Decoding Response (part 4/4) by Shreya Bansal

Appendix

154

01 02

Cybernetics is a trans-disciplinary approach for exploring regulatory systems—their structures, constraints, and possibilities. Norbert Wiener deﬁned cybernetics in 1948 as “the scientiﬁc study of control and communication in the animal and the machine.”32

“In cybernetic terms, a system is an artifact with a sub-speciﬁed function capable of transforming and redeﬁning itself in view of an objective.”5

Output is taken as further input

CYBERNETICS ACTOR NETWORK THEORY

Actor network theory calls for the social inclusion of all entities into one system. It emphasizes that relations between entities are both material (between things: infrastructure, structure, etc) and semiotic (between ideas.

Functionalism identiﬁes spaces such as houses and cities as ‘machines to live in’.

Gordon Pask rather imagined spaces to be ‘environments with which the inhabitant cooperates and in which he can externalize his mental processes’. This idea of mutualism ofers an alternative to the strict assemblage of cities as a permanent space and allows for the mutual growth of both the environment and its user. It allows for the formation of a dialogue between both the entities on diferent scales.

155

TRACING HISTORICAL INFLUENCES

156

157

LIST OF ARTISTS ON THE JKK WEBSITE 04

PERFORMING ARTS

a. VOCALIST (SINGERS)

b. INSTRUMENTALISTS

c. CLASSICAL

d. CONTEMPORARY

e. WESTERN

f. FOLK

g. TRIBAL

h. CHOREOGRAPHERS

i. DRAMA/THEATRE/NUKKAD NATAK/TAMASHA

j. TRAPEZE ARTIST OR NATS

k. WANDERING MINSTRELS OF GHOOMANTUS

l. KESH SAJJA ARTISTS

m. CIRCUS

n. PUPPETRY

o. COMPERE

p. COMEDIAN (INC. STAND UP COMEDIAN)

q. BHERUPIYAS

r. DASTANGOI

s. STORYTELLING

t. ACTOR/ACTRESS

u. DIRECTOR

v. PRODUCER/ LINE PRODUCER

w. SCRIPT WRITER

x. STORY WRITER

y. CHOREOGRAPHER

z. PRE OR AND POST PRODUCTION

aa. MAKE UP ARTIST

bb. STUDIO OWNERS

cc. DOP-CAMERA PERSON-CINEMATOGRAPHER

dd. SOUND AND LIGHT TECHNICIANS

ee. ANCILLIARY

ff. VJ/RJ

VISUAL ARTS

a. WATER COLOUR

b. TEMPERA/GOUACHE

c. OIL/ACRYLIC

d. MIXED MEDIA

e. BOTTLE ART

f. SKETCH ART

g. PORTRAIT

h. STAIN GLASS

i. FABRIC

j. BLOCK PRINT

k. SCREEN PRINT OTHER

l. MANDALA ART

m. PRINT MAKING

n. WOODCUT

o. EMBROIDERY ART

p. BOTANICAL ART

q. DIGITAL ART

r. GRAPHIC ART

s. ILLUSTRATIONS

t. CARTOONS

u. BOOK COVER DESIGN ARTISTS

v. GODNA/TATTOO ART

w. PHAD ART

x. TEMPLE ART

y. BANI THANI ART

z. KISHANGARH ART

aa. PICHWAI ART

bb. BUNDI SHAILI

cc. COFFEE PAINTING

dd. SCULPTURE

ee. CERAMICS

ff. POTTERY, INCLUDING BLUE POTTERY

gg. CALLIGRAPHY

hh. MURALS

ii. GRAFFITI

jj. ART INSTALLATION

kk. TEXTILE BLOCK MAKERS

ll. RANGOLI/MAANDANA/FLOOR OR WALL ART

mm. DAAK PANNI

nn. JWELLERY THEWA OR MINA KAARI OR KUNDAN

oo. PAPER MACHIE

pp. TATTOO/GODNA

qq. BOOK BINDING

rr. PROFESSIONAL CHEFS/BAKERS

158

LITERARY ARTS

a. WRITER/AUTHOR

b. TRANSLATER/TRANSLITRATOR

c. EDITOR

d. PUBLISHER

e. POET/KAVI/SHAYR ETC

f. GENEALOGISTS

g. BLOGGER/VLOGGER

h. RESEARCHER

i. OTHERS

DYING ARTS

WANDERING ARTS-GHOOMANTU

FOLK ARTS

TRIBAL ARTS

OTHER HEURISTIC (CRAFTS USING HANDS)

a. KNITTING

b. EMBROIDERY

c. CROCHET

d. SHUTTLE

e. PHOTOGRAPHY

f. CARPENTRY

g. OTHERS MATERIAL ART FORMS

h. ARCHITECTS

i. DESIGNERS

j. LANDSCAPE ARTISTS

k. PROFESSIONAL CHEFS/BAKERS

159

List of Figures

Fig. 1 Cedric Price, Fun Palace: section showing potential use of interior spaces c. 1963. Cedric Price Archives, Canadian Centre for Architecture, Montreal.

