Chiaroscuro 2012 by Tushar Bharti

School Of Architecture, Hindustan University presents its 2012 Symposium Magazine

Pandemonium

MESSAGE

I am glad to know that the School of Architecture is organizing “Chiaroscuro 2012” with the theme “Vibrancy in Indian Architecture”. A vibrant city is a dynamic city with housing, commercial activities, transportation alternatives in an environment which makes it more active and livable and this is what is needed today. I hope this symposium provides ample opportunity for budding architects and students to understand the value of vibrancy and work towards restoring it in the urban structure. Vibrancy is a sign of growth and development; otherwise, this can indicate stagnancy. With these words I extend my warm greetings to all the participants and organizers and wish the symposium a grand success.

Dr. Mrs. Elizabeth Verghese Chancellor

MESSAGE I am extremely happy to note that Architecture Department is bringing out its Symposium Souvenir CHIAROSCURO – 2012 with the theme – “Vibrancy in Indian Architecture”. Variety brings in vibrancy; it showcases architecture in a different perspective. The variety in building typologies makes architecture more interactive and exciting. It enhances the character of the city and makes the place more inhabitable which is essential. Architecture is for the people and if it is made more “vibrant” the relationship between the user and the buildings can be highlighted. I hope the symposium helps everyone explore the vibrant world around us and propagate the same in the future development. I wish every success and good luck to the editorial team of CHIAROSCURO – 2012 and all those involved in bringing out this Souvenir. I have great pleasure in extending my greetings and best wishes to the staff & students of School of Architecture to achieve many more laurels in the days to come.

With all good wishes,

Dr. Anand Jacob Verghese Pro Chancellor

MESSAGE I am immensely pleased to know that the School of Architecture, Hindustan University is hosting “Chiaroscuro 2012” with the theme “Vibrancy in Indian Architecture”. For the students this symposium would be helpful in understanding the need for interaction that a user has with his environment and how “vibrant” it could be made. I extend my warm greetings to the participants and wish them all success for the symposium and congratulate teh school of architecture for the efforts put it.

Dr. K. Sarukesi Vice-Chancellor

MESSAGE I am very glad to know that the school of architecture, hindustan university is conducting a national symposium “chiaroscuro 2012” with the theme “vibrancy in indian architecture”. it is accepted world wide that indian architecture is dynamic and has a character that stands out for itself. i sincerely hope that the deliberations during the symposium will open up new planes in indian architecture culture. i am sure that this learning experience will expose new avenues and motivate our students. i wish the symposium all the success.

Dr. Aby Sam Director

MESSAGE I am elated that the School of Architecture is hosting “Chiaroscuro 2012” with the theme “Vibrancy in Indian Architecture”. Vibrancy in architecture is a tool that links the sociability and the fabric of the city. It helps break the monotony in the architectural development. The concept of vibrancy and interactive spaces must be infused in the planning stage itself. It is an interesting and a unique feature to be incorporated in the field of architecture. I wish this symposium the best and hope it gives a new experience which is cherished.

Mr. Ashok Verghese Director

MESSAGE I am pleased that the School of Architecture, Hindustan University is organizing “Chiaroscuro 2012” with the theme “Vibrancy in Indian Architecture”. Architecture and its vibrancy have to be maintained. By embedding spaces that improve the levels of interaction of a user within one’s ecosystem, the diversity of the cityscape can be maintained. I congratulate the department on its initiative and wish them success.

Dr. A. Joseph Stanley Director ( Academics)

MESSAGE It is indeed my pleasure to inform you that the students of School of Architecture, Hindustan University are bringing out another version of ‘Chiaroscuro 2012’ with the theme ‘Vibrancy in Architecture’. The bond between vibrancy and Architecture has always been strong. Vibrancy brings life to Architecture. This symposium will be an excellent platform to throw light on the importance of Vibrancy in Architecture. I would like to take this opportunity to thank the management of our august institution for being instrumental in the conduct of this symposium. I also congratulate my beloved students for their constant efforts in coming up with fabulous ideas. I’m sure that this symposium would be a learning experience that would be cherished by the students.

Mrs. sheeba chander head of department school of architecture

EDITOR AND GRAPHIC DESIGN

whazza! it’s september and the heat is just bearable. too bad for you, cuz this issue is HOT! lots of stuff going around. india’s battling corruption, the government is scared of an unarmed man on a hunger strike, yet again. that doesn’t stop us kids from doing what we do. lots of talent still flowing in. keep on flipping for some really interesting articles, photographs, illustrations, paintings and people, people! and btw, good choice on the ‘zine. not like it’s a bi-yearly.

TUSHAR BHARTI

tushar.bharti91@gmail.com

Krithi Priyadarshini

The Team

also

the

Ashwin Jacob

cover art Tushar Bharti

AGAZINE TEAM

Sub - Editor

, 57, 58

VIBRANCY IN INDIAN ARCHITECTURE VIBRANCY - an attitude towards the social infrastructure and its relationship to the fabric of the city. Often urban environments are both relentless and ubiquitous; they are made up of a repetitive fabric of residential and commercial development, which creates monotony to the way inhabitants experience the city. It is also important that the social infrastructure and its relationship to the fabric should be infused into the approach to master planning and should be evident in the urban morphology. By embedding spaces that improve the interdependency of a user with his ecosystem, there is a possibility to maximize the sphere of influence of these facilities in terms of diversity of the cityscape. Vibrancy in a space becomes a part of the character of a city, sense of place and identity of the city. India is a country known for its sensory and spiritual overload, its legendary cuisines, its long history and incredible diversity. There is friction that has developed over time between tradition and modernity, and a â&#x20AC;&#x153;chaosâ&#x20AC;? in the diverse, vibrant cities. Indian architecture shows a yearn for continuity and static; but with time, dynamism and change stands out. Change in the architectural character over time has given the city or that space a new dimension all together. Hence it becomes essential to consider the sociability of a space and its relationship to the city, to become the fundamental building block of urban structure rather than something to be retrofitted at a later date.

