour of the third day was spent on the Chira quarry where we saw the production of Chira block. Four sites were xed and measured. We were divided by various aspects of work and by evening we had abundant i n f o r m a t i o n a b o u t D h a m a p u r. Afterwards our journey changed its track and we went to Kudal and visited a museum which gave us a glimpse of the lifestyle of the people living there few decades back. Near this village is the Dhamapur Lake, which is an earthll dam constructed in 1530 by the villagers and Nagesh Desai who was Mandlik of the Vijaynagar dynasty. It is one of the biggest lake of Sindhudurg district in the state of Maharashtra in India. The lake recei ves water throughout the year and remains full.
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GARGI KARANDIKAR (FIRST YEAR B. ARCH)
Is the 'notional motion' Model working?" We all were unanimously apprehensive to see if our model was in motion. How much ever we tried our creative best to recapitulate the scenic panaroma of Kalse through our life like Model and sheets, each stroke of the brush and every line of the skit took us back to the humble hamlet. Iinitially, we had fancied the thought of a study tour which would expose us to modern architecture and high tech setups, but our journey of learning had to start an essence of Raw, Rustic and vernacular architecture which got us started from pune on 10th Jan. Kalse village is located in Malwan Tehsil of Sindhudurg district in Maharashtra, India. Kalse has a total population of 885 people. There are about 227 houses in village. This modest village sandwiched between the two known towns of Malvan and Kudal, was partitioned in two halves with a road dividing them into ‘varcha kalse’ on slopes and ‘kalcha kalse’ beneath the road.
Clustered together, the houses depicted a modest warmth and security with no compound walls or locks on the doors!.. The entire village encompasses four wadis by the virtue of of their professions and each with their own signature differences to their houses. What I found interesting was that though the basic skeleton or the design was uniform for all the houses still each house left its own uniqueness, be it in design, choice of paint - some flamboyant, some simple! The staple crop produce was rice, banana, coconut and these farm stretches were centered together in a particular piece of village. The house architecture goes hand in hand with the climate of that place with summers being extreme, winters pleasant and a bountiful rain!! It was an indeed interesting exercise to bring down this rustic feed onto the paper that got enhanced by a live interaction with the villagers there. They reciprocated equally well out of the sheer happiness that students had come to study their place.
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SHIVANI RAJWADE (FIRST YEAR B. ARCH)
The uneven lowland is interspersed with valleys, creeks and ridges; the hills seperate the valleys from one another; the streams are entrenched in many deep gorges in the west facing slope of the western ghats. Here lies a small village with around 200 sloping roofsWalaval. Surrounded by siliceous mountains, neighboring to the Karli, this village brings out the soul of Konkan. Walaval village is located in Kudal Tehsil of Sindhudurg district in Maharashtra, India. Walaval has a total population of 725 people. Sawantwadi is the nearest town to Walaval which is approximately 35kilometers away. The native language of Walaval is Marathi and it is spoken with a Konkani dialect. The day gave a glimpse of the selement that was a few kilometers away from the accommodation which was in Kudal. The next two days took us to a world which depicted a simplistic way of living. Sweet language, simple clothing, docile nature, pure hearts, a n c i e n t h i s t o r y a n d o rg a n i z e d homes.The village gave some scenic views to sketch, classic traditions to believe
and the origin of the Wadis. A region based with heavy rainfall and high humidity showed vernacular architecture. One could see interesting paerns of configuration of Laterite blocks which is locally known as Jambha with Mangalore tiles on top. Each house had its own touch and customized space allotment. The houses shared common amenities such as Tulsi Vrindavan, Aangan, wells, backyard etc. The social beliefs distinguished each wadi from the other. Each wadi had a peculiar architectural character which could be pointed out after a detailed study by visiting the many houses. The entrances, placement of the Tulsi, types of roofs and space management were different. We wondered that the idea of building shelter with the available local material and the need for privacy, shelter and security gave rise to such a beautiful selement and unique architecture. . After two days of sincere efforts a surprise visit to the Devbag- Tarkarli beach was organised. A long virgin coastline, coral reefs, clear waters and tiny hamlets on the coast added to the
47 beauty. The ocean roared, waves rolled onto the beach and the sunset was peaceful.
