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Campus Design in INDIA by Achyut simpwaperlacal.ml - Ebook download as PDF File .pdf) or view presentation slides online. Campus design in India by Achyut Kanvinde, , Printed by Jostens/American Yearbook Co. edition, in English. Of and For the Context: Achyut Kanvinde's Modern Indian Architecture. Prajakta Sane. Conference Proceedings - Full Papers Papers in alphabetical order by.
Scriver, Peter. Delft, the Netherlands, Balakrishnan, Pulapre Nov. Centre for Development Studies, Trivandrum. Working Paper Chibber, V. Princeton University Press. Katano, Hikoji The Developing Economies. Karmakar, Dr Asim K. European Scientific Journal. This reference carries the following citations: Ghatak, S Introduction to Development Economics, Third edition. Routledge, London and New York.
Third Edition. The Macmillan Press. Komiya, Ryutaro Feb.
The Review of Economics and Statistics. The Approach of Operational Research to planning in India. Vol 16, Nos. Vol 12, No. Mahalanobis Approach to Planning in India. Deep and Deep Publications.
Mitra, Ashoke Mar. A Note on the Mahalanobis Model. The Economic Weekly. Sanyal, Sanjeev Aug. World Scientific Publishing Company. Saptarshi Sanyal Chairperson: Prof. The focus of the seminar is on the significant impact these had on the architectural language of the number of projects that were actualised as the result of the increased building activity in those times.
The seminar begins by establishing a basic understanding of Mega Events.
It then goes on to study the Asian Games held in , which spearheaded large scale construction of various stadiums, hotels and other infrastructure, bringing the capital at par with other host cities. The seminar then moves on to study the much controversial Commonwealth Games, the next Mega Event hosted after a gap of twenty eight years. In conclusion, the seminar aims to study the various architectural trends that emerged during these events and became an identity of the city and compares them across the world during the same time period to understand the state of Indian Architecture of Mega Events.
There are times when a city witnesses a catalyst in its development process, a sudden spike in its otherwise steady graph. For the city of Delhi, being the capital of India, the first such event was the Independence of the country in There was an attempt to propagate new images for the city and the nation.
However, it was indeed difficult to come up with an appropriate architectural vocabulary and imagery for something for which prototypes did not exist. Opportunity to explore architecturally arose through the Trade Fairs of and held outside India , although they were small in scale with temporary structures being constructed. The coming in of a competition culture and the increasing confidence of Indian architects made Delhi, the capital city, the perfect playground for exploration Grover and Shah, The first and second Asian International Trade Fairs, previously successfully hosted by Bangkok and Tehran respectively, further encouraged Indira Gandhi, the then Prime Minister of India, to boldly put forward the name of Delhi as the venue for the third edition of the Fair to be held in After 25 years of independence, it was an occasion for India to portray how it was at par with the world, while being right at home.
India was ready to host mega events. Mega events act as stimulant for the development of the host city. Majumdar and Mehta, This is precisely why countries, developing or developed, strive so hard to attain the opportunity to host such events.
They provide that unique opportunity for progression, in lines of design, technology and construction. This requires huge amounts of capital, planning and execution which otherwise, without the occurrence of event, is difficult to get off ground.
In such a short lapse of time, mega events induce long lasting overhauls. The events might be temporal, but its effects are permanent for the city. The mega structures that the mega events leave behind, be it stadiums or exhibition halls; eventually become important and visible landmarks of the city.
This, along with no capital expenditure limit, the burden of displacement and the effort put into organising the event, enforces the responsibility of advancing architecturally. Because of all these reasons, since the last few decades the administrative bodies of major sports and expositions have been focusing on the worth of legacy value envisioned to be generated as a major deciding factor in the selection of the host city. Legacy constitutes of many parameters: increase in participation of the related activity, improvement in social and economic spheres, creation of usable and required supporting infrastructure, tourism boost, investment boost, sustainable and environmental benefits, urban regeneration and many more.
Another major aspect that is now being added vaguely along the legacy worth is the architectural vision. While both developing and developed nations bid for mega events, the bid documents reveal a difference in the approach adopted to these events. The developed countries usually have a detailed vision of the event from the bidding stage with strategic plans to improve upon a pre-existing urban issue. They are to be spent as minimally as possible as they are not perceived to be generators of economic activity.
This, in itself becomes an opportunity to be utilised for the advancements in the field of architecture. Additionally, the infrastructure projects require the displacement of large quantities of settlements, in and around the selected sites.
The high scale uprooting interventions and huge cost overruns, burden the responsibility that the mega events hold towards the city. Mega events are not just to realize grand visions on a grand scale, but are events to question the future of the city; to both preserve and advance the way we live in our cities. After comparing parameters such as theoretical framework, reference to context, materials, trends, etc.
The architecture built for each event was compared, and rated as progressive or regressive. We have lost the architectural opportunity that CWG could have provided for the city of Delhi. We seem to have gone from a progressive past to a regressive present. There is a link between the shift from Indian to foreign architects being for these events and a simultaneous shift in the architecture produced from being progressive to regressive.
This incites us to break away from some of our prejudices against awarding projects of national importance to Indian architects. It can be seen that the vision for the event and its architecture was influenced by a perception that foreign architects provide a better suited vision. Combining this mind-set with an already rampant prejudiced association of foreign architecture with avant-gardism led to the side-lining of Indian architects. Why do we align with the prejudice?
There is no guarantee that foreign architects envision a better future and better architecture for our cities, as we saw through the example illustrated above.
