architecture yearbook 2011-2012 semester 1

Architecture Yearbook2011-2012

Semester 1

All copies of this book are subject to the condition that they

shall be lent and circulated without the publishers prior consent. All

parts of this publication may be reproduced or transmitted (without

!"#$%&'($")*"+*,#$(($)-.*$)*')/*0"+!*"+*1/*')/*!,')23*,4,&(+")$&*"+*!,&5')$&'43*$)&46#$)-*75"("&"7/3*+,&"+#$)-*"+*')/*"(5,+*$)0"+!'-

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ISBN: 978-81-906399-4-1

=614$25,#*'(*>?=@*A)$8,+2$(/3*B5!,#'1'#*$)*C,&,!1,+*DEFE

Faculty of Architecure

>?=@*A)$8,+2$(/***G'2(6+15'$*H'415'$*>'!7623*A)$8,2$(/*I"'#*B5!,#'1'#JKLEEEM3*N6O'+'(3*;)#$'[email protected]

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I First YearStudio 1

Q'2$&*C,2$-)*FB+&5$(,&(6+'4*N+'75$&*@,&5)$R6,2*FC+'9$)-*')#*='$)($)-*FFundamentals of Structures 1

Q6$4#$)-*>")2(+6&($")*')#*C,('$4*FHumanities 1

II Second YearStudio 3

Sculpture and Ceramics

Q6$4#$)-*>")2(+6&($")*C,('$4*K?)8$+")!,)('4*S&$,)&,*FHistory and Theory of Architecture 1

Humanities 3

III Third YearStudio 5

History and Theory of Architecture 3

Q6$4#$)-*@,&5)"4"-/*FQ6$4#$)-*S,+8$&,2*F

IV Fourth and Fifth YearStudio 8

Studio 8

Studio 9

Urban History

B+&5$(,&(6+'4*I,2,'+&5*T,(5"#2

Contents

7

17

29

33

37

39

43

49

67

69

77

81

85

91

107

113

117

121

133

137

165

171

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ARCHITECTURE YEARBOOK 2011-2012

C"&6!,)('($")*;)&5'+-,Sankalpa

Student Assistant

U'+25'*T$2(+/

SEMESTER 1

This Architecture Yearbook is a compilation of the student work of

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Studio 1Faculty: Vishwanath Kashikar

Ujjval PanchalSivith Kumar

Manasi Pandey

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* 6)#,+-+'#6'(,*&"6+2,*2(6#,)(2*'(*>?=@:*

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&'+(+$#-,*1/*2W,(&5$)-*")4/*(5,*5"+$_")('4*4$),2*#+'9)*")*(5,*),927'7,+:*H""W*'(*(5,*2W,(&5*')#*$!'-$),*')/*"1O,&(*(5'(*,!,+-,2*"6(*"0*$(:**;)(,)($")Z**&")8,+($)-*KC*("*DC3*$!'-$)'($")*')#*8$26'4$2'($")*?^,+&$2,*`Z** @+'&,* (5,* -$8,)* 7'$)($)-* ")* '* (+'&$)-* 7'7,+* 62$)-* ")4/* 7'+'44,4*lines.

;)(,)($")Z**I,7+,2,)('($")*')#*+,$)(,+7+,('($")Exercise 5: Translate the sketch from exercise 3 into a 3 dimensional model

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Studio 1


Exercise 1 Studio 1

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Exercise 3, 4 Studio 1

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Aman Amin 0211

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Exercise 7 Studio 1

Aman Amin 0211


Exercise 7 Studio 1

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Exercise 16 Studio 1

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Exercise 16 Studio 1

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Basic Design 1Faculty: Pratyush Shankar

Walter D’SouzaSinali


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Architectural Graphic Techniques 1Faculty: Hemant Wala

Sharad Panchal

Content]$26'4*')#*7,+&,7(6'4*2W$4423*62,*"0*#$00,+,)(*!,#$'*')#*(,&5)$R6,2:

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Exercises B+&5$(,&(6+'4*N+'75$&*@,&5)$R6,2*FShalin Bhatt 0311

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Shalin Bhatt 0311


Drawing and Painting 1Faculty: Piraji Sagara

Ashish Gor

Content]$26'4*')#*7,+&,7(6'4*2W$4423*62,*"0*#$00,+,)(*!,#$'*')#*(,&5)$R6,2:\12,+8'($")*')#*+,&"+#$)-*(5+"6-5*#+'9$)-*e*7,)&$43*7,)3*1+6253*&5'+&"'43*&+'/-

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Fundamentals of Structures 1Faculty: V R Shah

Riyaz Tayyibji

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Exercises Fundamentals of Structures 1


