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"Down the Memory Lane with Indian Masters"

FEED “The Academic Classroom” in the Digital Format for the 22nd Year from Monday July 6th, 2020, 6 pm to 8 pm as per details in the enclosed poster.
   


all the 5 events for which you will have to register by filling the Google Form in the Link as mentioned below.

https://forms.gle/Sxxtq6BrDTNccAMK9


There are no registration charges for these events but registration is mandatory.

EVENT DATES:
1) Introduction : 
Monday, 6th July 2020 from 6.00PM to 8.00PM 

2) Charles Correa (1930-2015) 
Screening of recorded video presentation Saturday, 18th July 2020 4.00 PM to 6.00 PM 
Screening of recorded video dialogue Sunday, 19th July 2020 10.0 AM to 12.00 noon 

3) Hasmukh C Patel ( 1933-2018)
Screening of recorded video presentation  Saturday, 8th August 2020  4.00 PM to 6.00 PM
Screening of recorded video dialogue Sunday, 9th August 2020 10.0 AM to 12.00 noon 

4) Anant Raje (1929-2009) 
Screening of recorded video presentation  Saturday, 29th August 2020
Screening of recorded video dialogue Sunday, 30th August 2020

5) Achyut P Kanvinde (1916-2002)
Screening of recorded video presentation  Saturday, 19th September 2020
Screening of recorded video dialogue Sunday, 20th September 2020
_________________________
.
For registration write at
.
feedpune@gmail.com

or

call
Krishna Varma 9405505085

Learning to Teach and Teaching to Learn
COA 

Hello everyone!
I am a 4th year student and I'm currently doing my undergrad dissertation on Redefining Architecture in Kathak movements. Any kind of literature that is relevant to the topic is welcome. Any type of case study relevant is invited too. All kinds of discussions and suggestions are also welcome. I really appreciate any and every help I can receive from anyone. Kindly contact me - srivastavasakshi817@gmail.com

Warm regards,
Sakshi Srivastava

It has been made clear by supreme court that the norms and Regulations set by Council of Architecture and other specified authorities under the Architects Act would have to be followed by an institution imparting education for degrees and diplomas in architecture.
The judgment rendered by a three-Judge Bench headed by Chief Justice of India Ranjan Gogoi and comprising Justices Deepak Gupta and Aniruddha Bose ruled that the AICTE cannot impose any regulatory measured in relation to Architecture subject in case of a conflict between CoA and AICTE.

The Court said that under both the statutes there are overlapping areas under which the respective Councils could make Regulations. Though these Acts, by themselves, do not come into direct conflict the inconsistencies have surfaced in implementing the power given to the Councils constituted under the respective enactments. It, however, noticed that 
“The process of recognition and effect thereof are more expansive under the 1972 Act. All “authorities” require recognition by the Central Government to conduct any degree or diploma course in architecture education to qualify for being recognised qualification. The CoA under the said Act plays a key role in the process of recognition.”

It was also noticed that there is no exclusion or exemption of any institution from undergoing such recognition process except the subsisting ones at the time the Act became operational. The CoA has also wide monitoring power under Section 18 and 19 of the Act of every authority which grants recognized qualification under the said Act.
“The scheme of the Act thus demonstrates that lack of recognized qualification under the 1972 Act would in substance disentitle a person from being registered as an architect. He would not be able to legally represent himself as an architect in India.”


CIVIL APPEAL NO. 364 OF 2005
All India Council for Technical Education …. Appellant
Versus
Shri Prince Shivaji Maratha Boarding
House’s College of Architecture & Ors. …. Respondents
WITH
CIVIL APPEAL NO. 8506 OF 2019
(Arising out of SLP© No. 5400/2011)
CIVIL APPEAL NO. 8507 OF 2019
(Arising out of SLP© No. 8443/2011)
CIVIL APPEAL NO. 8511 OF 2019
(Arising out of SLP© No. 20460/2011)
CIVIL APPEAL NO. 8509 OF 2019
(Arising out of SLP© No. 17006/2016)
CIVIL APPEAL NO. 8508 OF 2019
(Arising out of SLP© No. 17005/2016)
CIVIL APPEAL NO. 8510 OF 2019
(Arising out of SLP© No. 28121/2018)

Rajasthan gazette notification dated 18 oct 2019 


Under section 3 , section 6 and section 10 of Rajasthan Municipal Act, 2009 Local Self Government Department of Government of Rajasthan has divided Nagar Nigam Jaipur in two parts. 