Why do we adhere, increasingly, to the side-lining of Indian Architects in the process of designing for these events? Especially when these events are important from a standpoint of building an architecture of national importance, as well as for national prestige on the world stage! It illegally sublet the drawings to an Indian firm called Simplex Projects Ltd.
Sharma, Ignoring the involvement of local architectural style, concepts or materials and technology, their concern becomes just the skin of the building. We believe we have worked well with the Indians to produce some good buildings.
There are some issues with design and fittings, but these are minor ones. Given that, it is ironical that the one concern is not living up to the expectations. Time constraint cannot be cited an excuse for the bad architecture of the Commonwealth Games. For Asiad , construction occurred in a two-year time span. Commonwealth had at least the same time frame Majumdar and Mehta, , if not more, to work with, and yet the resultant architecture is nowhere close to the standards set by the previous mega events.
But this is not to say that everything should be constructed in a short duration. The reason that these mega events are allotted to host cities almost 6 to 7 years before the event is so that they can prepare for them adequately. They managed the implementation of the projects on ground while not compromising on the design and the vision they imagined for their country. But for the CWG, this changed.
The government was blinded by the perceived glamour in association with foreign firms. They barely looked at the work quality of these firms. In the attempt to collaborate and work with foreign firms, we lost out more than expected because elaborate schemes were carried out in an attempt to take advantage of it.
The projects were eventually done by unvetted local firms, and the whole intention of incorporating foreign experience in design and construction was gone. The fact that these structures have become functionally obsolete due to availability of better technologies and changing needs further strengthens the need for the upcoming mega events to establish architecture that can take its place in building the image of the city.
Azim, F. New Delhi: Media Transasia. Bahga, S. Modern architecture in India. New Delhi: Galgotia Pub.
Contemporary architecture of Delhi, New Delhi: School of Planning and Architecture. CGF, Dhanda, H. Economic and Weekly, P. Frampton, K. Ozkan, S. India: Om Books International. Grover S. HLC, HLRN, CWG human rights voilation, s. Manokaran, Jeyanthi. India: Sudarsan Graphics Pvt. Matheson, V. With a fresh beginning, the problem was to create a context - an educational hub or a small university town, and with the American involvement, a more obvious American university model became a reference point.
Individual buildings set within landscape aside from the city; anchored by library building, unified with local materials and fostering a sense of community were translated in the local Indian idiom. A roughly pentagonal site of 32 acres was chosen was on the outskirts of Pune, a fast developing town with a rich history of colonial buildings and sprawling educational campuses. One of the important design considerations was to weave in the academic areas with the residential ones such that the entire complex remains alive with activities.
Here I focus on the academic cluster, which is organised on a diagonal grid to catch the local southwest breezes buffered from the adjoining roads by placing residential blocks perpendicular to the boundary.
A thematic association to the traditional gurukul system where teaching and living takes place under one roof led to grouped placement of these functions around a larger open space. However, the geometry itself had substantially moved from IITK days from purist and visually simple forms to a more complex and hybrid composition.
Octagonal units, as in the library and dining hall, or chamfered rectangles underlie the structural grid, and the functionality assumes a subservient position. A centralised geometry in the library recalls the Beaux Arts forms but the exterior treatment defies any such connections. Sloping roofs, series of skylights, stilted or double height spaces, use of stone grit plaster with horizontal graphic banding inform the sculptural handling.
Stepped according to the buildings levels, the corridor gets suspended off the landscaped grounds and water body forming a bridge while the degrees of enclosure vary encouraging outdoor interactions and adding to the sense of discovery upon movement. Thus each building functions as a part of the cluster and as a part of the whole complex in a cohesive manner. The rational expression of structure turns selective only to establish horizontality and the columns are drawn out and expressed in a circular form adding to the articulation.
At another level, the same tools of circulation, geometry and materiality deployed intellectually call for a larger interpretation. This post-colonial identity construction was closely tied to postmodern thinking and the worldwide questioning of modernism. In architecture, it was manifested through application of historicist, mythical imagery at a superficial level or through a deeper approach of regional responses. Figure 9: View of bridge like corridors overlooking landscape features and leading to the library Source: Author, Figure A closer view of an individual block showing hybrid geometry Source: Author Doshi and Raj Rewal amongst others, the sole aim of reflecting Indian-ness was considered a defining virtue.
In the international narratives of Indian architecture, it would be worthwhile to see the framework developed by William Curtis as an example. However authenticity, regionalism, fabrication of Indian ethos to gain popularity and commissions have been recently challenged along with the framework which has defined them.! A contextual grounding of buildings to create a humane environment seemed to be the overarching theme of his evolution.
However in the process, Kanvinde in contrast, consciously refrains from making any visible or recognisable references to traditional elements preferring, on the contrary, increasingly abstract geometric compositions. Though he used the local stone at NIA it is manipulated in the form of grit plaster.
Though constantly aware of history and changing trends, Kanvinde increasingly uses geometric rigour to advance his quest for quality of spaces and environment, which he believed were a true measure of good and timeless architecture. Conclusion In examining the IITK and NIA campus, designed and built during two distinct periods particular attention was focussed on how Kanvinde approached the contextual issues through formal and spatial aspects of design.
This is achieved through a rational approach of modular planning and structural grid, both imparting order to the resultant form.
While the visual expression remains true to underlying structural logic, it relies on abstraction as a tool to respond to the changing context. At IITK, he discovers alternative ways to make his buildings more locally grounded and in the process negotiates with imported modernity. At NIA, this language of abstraction is extended further as a critique of ongoing shift towards Indianisation.
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