Fig. 1.1.1 Cedric Price, Perspective sketch of Fun Palace c. 1963. Cedric Price Archives, Canadian Centre for Architecture, Montreal.

Fig. 1.2.1 Cedric Price, Fun Palace, axonometric section, c. 1964. Cedric Price Archives, Canadian Centre for Architecture, Montreal. https://www.cca.qc.ca/en/search?page=24&_=1608664498975&digigroup=399301

Fig. 1.2.2 Brand, Stewart. “How Buildings Learn: What Happens After They’re Built”.

Fig. 1.2.3 -1.2.5 Cedric Price, Manuscript draft of Fun Palace promotional literature, c. 1964. Cedric Price Archives, Canadian Centre for Architecture, Montreal. (https://www.cca.qc.ca/en/ search?page=24&_=1608664498975&digigroup=399301)

Fig. 1.2.6 Cedric Price, Fun Palace, c. 1964. Cedric Price Archives, Canadian Centre for Architecture, Montreal. https://www.cca.qc.ca/en/search?page=24&_=1608664498975&digigroup=399301

Fig. 1.4.5; Archigram, Instant City; Source: Internet(pg 37, photograph)

https://www.dezeen.com/2020/05/13/archigram-instant-city-peter-cook-video-interview-vdf/

Fig. 1.4.6; Archigram, Instant City; Source: Internet (pg 37, photograph)

https://www.dezeen.com/2020/05/13/archigram-instant-city-peter-cook-video-interview-vdf/

Fig. 1.4.7; dECOi, Aegis Hyposurface; Source: Internet (pg 38, photograph)

https://mcburry.net/aegis-hyposurface/

Fig. 1.4.8; DS+R, The Shed; Source: Internet (pg 38, photograph)

https://dsrny.com/project/the-shed

Fig. 1.4.9; DS+R, The Shed; Source: Internet (pg 38, photograph)

Fig. 1.4.10; Antfarm, Infatocookbook; Source: Book (pg 41, drawings)

Fig. 1.4.11; Carlo Ratti Associati, The Dynamic Street; Source: Internet (pg 42, photograph) https://carloratti.com/project/the-dynamic-street/

Fig. 1.4.12; Carlo Ratti Associati, The Dynamic Street; Source: Internet(pg 42, diagrams)

Fig. 1.4.13; Metabolism in Japan; Source: Internet (pg 43, photograph)

https://medium.com/@tamunagazashvili/capsule-hotels-japanese-metabolism-13e2119bec03

Fig. 1.4.14; Cedric Price, Fun Palace, axonometric section, c. 1964. Cedric Price Archives, Canadian Centre for Architecture, Montreal. (pg44, drawing )

https://www.cca.qc.ca/en/search?page=24&_=1608664498975&digigroup=399301

Fig. 1.4.15; Sidewalk Labs, The Stoa, Source: Internet (pg 45, drawing) https://www.sidewalklabs.com/blog/episode-7-stoa/

Fig. 1.4.16; Cedric Price, Fun Palace, c. 1964. Cedric Price Archives, Canadian Centre for Architecture, Montreal. (pg 47, drawing) https://www.cca.qc.ca/en/ search?page=24&_=1608664498975&digigroup=399301

DRAWING 19

DRAWING 21

DIAGRAM 23

DRAWING 24

DRAWING 25 Fig. 1.2.7 Cedric Price, Fun Palace, c. 1964; Source: Internet http://www.interactivearchitecture.org/fun-palace-cedric-price.html DRAWING 27 Fig. 1.3.1 Holger Schnädelbach, Adaptive Architecture - A Conceptual Framework; Source: Internet http://www.cs.nott.ac.uk/~pszhms/Holger_Schnadelbach_-_Research/Adaptive_Architecture.html DIAGRAM 28 Fig. 1.4.1; Case Studies based on Mechanism; Source: Author TABLE 31 Fig. 1.4.2; Table to decode response; Source: Author TABLE 33 Fig. 1.4.3; Table to decode response; Source: Author TABLE 35 Fig. 1.4.4; Archigram, A Walking City; Source: Internet (pg 36, photograph) https://www.theguardian.com/artanddesign/2018/nov/18/archigram-60s-architects-vision-urban-living-