THIS YEARâ&#x20AC;&#x2122;S THEME

ASHVIN MATHEW SPEAKER CHIAROSCURO 2012 Vibrancy in Indian Architecture. Vibrancy in Architecture & Indian. Vibrancy & Architecture. Vibrancy. How? Why? Lets leave the “Indian” bit aside for a moment. Architecture is everywhere. All over the world. After we think about an architecture that is vibrant, we can understand its “Indianness.” A superficial description of vibrancy can limit itself to colour, shape, patterns , ornament, art ,etc in architecture. While these all contribute to the overall mosaic, and are largely enjoyed primarily by one’s individual faculties of sight and touch, I think vibrancy is much deep rooted into architecture than that. It is not the building by itself. It is neither the individual by himself. Let me explain. Architecture in some form exists where ever Man and civilisation has trod. I will even venture to say without Man, or being useful for man in some way, Architecture by itself does not exist, and worse, loses its relevance & meaning. Vibrancy is possessed by that which has variety & energy. We can all sense when cities, neighbourhoods, village squares, festivals and events possess this viCHIAROSCURO12

brancy ‐ when there is such juxtaposition of built form, colour, people & participation. We would all enjoy this symposium if it was bustling and vibrant with events and participation and one could sense an enthusiastic buzz in the air. Melbourne as an example, along with many modern cities that can be described as buzzing, urban agglomerations, have consciously revitalised, developed and preserved “people spaces” to create vibrant spaces and scales of gathering and interaction. Along sidewalks, in parks, in squares, at cultural centers, arcades, etc – places for man and society to inhabit and enjoy. It is plain to see that it is difficult to literally associate vibrancy to an inanimate object such as a building, if it is not occupied by man and human activities of gathering, interaction & community. Mere monuments and spectacular, visual, trophy architecture that is the focus of many “contemporary” architects’ fixation, do not lend themselves to vibrancy. True vibrancy is the resultant of Man’s interaction with his fellow man, and their combined interactions with the built form. The built form has to hence accommodate – no, Celebrate such interaction and provide Man with a variety of opportunities and potentials to so participate. By such inhabitation, architecture holds life – and when it empowers, inspires and nurtures the “spirit of Man” that is common to us all, then true vibrancy results. It is only by the inhabitation of people that makes a city center, a house, or a park vibrant. When man has left that space, it goes back to being inanimate , an empty shell, awaiting the arrival of man again. When architecture is rooted and relevant to a place, it can be described by that local culture and named accordingly. So while architecture anywhere contains potentials for vibrancy, there is something special about an architecture that is Indian. I would also want to associate Vibrancy with Multiplicity – something that “Indian” architecture is based on. Multiple layers of form, scale, detail and activity are juxtaposed & overlapped to form enclosure and its resultant “conquered” space. For example, the traditional “thinnae” or verandah of the vernacular house form such as the Chettinadu houses of TamilNadu or the Naal‐kettu’s of Kerala served many purposes. These purposes differred based on who occupied that space and based on their actitivies – their inhabitation of that space. The verandah would serve the architectural purpose of elevating the house’s plinth from the street, keeping rain water away. The shaded roof would provide shelter for the traveler, the grandfathVce for conversations, buying of articles from the vendor, snack

times, and even for rituals of birth and death. It was the blurred linkage of the private realms of the house within to the public street and hence to the town and the larger world outside. It was an architectural “Edge” that was shaped and moulded to allow comfortable and ergonomic seating and standing up. Whew! This edge was stepped, serrated, covered, wide open and enclosed at the same time. A carefully evolved, generational device of such wisdom thus promoted vibrancy. It also contained much ornament, art, colour and detail in the floor patterns, in the carving of wooden columns, in the plaster motifs, in the design of the benches and the main door. It was a place that was shaped for, and promoted a sense of gathering, of celebration – of much joy ! Vibrancy caters and influences our emotions and connects to something bigger than either individual man or the actual building. It creates places of appropriate, positive aura; it is full of zest and is hence both inspirational and aspirational. Traditional Indian architecture is filled with such examples of multiplicity of components and usage ‐ Our chowks, maidans, squares and places of worship – all become centers of vibrancy in daily life. Variety is reflected in everything that is Indian – our food is layered with multiple spices and masalas. Even a single meal contains a variety of items – rice, dals, vegetables, pickles, sweets. To be Indian is to be familiar and comfortable with vibrancy continually. Our various tropical and sub‐climatic zones across multiple states are a blur of open‐to‐sky, semi‐open and enclosed spaces that have perfectly catered to the required realms of multiplicity in time, activity and participation, specific to our culture and society. Much of today’s architecture in India, is however sadly casually ignorant of what makes us Indian, of what makes us people, of what makes us human. In the rush and pressures of modernity and urbanization, we hardly find space or need to provide for any of these potentials for vibrancy to flourish. You will realize that a lot of the Indian references made above are fast‐disapparing or already non‐existent. As future architects of the city fabric, of designers of buildings, wouldn’t we design every apartment unit, every classroom, every office space with a careful juxtaposition of synergetic generators of vibrancy, if only we held them as important, as fundamental, as understood. Yes, there will be limitations of time and money, and as architects we must seek to innovate and interpret – but innovation and idea and discovery is again fundamental to the nature of man. So we can – so we must.

So, just as much we all love to be around a “vibrant” person, we are all drawn to places of Vibrancy. It is often said that many people gathering at a place will attract many more people to that place – the principle that makes certain popular malls & cultural centers more popular– it is fundamental to the nature of man – he is a social being. We all love vibrancy – it is deep rooted in us. To all of us. It is part of being human. It is part of the spirit of Man. Man is capable of doing many things, of perceiving and sensing many multiple things simultaneously. We are physically capable of thinking, laughing, walking, smelling the flowers in a garden, watch a vehicle go by, feel the gravel beneath our feet, hearing the tinkling of the vendors bell – that’s a simple walk in the park with a friend ! So what we use, and create and inhabit – will be a reflection of who we are. It will reflect this potential at being vibrant. Man will create, sustain , enjoy and promote a vibrant architecture, because he possesses a spirit of vibrancy, of variety. That does not automatically make all architecture automatically vibrant. There may be no such thing as Right or Wrong in architecture, but I believe there is mediocre, good and great architecture. Clearly, it will take a keen understanding of what promotes vibrancy to include that in the architecture that we create. Great Architecture addresses Humanness – it caters to the spirit of Man. Let me conclude with a mission statement for us as architects – can we learn to observe, to be sensitive to this spirit of Man. Then we can create spaces that offer much potential for his inhabitation. And that participation will make it vibrant. We all have enough experience in being Human‐we need to empower our design learning with a deep sense of Humanness, to aim to produce architecture for Humans. It will then be truly vibrant. It will then be truly great. Ashvin Mathew is the Senior Principal & Studio Head, CnT Architects, Bangalore. He is a former student of the Department of Architecture, of the then “Hindustan College of Engg”; batch of 1998‐2003. To join him and his friends on a discussion forum on the search for Humanness & Greatness in Architecture, please stop by at his blog : iamscribblewall.blogspot.in