Nagar Nigam Jaipur Heritage 
Nagar Nigam Greater Jaipur


Nagar Nigam Jaipur Heritage include following MLA constituency 

1 Civil lines ward no 22 to 31
2 Adarsh nagar ward no 61 to 70
3 Kishan pol ward no 71 to 79
4 Hawamahal ward no 80 to 90
5 Amer ward no 91

Nagar Nigam Greater Jaipur include following MLA constituency:

1 Vidhydhar Nagar Ward no 1 to 14
2 Jhotwara ward no 15 to 21
3 Sanganer ward no 32 to 44
4 Bagru ward no 45 to 51
5 Malviya Nagar ward no 52 to 60




To see above images [img] attached in the forum post register as member and than login

Disclaimer:The information provided on this website is indicative only. The Visitors are requested to collect authentic information from section concern of the Corporation. The Information provided on this website cannot be produced for legal purpose.

Arata Isozaki, 87, is incredibly prolific and influential among his contemporaries.
Deeply aligned with the period of change and reinvention that Japan experimented after Second World War and Allied Occupation. 
His career began working for fellow Pritzker Prize winner and Japanese architect Kenzo Tange in 1954, after graduating from the University of Tokyo with a degree in Architecture and Engineering.
Notable projects by Isozaki:

Ark Nova, Japan, 2013

Isozaki worked with artist Anish Kapoor to create this inflatable mobile concert hall, which was created to tour regions affected by a major earthquake and tsunami in 2011. 
It housed a 500-seat performance venue, and was made from a stretchy plastic membrane that could be quickly inflated or disassembled to be transported to a new location.  

Ark Nova is the first large-scale infalatable concert hall ever constructed. Conceived over a year ago, the mobile structure will open to the public on 14th October  2013 and will be host to concerts, events, and workshops in tsunami-damaged areas around the country.The walls of the structure are made from a stretchy plastic membrane, designed to enable quick erection and dismantling. To transport it to a new venue, the orb is completely deflated and loaded onto the back of a lorry alongside the disassembled equipment.

Nara Centennial Hall, Japan, 1999

A creature like building cladded in traditional fish-scale like ibushi style tiles, must have looked completely futuristic as it emerged from the most intriguing pantadome system. It was the first building of the kind where precast concrete panels were used to erect both walls and roof simultaneously. The overall appearence , to Isozaki's credit, mixes sucessfully tradition and future and still feels contemporary all those years later.


Under construction




Palau Sant Jordi, Barcelona, Spain, 1992

The architecture of the Japanese Arata Isozaki is characterized by two elements: the fusion of Eastern and Western elements with intensive technical and technological resources that provide their buildings featured a degree of modernity. 



Access : The room has access to door with two door 4.06m in height for easy entry of trucks and installers and the height of level 4, from the outer esplanade public access to various doors that create different circuits according needs. At level 1 provides VIP access, a differentiated circuit and 2 parkings.

Facilities : With a rectangular plant 126x140m and total covered area of 17.640m2, plus the versatile central space with counting Palau, where competitions and shows are performed, the museum has other service spaces that enable access, outputs, tours and performances are given with the greatest possible agility and comfort. Depending on the event space center court offers:
1. Track : 
– Total area available track: 3500-4500 m2 without retractable bleachers.
– Width retractable steps: 6m
– Length: 97m without retractable seating, 90m with retractable seating.
– Minimum width South: 37m without retractable seating, 32m retractable seating.
– Minimum width north: 33 m without retractable seating, 32 m with retractable stands.
– Maximum width: 52m without retractable seating, 40m with retractable seating.
2. Gateways on stage: 26,85 m maximum height, minimum height 22m, can withstand an overload of varying scenery between 230-280kgs per meter.
3. Changing rooms of various sizes, 7.7m2 4 plus 2 auxiliary rooms of 20.25m2.
4. paces for catering
5. Backstage : located on the first floor, 2 125 m2, 2 of 36 m2 and 24 m2 2
6. Palco VIP’ auxiliary reception rooms and separate entrances. Total 3 rooms: 1- Club Gaudí, with a free area 225m2, has a bar and is equipped with sound systems and projection. 2 – Club Isozaki, 126 m2. 3 – Club Montjuïc, 300 m2.
7. Dependencies press’ , 180 m2 properly equipped with independent circuits pagers, television and video.
8. Nursing ‘: at the backstage area, west side.
9. Special access for physically handicapped ‘.
10. Parking’ : for 5,000 vehicles near the plant, both mobile units media, VIP and assistants.
11. Several auxiliary rooms’ : room 280 m2, located east of the Palau Sant Jordi, 3 rooms of 30 m2 located east of Palau, 61.5 m2 1 living room south west Principal and 1 living 35 m2 south-west Main Hall

Structure
The structure of the complex was one of the key points of the work and also one of the most criticized since many professionals and part of Barcelona’s population harbored doubts about the results they give, especially as watertight enclosure.