PHOTOGRAPH 36

the-book

PHOTOGRAPH 37

PHOTOGRAPH 38

DRAWING 41

PHOTOGRAPH 42

DIAGRAM 42

PHOTOGRAPH 43

DRAWING 44

DRAWING 45

DRAWING 47

Fig. 1.4.17; DS+R, The Shed; Source: Internet (pg 48, photograph) https://dsrny.com/project/the-shed

Fig. 1.4.18; DS+R, The Shed; Source: Internet (pg 48, photograph) https://dsrny.com/project/the-shed

1.4.19; Rem Koolhaas, , PRADA Transformer; Source: Internet (pg 49, diagram) https://oma.eu/projects/prada-transformer

Fig. 1.4.20; Sidewalk Labs, Building raincoat; Source: Internet (pg 50, photograph) https://www.archdaily.com/913095/sidewalk-labs-tests-a-raincoat-for-buildings-in-toronto

Ratti Associati, The Dynamic Street; Source: Internet (https://carloratti.com/project/the-dynamicstreet/)

Fig. 1.4.22; Sidewalk Labs, The Stoa, Source: Internet (https://www.sidewalklabs.com/blog/episode-7-stoa/)

Fig. 1.4.23; dECOi, Aegis Hyposurface; Source: Internet https://mcburry.net/aegis-hyposurface/

Aegis

Fig. 1.4.25; Ruiz Geli, Media TIC; Source: Internet (https://www.ruiz-geli.com/projects/built/media-tic)

Fig.

https://sameerkulavoor.com/portfolio/the-ghoda-cycle-project/

Fig. 2.5.3 Bazaars onto the map of Jaipur; Source: Author

Fig. 2.5.4 Sameer Kulavoor, The Ghoda Cycle Project ; Source: Internet https://sameerkulavoor.com/portfolio/the-ghoda-cycle-project/

Fig.

Pop-up Shops ; Source: Author

DIAGRAM 49

Fig.

PHOTOGRAPH 50

DIAGRAM 51

DRAWING 51

PHOTOGRAPH 52

Fig. 1.4.21; Carlo

Fig. 1.4.24; dECOi,

Hyposurface; Source: Internet (https://mcburry.net/aegis-hyposurface/)

DRAWING 53 Fig. 1.4.26; Ruiz Geli, Media TIC; Source: Internet (https://www.ruiz-geli.com/projects/built/media-tic) PHOTOGRAPH 53 Fig. 1.5.1; The meaning of Response; Source: Author DIAGRAM 55 Fig. 2.1.1; The lived city; Source: Author PHOTOGRAPH 61 Fig. 2.1.2; Charminar and Chaos; Source: Author PHOTOGRAPH 62 Fig. 2.1.2; Charminar and Chaos; Source: Author PHOTOGRAPH 62 Fig. 2.1.3; Shreeyash Gadiya, Time freezes at Amritsar; Source: Internet PHOTOGRAPH 65 Fig. 2.2.1; Rajputana Topographical Survey, City of Jaipur and Environs including Amber, Rajputana Season 1884-5.; Source: Internet MAP 67 Fig. 2.2.2; Rajputana Topographical Survey, Map of Jeypore1868; Source: Intern https://themapspro.blogspot.com/2018/03/map-of-india-in-1940.html MAP 69 Fig. 2.2.3; the nine grids of Vastu; Source: google maps and Author MAP 70 Fig. 2.2.4; Vastu overlayed onto the site; Source: google maps and Author MAP 70 Fig. 2.2.5; News article; Source: Internet ARTICLE 72 Fig. 2.2.6; Albert Hall; Source: Book PHOTOGRAPH 72 Fig. 2.2.7; Metro Route; Source: Internet DIAGRAM 73 Fig. 2.2.8; News article; Source: Internet ARTICLE 73 Fig. 2.2.9; Smart City Paraphernalia; Source: Author http://www.signaturerajasthan.com/blog/interesting-facts-about-nahargarh-fort-in-jaipur/ DIAGRAM 74 Fig. 2.2.10 Nahargarh Fort ; Source: Internet PHOTOGRAPH 75 Fig. 2.3.1 Situationist Internationale The Naked City ; Source: Internet DIAGRAM 76 Fig. 2.3.2 Chaos in Sanjay Bazaar; Source: Author PHOTOGRAPH 77 Fig. 2.3.3 Layers onto the city; Source: Author PHOTOGRAPH 79 Fig. 2.4.1 Diwali onto the streets ; Source: Author PHOTOGRAPH 82 Fig. 2.4.2 Negotiations ; Source: Author PHOTOGRAPH 83 Fig. 2.4.3 Breach ; Source: Author PHOTOGRAPH 83