CHIAROSCURO12

the

chief

guest

CHIAROSCURO 2012

Sriram Ganapathi Managing Director, KSM Consultants

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M.Arch. School of Architecture, McGill University, Montreal (1993 - 1995) B.Arch Department of Architecture, IIT Roorkee (1984-1989) Member of Council of Architecture, India Founder Trustee of Chennai Architecture Foundation (CAF) Sriram Ganapathi has been a part of KSM since its inception. Having become one of the ‘Young Designers’ cited by IA&B (Indian Architect and Builder) in 2002, he has been working towards energy efficient and climatically relevant architecture through KSM. He firmly believes that the design process is as important as the designed artifact itself. As a part of ongoing research, he has been a contributor to the ‘Encyclopedia of Vernacular Architecture of the World’, Oxford, UK

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THE ARCHITECT ADVANTAGE

1. It’s a lifestyle, not a job. Architects typically tend to think about architecture all the time, I know I do. Not just the big ‘A’ type of buildings or projects, but every little thing from everywhere I go. I go somewhere and start looking at materials, form, massing, lighting, etc. If I take a trip somewhere, I start by planning it around the buildings I want to visit. 2. People respect architects. Even if they don’t really understand what we do, there is a perception that architects are ethical and responsible and will endeavor to make the right decision to our own detriment. It’s part of the reason that ‘architect’ is chosen so often as the vocation for title characters in movie and TV roles. Architects aren’t generally viewed as driven by financial rewards. 3. Job is constantly evolving. Architects are not artists – we have to address building technology and programming. There are constantly evolving materials and construction methods out there and we are required as a profession to address the demands of the public at large (building performance, energy consumption, incorporating recycled materials, etc.). Architects create new design concepts that push how modern day construction is executed. Architecture is one of the few professions that is never static. 4. Artistic freedom and personal expression. As an architect, we are given certain project parameters that help guide the direction of our projects. We are then given the freedom to pursue the artistic embodiment of those parameters. 10 architects with the same client and the same project parameters will provide 10 different solutions. Every time. 5. You can be your own boss. You can be your own firm of one and still be a viable service provider on almost any size project. You can enter contests and win commissions for major projects by yourself – I can’t think of another vocation that can provide similar latitudes. I have also seen a team of 3 people design and prepare construction documents on a mall over 1,000,000 square feet. CHIAROSCURO12

6. There are tangible (and sometimes euphoric) results. Anyone who has ever seen a building that they worked get built knows exactly what I am talking about. I am still excited to watch one of my projects getting built – it’s like having your own laboratory where you can experiment and refine things that you consider to be important and worthwhile. It ties into the artistic freedom listed in #4 but architects generally have a sense of ownership on every project they work. 7. We can positively impact peoples lives. It is rewarding to develop a personal relationship with your client, particularly when you know that the process will yield a more fruitful end product. By understanding the process, our clients appreciate the product. By appreciating the product, they are acknowledging the role it plays. 8. Experimentation is expected. Despite architecture having to contain building sciences and technology, the final esoteric product does not have a definitively right or wrong answer. Because no two architects will ever come up with the exact same solution given an identical set of parameters, there is a liberating sense that you are here for the purpose of imparting your own personality on the project. We are expected to try new things, explore different materials, and incorporate emerging technologies into every project. 9. Longevity of Career. You can practice the profession of architecture for as long as you want – you’ll always be an architect even when it is not your job anymore. I imagine that you have to come to some sort of understanding as to who you are as an individual before you can start to be consistent with imparting your imprint onto a building. 10. Incredible variety of options within the profession. Unlike other professions, you graduate with a degree in architecture without having to know what type of architecture you are going to focus on. This is really great because when you graduate, you don’t know enough about the possibilities to know what you want to do. You can float between big and little firms, the role of project architect, designer, or management. You can work on building types from different market sectors like hospitality, residential, civic, retail, etc. and will still be an architect. Your degree will have a marketable value beyond the time of your immediate graduation.

TARUN VERGHIS ABRAHAM 3RD YEAR

Proposed future London airport would float atop the Thames

W Sketch for Heathrow Eco City

hile the UK government is contemplating about building an airport east of London, a handful of architects have already put forth their visions for an airport within the city limits, looking to the River Thames as the site of the new runways. Architecture firm Gensler imagines a future London airport set atop a series of floating platforms, allowing planes to land on top of the river without filling it with earth.

Gensler envisions London Britannia not as an addition to Heathrow Airport, but as its replacement. It also proposes Heathrow into an eco city, one that could house 300,000 residents. London Britannia would itself be a fairly green building, providing much of its own power through marine turbines. But for now at least, this is just a project on paper as the government considers placing its next runways outside of London Environmental Benefits The relocation of a UK hub airport to the Thames Estuary will provide a state of the art facility that will transform the quality of life for millions of Londoners and will provide London with the space and infrastructure to grow and thrive over the next century. The marine location not only minimizes noise disruption to existing communities whilst enabling 24 hour passenger arrival and departure, but it also avoids any demolition of homes. The concept allows for future expansion to accommodate 6 runways when required.

M.HARSHITA VAISHALI 2ND YEAR

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Cutting Edge Design

K.Saahithya, 4th Year

talian civil engineer and UCLA trained architect Elena Manferdini is the founder of multidisciplinary design studio Atelier Manferdini. The stunning portfolio explores the creative potential of lasercutting in the fields of architecture, fashion, and product design. The array of work is not only visually arresting, but indicative of intelligence and mastery of form, texture, and pattern — truly exceptional design.

Bloom is a set of laser-cut stainless steel trays that can be folded into bowls.

Clad Cuts is a laser-cut textile and fashion collection about “the sensitivity associated with revealing and concealing the body and engages the problem of creating openings on a complex surface.” CHIAROSCURO12

Visual merchandising panels designed for fashion label Valentino use mirrored materials and laser-cut shapes to create an ethereal display of shadows and reflected light which compliment the white leather accessories and silver hardware. CHIAROSCURO12