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SHUBHAM OSWAL (SECOND YEAR B. ARCH)
Srirangam (formerly known as Vellithirumuth gramam) is an island and a part of the city of Tiruchirapalli (properly known as Trichy) , in South India. Srirangam is bounded by the Kaveri River on one side and its distributary Kollidam on the other side. Srirangam is home to a significant population of Srivaishnavites or followers of Vishnu. The tour kickstartd with a visit to the holy temple of “Lord SriRangannathaswamy”. The temple was designed in a concentric grid format with the sanctum in the core surrounded by the “Sapta-praharas” (seven concentric walls) and it is also the largest functioning Hindu temple in the World. Each Prahara has 21 magnificent towers which provide a unique sight to any visitor. The fourth Prahara was the last wall of the temple after which it was the residential zone which followed a particular hierarchy. The first residential lane was owned by the priests and the people working for the temple trust. The laer portion was resided by the lower working class. ” Gopurams” which were
tall tapering structures placed along the axis of the temple walls were the major transition mediums in the town. The roads through these Gopurams acted as the spine connecting the various roadways to the temple since the temple was the major routine of the locals in town. The houses in the town were arranged in a linear fashion adjacent to the Gopuram. The distinct feature in those houses was the linear planning which created a tunnelling effect for the sight. The external walls of the houses were painted with colours from the same palee as from the Gopuram which gave a harmonious feel to the perspective. The external wall of the temple was painted in alternate bands of red and white which depicted rebirth of life. A total contradiction to this town was Trichy (Tiruchirapalli) which was more of modern town where people had a demanding lifestyle. Different communities developed around their respective holy places (for eg. The Hindu community developed around the Rock
49 cut temple (temple of Lord Ganesh), the Muslim community developed around the mosque in the market, near the Tepakullam (a water pond situated in front of the rock temple), and lastly the Christian community developed around the church. The above mentioned holy places had set benchmarks in the town of Trichy .
s.
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SHREYASA PATIL (THIRD YEAR B. ARCH)
Pondicherry ( or Puducherry) , a French colonial selement in India until 1954, which is now a Union Territory town surrounded by the state of Tamil Nadu from three sides and the Bay of Bengal on the east. It’s french legacy is preserved by the unique architectural features, mustard coloured colonial villas, French Quarter with tree lined streets and chic boutiques. A sea side promenade runs along the Bay of Bengal and passes several statues of which a 4 metre high Gandhi Memorial Statue is the prominent one. This small sea side town not only consists of the French colony but also a Tamil town. The french colony combines the yellow with white plaster construction, detailed with wood and wrought iron, whereas the Tamil town comes out depicting materials to their truest form and giving simple yet elegant construction in brick and stone with Manglore tiles as a roofing material. After spending a tranquil afternoon around the town studying the selements one can spend endless hours hours siing and enjoying the cool
sea breeze along the Promenade which is an embankment along the sea. Pondi is a slow paced and cosy place, where you pause, sit and contemplate the beauty around you. Auroville is a universal city in the making in south-India dedicated to the ideal of human unity based on the vision of Sri Aurobindo and The Mother. The place is accessed by beautiful tree lines roads, which make for a lovely walk. Mr.Lalit enlightened us more about Auroville and its functioning. He walked us through the unique architectural structures and patiently explained to us their making. Moving across Auroville we came across Auroville Earth Institute a school which was all about practical and hands on experience to sustainable architecture. Auroville as seen believed in achieving higher value for living, by doing what you love. The organisation is more about working for the beerment of Humanity and that’s a message they try to project through each of their unique works.