2.5.1-2.5.2 Sameer

PHOTOGRAPH 84

Kulavoor, The Ghoda Cycle Project ; Source: Internet

PHOTOGRAPH 85

2.5.5

PHOTOGRAPH 48

Fig.

Fig. 2.5.6 Niches ; Source: Author PHOTOGRAPH 86 Fig. 2.5.7 Mobility of vendor space ; Source: Author PHOTOGRAPH 86 Fig. 2.5.8 Lived onto the built; Source: Author PHOTOGRAPH 86 Fig. 2.5.9 Market onto the street ; Source: Author PHOTOGRAPH 87 Fig. 2.5.10 Negotiation in Diwali Season ; Source: Author PHOTOGRAPH 87 Fig. 2.5.11 Shading Devices in market ; Source: Author PHOTOGRAPH 87 Fig. 2.5.12 Mobile Markets ; Source: Author PHOTOGRAPH 87 Fig. 2.5.13 Lived Markets ; Source: Author PHOTOGRAPH 89 Fig. 2.5.14 Justine Wong , Map of Jaipur ; Source: Internet MAP 90 Fig. 2.5.15 Choti Chaupad in 1875; Retrieved from Columbia University Archives PHOTOGRAPH 92 Fig. 2.5.16 Flower market; Source: Author PHOTOGRAPH 93 Fig. 2.6.1 Fests and festivals in the city; Source: Author and Internet PHOTOGRAPH 94 Fig. 2.7.1 Waste as outlier; Source: Author PHOTOGRAPH 96 Fig. 2.7.2 Labour Chowkhati; Source: Internet PHOTOGRAPH 97 Fig. 2.7.3 Nomads of Rajasthan; Source: Internet PHOTOGRAPH 97 Fig. 3.1.1 Chaos reigns in Sanjay Bazaar; Source: Author PHOTOGRAPH 102 Fig. 3.1.2 Choti Chaupad; Source: Author PHOTOGRAPH 103 Fig. 3.1.3 Badi Chaupad; Source: Author PHOTOGRAPH 103 Fig. 3.1.4 Drone view of Sanganeri Gate Complex; Source: Internet PHOTOGRAPH 103 Fig. 3.2.1 Chaupads in the city; Source: Google maps, Author PHOTOGRAPH 105 Fig. 3.2.2 Choti Chaupad in 2020; Source: Author PHOTOGRAPH 105

3.2.3 Choti Chaupad in 1875; Retrieved from Columbia University Archives http://www.columbia.edu/itc/mealac/pritchett/00routesdata/1700_1799/jaipur/jaipurcity/ PHOTOGRAPH 105 Fig. 3.2.4 Gate; Retrieved from Columbia University Archives (pg 106, photograph) PHOTOGRAPH 106 Fig. 3.2.5 Shiv Pol Gate; Retrieved from Columbia University Archives http://www.columbia.edu/itc/mealac/pritchett/00routesdata/1700_1799/jaipur/jaipurcity/ PHOTOGRAPH 106 Fig. 3.2.6 Drone view of Sanganeri Gate Complex; Source: Internet https://in.pinterest.com/pin/402016704242893838/ PHOTOGRAPH 107 Fig. 3.3.1 Land Use Plan for Choti Chaupad; Source: Author DRAWING 108 Fig. 3.3.2 Nolli’s Plan for Choti Chaupad; Source: Author DRAWING 109

Fig.