‘Ahoy Ship’ Pencil on Paper Tridip Karmakar, 2nd Year CHIAROSCURO12

INDIAN METROPOLIS - CLONING VERSIONS OF THE WEST

ndia has been known for its booming economy and its high rates of urbanization which is very commendable. Urbanization has led to increase in the employment and which evolved to a drastic growth in the Indian economy and there is a great increase in per capita income. Unlike any other country in world India will have 170 million workers in its labor force from 2005 to 2025.The pattern of growth in urban India has come from organic growth in city population, together with the reclassification of rural areas and expansion of city boundaries. Todayâ&#x20AC;&#x2122;s population in Indian cities is a rich mix of communities to a middle-class majority that is at the heart of Indian social and economic transformation. The structures in Indian metropolis have been changing continuously and are influenced badly by the culture from the west. Architects are just duplicating MANISH BOKDIA, 5TH YEAR the glass towers in India, just to impress the clients from the west in this competitive market. These days hospitals started looking like office buildings, schools started looking like hospitals and residential buildings like PWD buildings. Structures started losing their visual identity. Should we device a new methodology of urban planning or follow the prototype of the past? The rapid growth in population led to unplanned urbanization; which has drastically altered the drainage characteristics of natural catchments, or drainage area by increasing the volume and rate of surface runoff. Drainage systems are unable to cope with the increased volume of water and are often encounters with the blockage due to indiscriminate disposal of solid waste. Bangalore generates about 3000 tons of solid waste/day, of which only about 1100 tones are collected and sent to composting unit. The rest of the waste is unscientifically dumped at out skirts of the city. This kind of disposal is already showing alarming and long-term effect on groundwater and air pollution in the villages. The Indian city had the medieval tradition of high density, mixed use neighborhoods with temple squares and markets forming nodes and open spaces. The British developed cantonment type urban form, with wide tree lined avenues and the native city had The city itself was divided into districts based on trade and caste each having unique character which gave the Indian city high imageability. As the city grew over space and time; the inner area has become more crowded and congested and started losing its character. The streets in cantonment were designed for carriages and cycles and which were slowly replaced by cars, scooters and motorcycles as mode of transport and the quality of streets started to deteriorate rapidly. A space that catered for 2 million people now has to cater 7 million people; this increased the vehicular traffic and which eventually led to road widening at the expense of the sidewalk and road-side trees. Even some of the buildings have encroached into the sidewalks. This had led to congestion of streets especially on the sidewalks, where people jostle other to get to their destination. Although the sidewalks has been important historical public space which is now slowly reduced to the function of circulation. During the colonial period the streets had felt volumes and became an outdoor room with facades of the buildings belong to the street rather than the building. But today the streets with office buildings and high rise apartments have become crowded physically as well as visually. The basis of identifying an iconic city has changed from a historical status to an economic status. Ages ago the city was a different place, which changed from seasons to season. The nature around showed the signs of the seasons, the dead yellow grasses in summer to the wet dewy grasses in winter and the grey-blue light reflection in puddles. The openness around enabled the thinking capability of a person. But now the urban fabric surrounds the gardens are like parasitic concrete growth, which shows its incapability to provide the same experiences. The spaces designed in the urban living should be relative to the peopleâ&#x20AC;&#x2122;s perception of homes, places of recreation, proximity to markets, needs of security, new types of transport and alternative form of energy. Until and unless the large scale urbanized neighborhood can be designed and built with the radically new ideas, the larger public will remain unconvinced. Should we device a new methodology of urban planning or follow the prototype of the past? This pertinent question shall pave the way toward a grand and futuristic urban. CHIAROSCURO12

here’s more to a city than just concrete, steel and form work. The color of a city’s architecture and the creativity of its people can turn a dull, functional town into a thing of vibrant beauty. From the favelas of Rio de Janeiro to the Blue City of India and beyond, color is a core characteristic of some of the world’s most stunning cities. Here is to 10 of the most brightest and colorful cities around the world. Jodhpur – India Generations ago, the priestly caste of Jodhpur, India, painted their homes blue to separate themselves from the rest of the citizenry. It wasn’t long until the rest of the old city, Brahmins or not, took up the tradition and painted their homes blue as well. Some reasons point to the priestly caste years ago, others suggest it wards off mosquitoes, and others claim the blue keeps their homes cool under the hot Indian sun. Visitors to Jodhpur can experience one of the most colorful cities on the planet, where every brick, beam and boundary has been painted in this cool, calming fashion.

DEEPTHI

DENNY CHIAROSCURO12

4TH YEAR

CITIES OF COLOUR

St. Johns – Newfoundland – Canada The city of St. Johns on the island of Newfoundland is arguably Canada’s most colorful city, a characteristic in contrast to its otherwise chilly climate. The cultural gem of its province, St. Johns features many museums, art galleries and urban parks throughout its hilly coastal environments. In the hip sections of the city, low-rise buildings have been painted in a vibrant array of colors, a visual quality that is noticeable even from the ships that pass by.

Favela Painting – Rio de Janeiro – Brazil Over 11 million Brazilians live in favelas(shanty towns) like those in Rio. If you can view them from afar, there is a strange beauty to their nature, one recognized by Dutch artists Jeroen Koolhaas and Dre Urhahn. They visited favelas in Rio to work with the locals to create brilliant works of colorful art on the walls of the homes they live in. This work by the people of Rio might be the most colorful neighborhood in the world, clearly the gem of our list of ten. Old San Juan – Puerto Rico Old San Juan, Puerto Rico, is a marvelous mosaic of color in all directions, a city with a rich cultural heritage shared by the native Taino people and the descendents of European explorers. The buildings in Old San Juan are different from one step to the next, some warm and primary, others bright and pastel. Even the streets of this UNESCO World Heritage site are colorful– the blue bricks that pave Old San Juan were shipped over from Spain one-by-one during the 16th century. San Francisco – California This densely-packed peninsula city is home to a colorful architectural identity, one reflected in the varied paint styling that changes from door to door. The Painted Ladies, a row of homes in San Francisco’s Lower Haight district, are one of the most recognizable works of color in the city, but bright colors can be found anywhere throughout the town. Valparaiso – Chile Valparaiso, Chile, has been called the “Ocean’s Sweetheart”, “The Jewel of the Pacific” and the city that “goes to paradise”– and it is also the cultural capitol of this geographically narrow nation. It is covered with color from city limit to city limit, a characteristic which has charmed Chileans and foreigners for generations. Its culture, its color and its progressive spirit have earned it another nickname which fits this list quite well– the San Francisco of the South. Bo Kaap – Cape Town – South Africa Situated in a small corner of Cape Town, South Africa, is home to the Cape Malay ethnic group and a visually vibrant architectural sensibility. The buildings of Bo Kaap are separated by bright and friendly colors which change from address to address. Pinks, oranges, yellows and blues mix together to create a community. Guanajuato – Mexico The silver city of Guanajuato is the most colorful in all of Mexico, one celebrated for its cultural and mineral importance during the colonial period and beyond. A city shot up around the silver mines present there, as they were being explored, and the colonial-era architecture is evidence of this building boom. Yet the spirit of Guanajuato is reflected in the color of those varied across the full spectrum from one end of town to the other. Like others on this list, the colorful city of Guanajuato is also now celebrated as an UNESCO World Heritage Site. Wroclaw – Poland Despite its tumultuous past, the city of Wroclaw, Poland has long embraced color as a part of its cultural identity. The buildings of its city center are rich in color, progressing from earth tones to pastels in a very old-world manner. This colorful take on classical architecture makes it one of the most colorful cities in Europe, and a departure from the rest of the entries on this list. Cinque Terre – Italy The pearl of Italy’s riviera is not a city, per se, but a collection of five seaside villages that are together celebrated as an UNESCO World Heritage site. The villages are perched high above the quiet Mediterranean below. These villages climb the mountainous overlook with bright, varied colors, appearing as if they were drawn in place by the pastel hand of a dreaming artist. CHIAROSCURO12