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AISHWARIYA CHAWAN (SECOND YEAR B.ARCH)
Madurai, a city in Tamil Nadu is known for the beautiful Meenakshi Temple and is also a city full of rich cultural heritage. Located on the banks of river Vaigai, Madurai has been a major selement for more than 2 millennia. The students of S.Y. And T. Y. B.Arch had an opportunity to explore this beautiful temple town as a part of study tour. The temple has been recorded as the centre of the city in the ancient Tamil Classics. The grandeur and the aura of the temple is felt in every street of Madurai irrespective of its distance from the temple, therefore called as temple town. The temple was built keeping in mind the four directions and hence had four major entries crowned by massive Gopurams, which in turn acted as an axis for the entire city layout. The city is d i vide d into a nu mber of concentric quadrangular streets around the temple. These squares retain their traditional names of Aadi, Chhiirai, Avanimoola and Masi streets, corresponding to the Tamil month names and also to the festivals associated.The streets around the temple were full of life at all times of the day. Every visit to the temple results in a fresh experience
every time. The ambience of the place changes minute by minute, and can be understood only by experiencing the materials, construction techniques, the ancient structures in comparison to the new ones. Lifestyle, dressing sense, c u l t u re , t ra d i t i o n s , p s yc h o l og y, behaviour, ambience, routine of the people were a few aspects we aempted to study. We saw some typical Tamil houses and the people were warm and welcoming. The plans of the buildings were elongated with narrow openings which open out into huge courtyards. Apart from the temple the Palace complex of Thirumalai Nayak is also a major araction of Madurai. The palace has been constructed in Indo-Sarcenic style and is a great example of the city’s grandeur. The palace of Rani Mangamma has been renovated to house one of the five Gandhi Sangrahalayas in the country which houses a blood stained garment worn by Mahatma Gandhi as a relic. One of the highlights of the tour was a visit the Heritage resort designed b y A r. G e o ff r e y B a w a . T h e t o u r culminated with a visit to Cheinad where we saw the making famous Atangudi tiles.
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SKETCHES
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SARTHAK PARAB SECOND YEAR B.ARCH
SUMIT THIGALE THIRD YEAR B.ARCH
KARAN AHIRE FIRST YEAR B.ARCH
SARTHAK PARAB SECOND YEAR B. ARCH
KARTIK THAKKER THIRD YEAR B.ARCH
AAYUSHA PHALANE THIRD YEAR B.ARCH
KARTIK THAKKER THIRD YEAR B.ARCH
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MIHIR JOGLEKAR SECOND YEAR B.ARCH KARAN AHIRE FIRST YEAR B.ARCH SUMIT THIGALE THIRD YEAR B.ARCH
ANKITA YEOLA SECOND YEAR B.ARCH
MIHIR JOGLEKAR SECOND YEAR B.ARCH
KARAN AHIRE FIRST YEAR B.ARCH
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MAQTAA Clouds were gathering. A storm was imminent. Would it bring reprieve from the scorching Delhi summer of 1857, or aggravate it, only time could tell. But Time as usual would behave pricey. Ask her about her plans, and she would just say, 'change, my dear. Change is on the cards’ PROF. AMOL HOLEY
“ Baat karnī mujhe mushkil kabhī aisī to na thī Jaisī ab hai terī meh l kabhī aisī to na thī ” The Red Fort- Quila-e-Mubarak, had heard these lines of Zafar in numerous mushairas. Zafar wrote it for some imaginary mashuqa. The blessed Fort interpreted it otherwise. She had an inkling that the stage was set for change. If change was inevitable, she would want the days of Shah Jahan back; her true lover. Lovers had long ceased to reside there. All of Shah Jahan's successors proved to be beimaan for her. True, Zafar was an exception. He loved
her. But at this time, a poet's love was not what she wanted. She needed a man with a spine; someone who could defend her, fight for her. Agents of change were hovering around. She very well knew the firangis had an eye on her. And they clearly were not trying to woo her. All they wanted was to enslave her. No! She would resist them with all her might. But how far were the firangis? Just across the walls, on the Ridge towards the north. “ le gayā chhīn ke kaun aaj terā sabr o qarār be-qarārī tujhe ai dil kabhī aisī to na thī ” And yet, when the mutineers came riding from across the Yamuna, both she and Zafar were weary of handing over their fate to them. These sepoys revolted Shers from Bahadur Shah Zafar's Ghazal)against their masters, and were now ready to fight in the name of Zafar ; to rid this motherland of the
58 “ kyā sabab tū jo bigadtā hai 'zafar' se har baar khū terī hūr-shamāil kabhī aisī to na thī ” Zafar was deported to Rangoon. The day his caravan left, the Quila sang the Maqtaa- the final verse of the ghazal; the verse which makes a mark, holds the Shayar's identity.She knew that she was no more the beauty to sing ghazals to, but a creature in a brothel. She, and the Motherland were in the hands of someone who didn't know their souls. She would have to witness the rise of another power centre, just to her south. The power centre would no longer be Shah Jahan's elegant Dilli, but the majestic and alien Lutyens' Delhi. She would wait quietly, singing her ghazal, for a new lover to rise. He would write her a dignified Maqtaa, The Tryst With Destiny. She would wait for a period when, lover after lover would address the Sons at her doorsteps, each Independence Day, singing a new ghazal to the Motherland each time. (Based on William Dalrymple's 'The Last Mughal'.