And that cover an area of this size has never been an easy task and the variables involved in the structural calculations are such that nobody can guarantee that everything runs smoothly. To cover the impressive light the central space of the complex was chosen spatial mesh welded steel joints for being one of the lightest known structural systems. This structure 128x106m and 45m height from the floor of the sand to the top of the cover is mounted on the ground and erected using the “Pantadome” system
The roof structure has six hinges in a section, giving the appearance of instability. In fact, the structure is sufficiently stable due to the dimensional stabilizing effect.

Distribution spatial mesh nodes
The perimeter skirt is saved with castellated steel beams placed on various pending on the sheet that gives the organic look externally supported.

Pantadome System
So far the construction of the Palau San Jordi, engineer Mamoru Kawaguchi had only used the Pantadome System, its invention in simple forms hemispherical or barrel vaults. Both the assembly on the floor of the sections as the dimensions of curved segments were determined by the arrangement of the stands near center court. Segmented sections were joined by pins with different profiles until at one point gained, both visually and structurally a “dome effect.” In the range where the junction of the segments produces a skylight that allows continuous light beam was placed. The deck surfaces are finished with different materials, depending on the function of the spaces below, corrugated iron or ceramic tiles.

The end result of the cover shows a “Shiden-zukuri” effect, style of domestic architecture developed for palatial or aristocratic mansions built in Kyoto during the Heian period (794-1185) and subsequently became the type of architecture used for the teahouses. 

• Nodes of the spatial mesh. 
  

Below deck there are 130 nodes from which you can hang loads within certain conditions. They can be identified because they have a perforation at its bottom threaded.

Shanghai Symphony Hall, China, 2014

This prestigious concert hall is the new home of the Shanghai Symphony Orchestra. It includes two world-class performance venues - a 1,200-seat rehearsal hall and a 400-seat recording facility. The main performance hall provides surround video projection and visual intimacy for both performers and audience members alike, while the 400-seat space accommodates various acoustic ensembles' recording sessions.

Call For Young Architects:

The ARCASIA Travel Prize in Architecture is the travel and research scholarship given to Young Architects of ARCASIA (40 years and under) who are members of the architect institute of their country. The prize aims to promote research in selected fields of study, encourage cross border education as well as foster cultural exchange between nations and institutes. Sponsored by NS Bluescope (Thailand), this year is the third year of the ARCASIA Travel Prize.


Hida & Tokyo Japan:

For 2018, the ARCASIA Travel Prize will enable Young Architects to travel and conduct design research in Japan on the topic of wood materials and techniques. Hida - a region 300 kilometers west of Tokyo - will be the primary location for conducting the Travel Prize design research. Hida is a rich and abundant natural and cultural landscape consisting of forests, mountainous environment, townscape and KUMIKI – the traditional wood joinery and craft renowned throughout the world.

During their stay in Hida, 3 awardees will participate in an intensive training course on wood materials. They will be provided guidance and will be required to actively engage with local skills and materials. Featured activities include sketching, photography, design, fabrication, prototyping and wood tooling while working individually and collectively with the local resources and environment.

2018 Travel Award:

Three (3) young architects will be awarded - one each from the three (3) zones of ARCASIA. ARCASIA will organize and provide travel and expenses to the winners for the purpose of travel and study in Japan. During their stay in Japan, the three Awardees shall conduct research under the guidance of Japanese experts and craftsmen.

The three awardees will then present their work at the end of their stay in Hida and in Tokyo at the ACA 18 (18th Asian Congress of Architects) Conference.

The period of travel for the awardees is scheduled from September 1 to 14, 2018.

Application Requirements:

Applicants will research thoroughly on Hida, local workshop tools and facilities. To apply, submit 1) a detailed proposal outlining either a design-build project or research project on wood materials and techniques, to be conducted and completed by the Applicant during the period of stay in Hida.

The proposal shall explore Hida’s traditional or modern wood working techniques, as well as demonstrate the Applicant’s intent at exchanging knowledge in his/her local wood culture with that of Japan. The applicant may conduct the project individually or propose collaboration with local crafts people.

The applicant shall also submit 2) a detailed CV highlighting his/her educational and professional background, projects, experiences and activities pertaining to this year’s Travel Prize, and 3) official membership to architecture institute of his/her home country.

Three winners will be selected by representatives from members of ARCASIA’s and Travel Prize committees based on the merit of the submissions. Applicants are responsible for travel and visa requirements for Japan.