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‘Tribals’ Water and Poster Paint on Paper Malvika Pratap, 4th Year

Adalaj Stepwell Gujarat Preethi Parkavi, 4th Year

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PRABHAT ARORA

MUSIC + ARCHITECTURE =

AWESOMENESS

Music plays a very important role in design. It can influence every bit of your creativity. It can influence your thoughts, your ideas, your movements and also your emotions. I believe that music is very close together with design; it has definitely influenced my design ideas and helped evolve them. The lyrics and the speed have an effect on my movements, the beats and the melody set the mood of the images inside of my head. It is believed that each “Raga” in Indian classical music portrays a different colour. More than this, it gives me ideas an d concepts to get inspired by, the story that the song is telling is not just entertaining while you’re at the drawing table but also very inspiring and helps your creative juices flow. Apart from listening to music, playing and practicing a music instrument helps you stay inspired at all times. Practicing any kind of art form, not just music would help you achieve that. Painting, drawing, cooking or even dancing for that matter can influence your design ideologies. Music has had an influence on architecture, and so has architecture had an influence on music. The different spaces designed specifically for genre based musical performances, were designed keeping the kind of emotions or vibes the space would emit, in mind relating to the genre.

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Mozart and Beethoven were inspired heavily by the many Gothic, Renaissance, and Baroque structures throughout Prague in the eighteenth century. The meticulously designed and detailed churches, castles, and bridges moved them to compose arguably the most profound and recognizable music found worldwide.

It seems that more and more often, artists such as Robert Plant, Jack White, and Bruce Springsteen are seeking old churches, farmhouses, and other interesting architectural spaces to boost their creative juices.

PINK FLOYD One of the greatest progressive rock bands in the history of music, Pink Floyd had all of five members of which three were architects. They formed the band while they met in architecture school.

OK COMPUTER - RADIOHEAD Radiohead stopped recording at the insulated recording studios during the early 1990s and sought out the rural St. Catherine’s Court near Bath, England to lay down their album OK Computer which was a major success. Music consists of these basic structures: tones and melody shape motifs, tempo and time set dimensions, and the timbre of instruments establishes form and feeling. Architecture and music exist as sisters because they share so much such as imagination, space, rhythm, design, time and numbers. Johann Wolfgang von Goethe once described architecture as “frozen music.” Le Corbusier collaborated on many occasions with one of his closest colleagues, Iannis Xenakis, an early twentieth century composer. Together, they created the Philips Pavilion for the 1958 World’s Fair in Brussels. The structure was inspired by Xenakis’ composition, Metastasis. Such as this, several other famous architects have been inspired by different musical pieces. Daniel Libeskind once said “If there was no music, architecture would die of asphyxiation, and if there was no architecture, music would have no possibility.” which concludes that music relies upon architecture just as architecture relies upon music. Music can vary and create different moods. One day, an upbeat indie track might help you do it all, other days a down tempo melodramatic song can do the trick for you. A song bursting with funk and soul would click or even a 70’s retro might work. What sort of music have you been listening to for design inspiration? CHIAROSCURO12

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THE NEW ARHCITECT IN TOWN

PALLAVI AJIT 4TH YEAR

COMPUTER

ith the dawn of technology, computers have become an inevitable part of our lives. The mere thought of living in a world where computers donâ&#x20AC;&#x2122;t exist is simply beyond belief. In other words, we have become slaves of technology. The reason being, we have got accustomed to living an easy life and prefer getting things done without much struggle. These advancements are a boon to mankind, of course. But at the same time it proves to be a bane for skilled people. An example to illustrate this would be: For over hundreds of years architects have been used to the practice of manually representing their ideas and visions, which might seem conventional to most of us because we rely on computer softwares to get work done. Overnight things changed because of technology. A change, which was welcomed by the present generation but, simultaneously frowned upon by the older folk. Earlier, architects drafted with utmost precision, for a single error would mean repeating the entire process. Nowadays, making an error, while drafting is the least of our concerns because we have softwares to edit our work, with just one click. To get just one drawing right it would take hours for an architect. Now, within a matter of few seconds, we get to see various views of 1 model, alone. Rendering manually might seem like a Herculean task for someone without proper knowledge or proper know how. It requires skill which can be acquired by no other means but practice. Years of practice is the key to produce a visually appealing manually rendered model, which ultimately evokes a feeling of authenticity which a computer rendered image, fails to do. The question here is how does that make architects different from any other person who masters the knowhow of such softwares? Creativity and innovation would probably set them apart from the rest. But considering the current scenario and the technological developments, our creativity might also be replaced by machines.

2nd Year

Sandeep jawahar

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Started making short films in 2011 establishing a production house called the ‘Assorted Fiction Collective’.

Made over 12 short films in less than a year.

Won several nominations and wins in film festivals and college culturals all over India.

Won first place at SRM Milan , Technicolor film fest, Anna University, MIT , Sastra University. Bagged an international nomination at the GIFF International film festival. Sold the satellite rights of their short film ‘Dead End’ to Malaysia’s No.1 TV channel ‘Astro’. Currently working on 15+ short films slated for a 2013 release.

STUDENT FêTE

AARUDH NATRAJ, 20

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I Hope to become a suc

ccessful filmmaker/architect in the near future

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His first sci-fi book â&#x20AC;&#x2DC;Echelon Dharmaâ&#x20AC;&#x2122; was requested by Mr.Naveen Varadarajan, Inline producer at Universal Studios, Hollywood, for adapting it into a major Hollywood film. They are still in talks and will make a decision shortly after its launch in the coming months.

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Echelon Dharma is a sci-fi thriller novel that speaks of Indias glorious past with fictitious ancient nuclear science, the military, a space program and also lots of artificial intelligence. He is currently writing the sequel to his first book.