57 firangis. The Motherland. The Quila was overjoyed to hear this word. It was this Motherland she represented for the past 200 years. Now somebody who cared for her role was here. And when the sepoys massacred the firangis, she felt an uneasy relief. She was The Fort, the strong one, the brutal one. She was meant to be witness to brutality. She was to be a part of it. And she had been. And now she was ready with all her might, to once again be, and to fight alongside her defenders. The Sons- she preferred to call the sepoys the Sons. The firangis returned with a new force. But by now she was confident. And when the Sons won squirmish after squirmish, she only took it as a good omen. And when Bakht Khan came riding from across the Yamuna; with an air of a leader; and glanced at her, she saw in him a new lover. The one she truly desired.
“ un kī āñkhoñ ne Khudā jaane kiyā kyā jaadū ki tabīyat merī maa.il kabhī aisī to na thī ”
Bakht Khan, who was a subedar in the army of the East India Company, was soon appointed the commander-in-chief of the mutineers. He won bale after bale, and the Quila was now ready to be all his. But he was indifferent. He had no eye for her beauty, her elegance. And when he refused to disembark from his horse while entering the Diwan-e-Aam, all her dreams were shaered. The Diwan-eAam on a horseback! Not even Nader Shah or the Marathas had dared to do that. They wouldn't dare to walk with footwear there. They knew the tehzeeb of the court. The tehzeeb which dated back to the times of none less than Akbar! The court once stood for something else. It was a space of sanctity almost closer to a Sahn, where the pious would bow down to Allah. Here they paid obeisance to their earthly protector.
With his deeds, Bakht Khan not only fell in the eyes of the Quila, but also in his ranks. Her fate along with that of the sons and the motherland was now doomed. The firangis soon got an upperhand. They drew closer and closer, till the Kashmiri Gate.
“ chashm-e-qātil merī dushman thī hamesha lekin jaisī ab ho gaī qātil kabhī aisī to na thī ” The Gate resisted. But the canons and guns kept ripping it apart. The Quila realized it was time for bigger humiliation. Brick by brick, the walls gave way, scarring her forever. Finally the firangis entered. What followed was a massacre never seen before. Zafar was captured; his sons murdered. The Quila now lay bare. The floor which had seen the worst in the form of a warrior on a horseback, was to now bear the brunts of spades and shovels. It was dug up in search of treasures. The Mahals were turned into barracks and stables.
Horizontal
Vertical
2. The projecting overhang at the lower edge of a roof. 4. The exterior face of a Building. 6. The central wedge-shaped stone of an arch that locks its parts together, also called headstone. 11. A structure of stone or brick built against a wall to strengthen or support it. 12. A tapering conical or pyramidal structure on the top of a building, typically a church tower. 14.A framework, typically consisting of rafters, posts & struts supporting a roof, bridge or other structures. 15.A heavy base supporting a statue or a structure.
1. A low protecting wall along the edge of a roof, bridge or balcony. 3. A horizontal support of timber, stone, concrete or steel across the top of a Door or Window. 5. A long projecting beam or Girder xed at only one end. 7.One of the wedge-shaped stones forming the curved parts of an arch or vaulted ceiling. 8.An external angle of a wall or a Building. 9.A vertical bar between the panes of glass in a window. 10.A free standing brick/stone column. 13. The triangular upper part of a wall at the end of a ridge roof.
Credits: Shardul Lahoti and Vinit Valunj
“ARCHITECTURE IS THE WILL OF AN EPOCH TRANSLATED INTO SPACE.” -LUDWIG MIES VAN DER ROHE
Aayojan School Of Architecture And Design, Pune. Gat no. 289, Village Warawadi, Taluka- Purandar, District - Pune. Tel: +919423001021 | +919422340577 Website: www.aayojan.edu.in Email: info.pune@aayojan.edu.in