3.3.3 Sanganeri Gate; Retrieved from Columbia University Archives http://www.columbia.edu/itc/mealac/pritchett/00routesdata/1700_1799/jaipur/jaipurcity/ PHOTOGRAPH 109 Fig. 3.3.4 ‘The Lived’ Land Use Plan for Choti Chaupad; Source: Author DRAWING 110 Fig. 3.3.5 Ragpickers at Chaugan Stadium wall; Source: Author PHOTOGRAPH 111 Fig. 3.3.6 Flower vendors at the Choti Chaupad; Source: Author PHOTOGRAPH 111

3.3.7 Police cabin at Choti Chaupad; Source: Author PHOTOGRAPH 111 Fig. 3.3.8 The lived at Choti Chaupad; Source: Author PHOTOGRAPH 111 Fig. 3.3.9 Responsiveness at Choti Chaupad; Source: Author TABLE 113 Fig. 3.3.10 Land Use Plan for Badi Chaupad; Source: Author DRAWING 114 Fig. 3.3.11 Nolli’s Plan for Badi Chaupad; Source: Author DRAWING 115

Fig.

Manak

Retrieved from Columbia University Archives http://www.columbia.edu/itc/mealac/

PHOTOGRAPH 115 Fig. 3.3.13 ‘The Lived’ Land Use Plan for Badi Chaupad; Source: Author DRAWING 116 Fig. 3.3.14 E-rcikshaw hotspot near the metro station; Source: Author PHOTOGRAPH 117

3.3.15 Riot control police at Badi Chaupad; Source: Author PHOTOGRAPH 117

3.3.12

Chowk;

pritchett/00routesdata/1700_1799/jaipur/jaipurcity/

Fig.

Fig. 3.3.21 Sanganeri Gate; Retrieved from Columbia University Archives http://www.columbia.edu/itc/mealac/pritchett/00routesdata/1700_1799/jaipur/jaipurcity/

Fig. 3.3.22 ‘The Lived’ Land Use Plan for Sanganeri Gate; Source: Author

Fig. 3.3.26 The lived: carts on a sunday at Sanganeri gate Chaupad; Source: Author

Fig. 3.3.27

in 1890; Retrieved from Columbia University

Nolli’s

DRAWING 121

Fig. 3.3.20

Plan for Sanganeri Gate; Source: Author

PHOTOGRAPH

DRAWING

3.3.23 Ramniwas Bagh

Source: Author PHOTOGRAPH 122

3.3.24 Sanjay bazaar; Source:

PHOTOGRAPH 123

Informal

Source:

PHOTOGRAPH 123

Fig.

Parking lot;

Fig.

Author

Fig. 3.3.25

fruit market;

Author

PHOTOGRAPH 123

Responsiveness

Source:

TABLE 125

3.3.28 Diwali market at Sanganeri gate; Source: Author PHOTOGRAPH 127

Archives,

TEXTUAL 134

at Sanganeri Gate;

Author

Fig.

Fig. 3.5.1 -3.5.3 Cedric Price, Manuscript draft of Fun Palace promotional literature, c. 1964. Cedric Price

Canadian Centre for Architecture, Montreal.

Festivities

Archives http://www.columbia.edu/itc/mealac/pritchett/00routesdata/1700_1799/jaipur/jaipurcity/ PHOTOGRAPH 135 Fig. 3.5.5 Juxtaposition of Pompidou Centre onto Parking Lot; Source Author MONTAGE 137 Fig. 3.5.6 Juxtaposition of a Circus onto Parking Lot; Source: Author MONTAGE 139 Fig. 3.5.7 Juxtaposition of Guggenheim Museum onto Parking Lot; Source: Author MONTAGE 141 Fig. 3.5.8 Juxtaposition of The Walking City onto Parking Lot; Source: Author MONTAGE 143 Fig. 3.5.9 Users and aspirations; Source: Author DIAGRAM 145 Fig. 3.5.10 Program excavation; Source: Author DIAGRAM Fig 3.5.11 Cedric Price, Six strategies for Existing Buildings . Cedric Price Archives, Canadian Centre for Architecture, Montreal. DRAWING 148 Fig. 3.5.12 Sensor city; Source: Author DRAWING 149 Fig. 3.5.13 Program diagram; Source: Author DIAGRAM 150 Fig. 3.5.14 site diagram; Source: Author DIAGRAM 153

Fig. 3.5.4

3.3.16 Policewomen starting the women protection campaign

Chaupad; Source: Author PHOTOGRAPH 117 Fig. 3.3.17 ‘The lived’ at Badi Chaupad; Source: Author PHOTOGRAPH 117 Fig. 3.3.18 Responsiveness at Badi Chaupad; Source: Author TABLE 119 Fig. 3.3.19 Land Use Plan for Sanganeri Gate; Source: Author DRAWING 120

at Badi

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