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STREETS OF MUMBAI ERUPTING WITH COLOUR

n explosive city of endless energy and vigor – Mumbai erupts into a cacophony of sounds, colors and smells. For the firsttime visitor, its loud, chaotic characteristics scream at you in the face. The powerhouse of India – Mumbai, a city with its rumbles unfurls its sprawl before you. The financial capital of India is a city of extremes: skyscrapers soar through the skies, alongside tightly-packed slums. To define a city as complex and extreme as Mumbai is close to impossible.

chaotic feel of the street that makes it vibrant. Mumbai has a transfusion of various communities, following different religions and customs. It is an excellent example of synchronization between people, who have come from diverse regions. As the Island city has a profusion of work, people have migrated here for finding jobs or setting up business. Being a metropolitan city, Mumbai is both technologically and industrially advanced. Despite the fact that people have adapted themselves to the contemporary lifestyle, accustomed with gizmos and gadgets, they are deeply enrooted in the traditional values and principles. The streets of Mumbai are continuously throbbing with activity that they never seem to sleep.

Mumbai inhabitants literally live on the streets. Walkways spill onto the streets; pedestrians weave past traffic oblivious to honks while buffalos join in the mad rush. The ubiquitous black-and-yellow cabs are constantly zig-zagging through the buzzing traffic, forming part of Mumbai’s cityscape. Vibrancy in these streets is sustained because of the interdependency of each and every person. Without one India lives in its streets, and nowhere is this more appar- the other cannot survive and it is this chaotic, confusing ent than in Mumbai, city of salesmen, busily offering, and “unpleasant” condition of these streets that give life brewing, collecting or cooking right there on the side- to the city and help in the sustenance of the street. walk as you stroll by. The chai-wallah serves up steaming thimbles of tea, the dhobi-wallah collects your laundry, the rickshaw-wallah takes you to your next destination. Where there’s a need you can be pretty sure there’s someone willing to provide.Chaos rules the streets of Mumbai. It is this CHIAROSCURO12

KRITHI PRIYADARSHINI 4TH YEAR

The food stalls are to die for. Street food gives Mumbai its colors and character. Although hygiene is often an issue, the sight of of these deep-fried snacks, tropical fruits and chapatti are simply enticing.

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ernacular architecture is a type of architecture, which is based on localized needs and construction materials, and reflecting local construction materials and reflecting local traditions. Vernacular architecture tends to evolve over time to reflect the environmental, cultural, technologies and historical context in which it exists. It has often been dismissed as crude and unrefined, but also has proponents who highlight its importance in current design.

VERNACULAR ARCHITECTURE

Vernacular architecture in India is the informal, functional architecture of structures, often in rural areas of India, built of local materials designed to meet the needs of the local people. The builders of these structures are unschooled in formal architectural design and their work reflect the rich diversity of India’s climate, locally available building materials and the intricate variations in local social customs and craftsmanship. Many modern architects have studied vernacular buildings and claimed to draw inspiration from them, including aspects of the vernacular in their designs. Vernacular architecture is influenced by a great range of different aspects of human behaviour and environment, leading to differing building forms for almost every different context; even neighbouring villages may have subtly different approaches to the construction and use of their dwellings, even if they at first appear the same. Despite these variations, every building is subject to the same laws of physics, and hence will demonstrate significant similarities in structural forms. Frank Lloyd Wright described vernacular architecture as “Folk building growing in response to actual need, fitted into environment growing in response to actual needs, fitted into environment by people who knew no better than to fit them with native feeling”.

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Faheem Kappukalar 2ND Year

Photos by Manish Bokdia 5th Year Terracotta Workshop at DakshinaChitra

‘Woman’ Oil on Cartridge Tanya Devotta, 4th Year CHIAROSCURO12

STUDENT FêTE

“

I believe my fashion sense defines my persona.

”

Confident, bold and classy.

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STUDENT FêTE Nameetha Dinesh, 21 Student, Model, Treasurer Chiaroscuro 2012

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BRAHMANISM & ARCHITECTURE vv

Ar.Nagarajan R. V. Asst. Professor (Senior Scale) “janmana jayate shudrah samskarad dvija ucyate vedapathi bhaved viprah brahma janati brahmanah.........” Do you think Brahmanism is a caste? How many of us know that Brahmanism was just started as a movement which was supposed to be followed by every human being, which then was accepted by certain people and not by the remaining, leading to consider as a caste? Introduction: How did Brahmanism evolve? Over hundreds of years, the Aryans’ ideas of Brahmanism blended with the ideas of the people already living in the Indus Valley. These ideas formed a set of beliefs and practices known as Hinduism. Hindus believed Brahman’s major powers were to create, preserve, and destroy. The Aryans worshiped nature gods, which represented such things as rain, the ocean, and the sun. Their most important gods were Shiva, Indra, Varuna, and Surya. Indra was both the god of war and the storm god. Sacrifice to the gods was an important part of the Aryan religion, which we call Brahmanism. The priests, called Brahmans, were responsible for conducting the religious rituals correctly. If they failed to do so, the Aryans believed their gods would not answer their prayers. Then there might be floods, famine, disease, or other natural disasters. People paid the Brahmans to make these sacrifices and to conduct the rituals. Over time, the Brahmans came up with more and more rules about the sacrifices and rituals. Brahmans also taught the idea of an afterlife. Origin of Brahmanism: The Iyengar movement started taking shape about 1000 years ago, and traces its philosophical origins to Nathamuni, a Sri Vaishnava Acharya, who lived around 900 CE. Nathamuni, who was exposed to the divine outpourings of Nammazhwar and other Azhwars (Sri Vaishnava Saints from Southern India) introduced the philosophy of Azhwars into temple worship. Nathamuni’s efforts were formalised into a religious system of lifestyle, practice and worship by Ramanuja who propounded the philosophy of Visishtadvaita. Ramanuja claimed that the mystic insights of the Azhwars were the same truths enshrined in the Vedas, and created a group of people whose identity as servants of Narayana focussed on the fact that all sentient beings were ‘equal’ being children of the same Supreme Being. Brahmins in India: Initially, a person became a Brahmin on the basis of his knowledge of the Vedas. In time, the Brahmins began interpreting laws to their own advantage to maintain their privileges. And because of this unassailable social and moral authority, they were unchecked. Thus, according to the Brahmins themselves, they were the chiefs of all created beings, entitled to all honour. The Shatapatha Brahmana declares that there are two kinds of divinities: gods and Brahmins who have learnt the Vedas. Only the Brahmins were allowed to read and teach the Vedas and hence monopolised the privilege of priesthood in the later Vedic period. They also established that one was born into a caste, which could not be changed except to be outcaste. This became the common practice, which survives till the present. Today most Brahmins are engaged in other secular activities. However, only a qualified Brahmin can conduct religious ceremonies. These professional priests are now called Pandit, Bhatt or Shastri. There are several subdivisions within the Brahmin caste. Earlier, the different Vedas were preached by Brahmins beCHIAROSCURO12