Submit your application to: travelprize@arcasia.org

Deadlines:

Deadline for Submissions: May 15, 2018
Announcement of Winners: June 1, 2018
Travel period to Hida, Japan: September 1-11, 2018
Presentation and attendance at ACA18 Tokyo: September 11-14, 2018
ARCASIA reserves the right to revise scheduled dates as necessary

Resources:

www.arcasia.org
www.hidakuma.com/en/about/
www.aca18tokyo.com/
www.fabcafe.com/hida/
www.bluescope.co.th/

The Pritzker Architecture Prize, known as the Nobel for architects, considered to be architecture's highest honour. B. V. Doshi becomes  first  indian architect to win Pritzker Architecture Prize. he is an architect, urban planner and educator for 70 years. In this long span of carrier includes wide ranging work in buildings include institutions, mixed-use complexes, housing projects, public spaces, galleries, and private residences. 
Doshi's poetic architecture draws upon Eastern influences to create a body of work that has "touched lives of every socio-economic class across a broad spectrum of genres since the 1950s," said the Pritzker jury. 
In the Doshi's studio, called Sangath (Ahmedabad, India, 1980), one can see the outstanding qualities of Doshi’s approach and understanding of architecture & urban planning. 

Doshi's notable projects are 

1. Institute of Indology   


North facade and entrance. (Photo courtesy of VSF ) 

The Institute of Indology was designed to house ancient manuscripts, a research center and eventually, a museum. “All the elements one finds in Indian buildings are present [here]. I had studied a Jain upashraya, a home for monks, before I designed it. I had also met several Jain saints in the city to understand the traditional architecture for this building type.” Here, the building’s two stories, high plinth, and full length veranda are all components of traditional Indian buildings. The architect considered lighting, temperature and humidity levels to preserve the ancient artifacts stored inside.

Top floor veranda. (Photo courtesy of VSF ) 



Upstairs veranda. (Photo courtesy of VSF ) 

Life Insurance Corporation Housing 1973 Ahmedabad

As doshi says 
“One of my most favourite housing projects is the one I designed for Life Insurance Corporation, at Ahmedabad...Here I knew that the houses would be occupied by several generations of the same family, that they would identify with it, that there will be a strong sense of belonging and that their needs will change, and they may modify parts of it.”

To accommodate fluctuating socio-cultural needs of Indian families, Doshi reverses the typical order of a multi-residential building, placing the largest residence on the bottom and the smallest on the top, allowing the upper unit to enjoy a terrace, which can also be converted into an additional living space

Housing before occupancy. (Photo courtesy of VSF ) 



Indian Institute of Management, Bangalore 1977–1992 (Multiple Phases) , Bangalore

Internal courtyards. (Photo courtesy of VSF ) 


Inspired by traditional maze-like Indian cities and temples, IIM Bangalore is organized as interlocking buildings, courts and galleries. It also provides a variety of spaces protected from the hot climate, and infuses greenery through semi-open corridors and gardens. "The integration of functions, movements, nature and the choices to accommodate diverse activities simultaneously are the distinguishing features of the campus at Bangalore today."

आर्किटेक्चर नोबेल जीतने वाले पहले भारतीय बने बी.वी. दोशी ,  पुरस्कार मिलने के बाद दोशी ने कहा, 'मेरा काम मेरे जीवन, दर्शन और सपनों का विस्तार है। मैं यह पुरस्कार अपने गुरु लि कॉर्ब्यूजेर को समर्पित करता हूं।' 




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Is there any possibility that a construction technique can affect routine or defective maintenance in a building?

The HECAR Foundation says that Perin Jamshedji Mistri was probably the first professional qualified Woman Architect of India. She was born in Bombay in 1913. Having taken Gujrati education in bombay, young Perin was entered as a boarder in Miss Kimmin's High School in Panchgani. At the age of 10 she went to England and completed her education from the Croydon High School. 


UDUA  & International Archive of Women in Architecture Newsletter,  says that Urmila Eulie Chowdhury was born in Shahjehanpur, Uttar Pradesh, India, in 1923, and is considered the first woman qualified as an Asian architect. Because his father was a career diplomat, Chowdhury traveled the world from an early age. Her academic background, diverse and multicultural, transformed her into a cosmopolitan woman: in Kobe, Japan, graduated from the Windsor House School, earning a Cambridge School certificate; then moves to Australia, where he studies architecture at the University of Sydney, as well as singing and piano at the Conservatory of Music of the Julian Ashborn School of Art; to finally obtain a diploma in Ceramics in Englewood, New Jersey, United States. After staying for some time working in the United States, he returned to India in 1951,