longing to specific gotras. The subdivisions are therefore based on their gotra or on geographic location. Presently there are 1,800 subdivisions. A Brahmin should be able to trace his origin to one of the seven great sages - Kashyapa, Atri, Bharadvaja, Gautama, Vishvamitra, Jamadagni and Vasishtha. Of these seven, Vishvamitra is said to have been born a Kshatriya and later became a Brahmin after performing severe penance. Geographically, Brahmins are divided into two main groups - of the north and of the south, each of which has five divisions. The categories of the north are Kanyakubja, Sarasvata, Gauda, Mithila and Utkala. Those of the south are Maharashtra, Telinga, Dravida, Karnataka and Malabar. Each group claims to be the highest category. By common perception, Brahmins involved in the funerary rites (see Antyeshti) are considered the lowest category. Lifestyle of a Brahmin: “............”How can any Brahmin perform so many samskaras these days?” is perhaps a natural question. “What is the use of speaking about things that are not practicable?”Suppose I myself give two lists, the first containing the samskaras that are easy to perform these days and the second containing those that are not so easy. What will happen then? You will keep on adding items to the second from the first list and, eventually, I am afraid nothing will be left for you to perform. So, on your retirement at least, you must perform all the religious rites imposed on you as Brahmins. You must not ask for an extension of service with your present employers nor look for a new job............”, says Sri Adi Shankara. After getting up, he cleans his teeth, bathes in cold water and performs sandhyavandana and japa. Next he goes through aupasana and agnihotra. These rites come under “devayajna”, sacrifices to the gods. Next is “Brahmayajna”, the daily study and chanting of the Vedas. As part of this rite there are some tarpanas or libations to be offered. (For people following certain sutras these come later). If daytime is divided into eight parts one part would have been over by now. In the second part of the daytime, the Brahmin must teach his disciples the Vedas-this is adhyapana. Afterwards, he must gather flowers himself for the puja he is to perform. Since he is not expected to earn a salary- and if he does not own any land received as gift - he must beg for his food and also for the materials for the conduct of various sacrifices. The Brahmin has the right to beg, but it is a restrictive right because it means that he can take only the minimum needed for the upkeep and what is required for the performance of the rituals. A considerable part of what he receives as gifts is to be paid as daksina to the priests officiating at the sacrifices he performs. Brahmins’ Space: A Brahmin must get up five nadikas, or two hours, before sunrise. “Panca-panca” means five*five - “panca-panca usatkale”denotes during the 25th nadika”. From sunset to sunrise is 30 nadikas. So a Brahmin must rise during the 25th nadika- from this time to sunrise is “Brahma muhurta”. Why must a human being get two hours from the sun set? Why? How to create a space for this life style? He should never take bath totally naked. At least a piece of cloth should be worn on the waist because the Fire God is always present in water. This is called “sachela snaanam”. The sequence of his taking bath starts from the leg, waist, chest, face and finally ends up in head. Why? Is there any connection in this process with “Stack Effect”? Brahmanism compels a man not to urinate while standing. Why? Even medical physiology accepts it. While he defecates, he should not be in the position of ‘sitting in chair’ (Western style), but he must compress his stomach with thighs (Like in Indian closet). Medical physiology accepts this fact also very strongly. At home, he has to always sit on floor for meals - not table, bed or chair. Why? He should not stand or walk while having meals. Conclusion: Architecture of a Brahmin is just a home of serene living. The rites of our religion go back to a time when no other faith was prevalent. This is the only answer for my question I put forth in the initial sentences of this article whether Brahmanism was a caste. We must make every effort to ensure that those rites do not cease to be performed. They are not meant for our sake alone [as individuals] but for the welfare of all mankind. Being the creators (architects), this responsibility is in our hand too...!

Bibliography: 1. “From Explore the Ancient World”, 2005, Ballard & Tighe, Publishers, a division of Educational IDEAS, Inc. 2. Ancient India: a history of its culture and civilization, Damodar Dharmanand Kosambi, p.166-170 3. Singh, G.P, Historical Research Into Some Aspects Of The Culture And Civilization Of North east India 4. P. 201, Professor A.L. Basham, My Guruji and Problems and Perspectives of Ancient, by Sachindra Kumar Maity 5. Classical Dictionary of Hindu Mythology and Religion, Geography, History and Literature, by John Dowson, p. 17.

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‘The Pantheon’ Mural 4.5m x 2.5m Charcoal and Marker 33

2nd Year Section B CHIAROSCURO12

ARCHITECTURAL NEEDS

SRINIDHI VENUGOPAL 3RD YEAR

ewton was sitting under an apple tree. The apple fell. The Law of Gravity was propounded. Adam and Eve bit the apple, the rest is history. The falling of the apple when Newton was sitting under the apple tree and the bite of destiny, are starter of a need. Thanks to Adam & Eve, the population has been multiplying. Thanks to Mother Nature’s SYSTEMATIC Weather Cycle, there is a need for a “sanctuary”, be it for a bird, an animal or for men.

Thanks to mother natures fury, there is a need for “safety standards” that has been ordained to be ensured in a sanctuary. Legendary, may be the examples of nests and nestlings of birds and creatures on trees, in burrows, on the seashores and so on, withstanding the worst of “tsunami’s” day in and day out. Legendary could be the quotable examples of the birds and the bees having their nests and combs, withstanding the worst designs of their predators. In this scenario, all the questions posed seems a moot questions to me. The functional and fundamental fact remains that as an emerging architect, I see the “human” difference of being a human being. ”The man” is loftily declared as a species with intelligence. If the intelligence has been used from periods in history to answer the needs of dwellings, commercial establishments, for recreational needs to education an edifice has been created. This is an answer to a need. The need for a dwelling, the need for a commercial establishment, the need for a recreational centre, the need for a place of education and so on. To me, they are neither sore thumbs in an environment or a pleasing structure to soothe the eye, but, just a true calling to experiment with respect to a need.

For an architect, for a planner, many a creations are based on a need of the environment. Of the society, of their fellow human being [called as clients, in today’s parlance, stand out as sore thumbs or as pleasing edifice, over time. These structures are not constructions for destruction. The structures for yesterday and today are the true indices of the challenge to the creativity of the designer to the need of the environment, the society and of the client. To me, there was is a need. There will always be needs. The need is of the society and the environment, we are in. My interpretation of my understanding to the need of the society and it’s environ, leads to the creation of a space…This space, as defined by the creator and is available for scrutiny with respect to time. In this scrutiny with respect to time, any and every interpretation can emerge,In that scrutiny, I could also question my creativity with respect to the time of my creative urge. It is this CONSTANT question to question a creativity that helps to visualize a vacuum with an identity called space. A vacuum can only exist in an environment. The vacuum could be of or because of a tradition, of a culture, of a society and / or of the society’s environment. Filling in the vacuum with a breath of fresh air can be inspiring or dreadful. But, a vacuum has to fill. The space, thus created in filling a vacuum is always with respect to time, culture, tradition and of course a need to create. CHIAROSCURO12

ndia ! The land of antiquity. India’s heritage does not confine to historic accounts of objects frozen in their own time and space, but rather as cultural and architectural traditions which have transcended the time and space to remain alive and appropriate even in the present.

History and tradition both have their roots in the past, but history, for its in-adaptability to the changed time and space remains obsolete as fossilized remains of the bygone era. Tradition, on the other hand,consistently adapts and suitably transforms to the changed circumstances. Tradition therefore survives and remains timeless. The traditions - as living heritage are as much contemporary. Thus, in India we simultaneously live in three time zones. Legacies of past and aspirations for the future effectively combine with the realities of present. “ARCHITECTURAL SPACE” is a symbol of it’s context. Space over time is not the same.Similarly time over different space is also not the same. Therefore, having invested in time the space changes. This constant juxtaposition of time over space is the essential premise of Indian Architecture. Since man evolves with time his needs, aspirations and demands change and hence the architectural space evolves.Transcending time and space, good architecture remains communicative and interactive all the while through its spatial qualities. These spaces possess the qualities to establish rapport with the on looker and condition its perception, independent of their cultural background.Timeless, ever pervading architecture rely on more fundamental attributes of space making ranging from approach and movement, scale and proportion, quality of light and shade or the relationship of the built with the unbuilt. Therefore architecture needs to be understood and interpreted through perceptual and experiential qualities and not by the abstractions of the plan geometry or static compositions of the facade elevations. Dynamics of moving through the space and sensory perception of it is vital to good architecture which is a predominant character of modern architecture.

KRITHI PRIYADARSHINI 4TH YEAR

ARCHITECTURAL SPACES HUMANE, LIVELY, CONTENDED?

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Joshlin Raj 2nd Year

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Ashwin Jacob 4th Year

STUDENT FêTE

ASHWIN JACOB NAMMA LAZY SKETCHIST

t: what inspires your art? a: i dunno, basically comics and stuff like that..dude don’t write everything i sa--ok. t: when did you start sketching? a: I started sketching from comics from 5th or 6th grade. My first portrait was of one of my friends. t: what do you usually like to draw? a: i don’t really have a specific genre, basically anything that pops into my head.. from doodles to psychedelic designs. t: dude, your sketches are so good man, why haven’t you tried making any money out of it? a: you know i’m really lazy, i draw just for the moment. I forget about them later..actually i don’t even know where most my stuff is now..haha. But of course, I would love to make billions, if you’re willing to buy. Please contact 9092998260..i need to pay this month’s rent. :( t: billions ah..seri seri a: next question please. t: so why B.arch? why not fine arts? a: i took arch cuz there was no physics, chem, etc. :D my interest in art has grown only after bunking MC classes and drawing at home. t: dude, you know our HOD is reading this right. a: um.. ma’am, if you’re reading this, please boost my attendance :) t: chal dude, peace out! a: \/ CHIAROSCURO12

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‘England’ Oil on Canvas Ashwini Nambiar, 4th Year

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SPEED WALL BUILDING SYSTEM

peed is time, time is money, so introduction of faster construction has shed its form to its unit, THE SPEEDWALL. Speedwall is one of the world’s leading low cost construction technology suppliers involved in providing solutions to mass housing projects. The Speedwall concept was designed and refined over a period of over 20 years, and has been successfully implemented since 1991. The principles governing its design were intended to overcome the challenges of building affordable, quality housing in the developing world. Comparisons with all other systems including conventional methods and other panel based technologies in all environments have confirmed Speedwall’s superiority for cost, speed of construction, strength, versatility and ease of deployment. The core of the Speedwall Building system is the patented panel making machine and the panels themselves which are manufactured onsite. Concrete is sprayed onto the building structures, initially made up of the framework and the panels only. Speedwall trains contractors in the operation of the machine and the erection process, as well as provides quality control for the successful completion of the project.

Tridip Karmakar 2nd Year Fire performance

Speed wall delivers proven two-way fire resistance over a long period of time. Speed wall has been tested and appraised by the Building Research Association of New Zealand (BRANZ) and tested by the Commonwealth Scientific and Industrial Research Organisation in Australia (CSIRO). 100% reusable, minimum waste Speedwall is manufactured in New Zealand and ofWhen noise and fire regulations demand a high perfor- fers unique benefits in terms of sustainability and mance, no risk solution, Speedwall will meet the most environmental performance: Walls can be reused by stringent building code requirements for internal non simply dismantling the panels and reinstalling them in load bearing walls simply and cost effectively. another location. The raw material components (steel and concrete) are 100% recyclable. Panels are custom Exceptionally strong yet lightweight, the patented inmanufactured to size minimising waste at the factory terlocking panels can be easily erected by a small crew, and on the construction site. making Speedwall much faster to install than conventional wall systems. Construction using Speedwall also allows a building to be made weather resistant much earlier in the construction cycle allowing internal work and finishing to be started sooner.

Acoustic performance

Speedwall’s inherent mass and interlocking design gives it outstanding noise reduction properties making it highly suitable in buildings where acoustic performance is critical, such as cinemas, lecture theatres, apartments, recording studios and industrial/commercial inter-tenancy situations. The unique interlocking design eliminates the risk of sound “leaks” between panels, and makes installation much faster and more simple than traditional systems. CHIAROSCURO12

Vertical Wall Line Assembly Frame

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Amit Kumar Yadav 2nd Year

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Immanuel Prince 5th Year

Immanuel Prince 5th Year CHIAROSCURO12

4th Years in Bangalore

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Hindustan at NASA 2011-12, Ahmedabad

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2nd Years

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CAADRIA DELEGATES

Brahmani Tripuraneni and Reshma Chandrashekar , 5th year, presenting their paper on “SPATIAL PERSONALITY FOR HUMAN SPACE INTERACTION: SPACE FOR CHANGE” CHIAROSCURO12

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CAADRIA 201

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Pencil on Paper Ashwin Jacob, 4th Year “One good thing about music, when it hits you, you feel no pain” Bob Marley

Pencil on Paper Ashwin Jacob, 4th Year

The Joker

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