Building Construction and Detail 1Faculty: Sankalpa

Ayaz Pathan

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1. Emphasis

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2. Content

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3. Learning Objective

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4. Lecture Schedule & Assignment

Introduction-

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Humanities 1Faculty: Gauri Bharat

2,+8'($")*')#*+,&"+#$)-:**@"*1,*'14,*("*7$&W*"6(*+,4,8')(*l1$(2c*"0*+,'4$(/*"6(*"0*'44*(5,*(5$)-2*(5'(*9,*2,)2,3*')#*(5+,'#*(5,*+,4,8')(*1$(2*(5+"6-5*'77+"7+$'(,*+,7+,2,)('-

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The exercise:

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Aim:

@"*1,-$)*("*2,)2,*2(+6&(6+,X*4"-$&X*7'((,+)*$)*(5$)-2*'+"6)#*62J*5"9*(5,/*9"+W3*95'(*-",2*$)("*!'W$)-*(5$)-2*9"+W:@"*#,8,4"7*'*W,,)*2,)2,*"0*"12,+8'($")*')#*'((,)($")*("*#,('$4*'2*(5,*%+2(*2(,7*"0*,)-'-$)-*9$(5*&"!74,^*2(+6&(6+,:

S('-,2*"0*(5,*,^,+&$2,ZF:* C$8$#$)-*(5,*9"+WZ*S(6#,)(2*9,+,*#$8$#,#*$)("*(5+,,*-+"672:*':* \),*-+"67*(""W*(5,*(+')27"+('($")*')#*'++$8'4*"0*(+6&W2*4'#,)*9$(5*0+6$(*$)("*(5,*95"4,2'4,*!'+W,(3*')#*(5,*(+')20,+*"0*(5,*0+6$(*$)("*-"#"9)2:1:* S,&")#*-+"67*(""W*(5,*!"8,!,)(*"0*0+6$(*0+"!*(5,*-"#"9)23*(5,*'6&($")3*and transfer to the retailers.

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('&(*9$(5*2"!,*7,"74,*95"*9"64#*'44"9*(5,!*("*75"("-+'75*')#*&5'(*9$(5*(5,!:*;)$($'4*2W,(&5,2*')#*)"(,2*9,+,*!'#,:*C$2&622$)-*(5,2,*$)$($'4*O"(($)-2*$)*&4'223*9,*+,'4$_,#*(5'(*(5,*2(6#,)(2*),,#,#*("*#"&6!,)(*(5,$+*"12,+8'($")2*$)*!6&5*-+,'(,+*detail.

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phasis was on small details that are essential for the safety of the fruit.

`:* @5$+#*2('-,Z*g,*5'#*'*#,('$4,#*#$2&622$")*")*2("+/*4$),3*#,('$42*')#*-+'75-

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Humanities 1

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Exercises


Humanities 1

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Humanities 1Exercises


G+$25)'*d'#'9'4'*FDFF Hiren Patel 2611



Shailaja Patel 2811



Studio 3Faculty: Riyaz Tayyibji

Sankalpa Atyaz Pathan

Pathik Gandhi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

$)-*+,'4$2($&*2W,(&5$)-*')#*'12(+'&(*#+'9$)-*$)*"+#,+*("*6),'+(5*$#,'2*(5'(*0"+!*(5,*1'2$2*"0*')*'+&5$(,&(6+'4*&")&,7(6'4$_'($"):*@5$2*2(6#$"*4""W2*&4"2,4/*'(*(5,*+,4'($")-

25$7*1,(9,,)*!'(,+$'43*2(+6&(6+,*')#*0"+!:Part A

['(6+,*2(6#/*<S(6#/*"0*(+,,.;)(,)(*e*A)#,+2(')#$)-*"0*0"+!3*['(6+,*"0*27'&,*$(*&+,'(,23*74'/*"0*4$-5(*f****************S5'#,3*2(+6&(6+,3*62'-,3*("*#,8,4"7*(5,*'1$4$(/*("*'12(+'&(*1'2,#****************")*(5,*"12,+8'($")*<P"+!XS(+6&(6+,X*\+-')$_'($")X='+(*')#***************g5"4,X*I5/(5!XN+"9(5.3****************T,#$6!Z*-+'75$(,*7,)&$4*X*$)W*")*&'+(+$#-,*7'7,+Part B

Study of Porous natural object

;)(,)(*e*A)#,+2(')#$)-*"0*27'&,2*(5'(*!'W,2*67*(5,*7"+"62*"1O,&(3*)'(6+,****************"0*+,4'($")25$7*"0*"),*27'&,*("*')"(5,+3*S(+6&(6+,3*4$-5(*f*25'#,3****************A)#,+2(')#$)-*"0*0"+!'($8,*7+$)&$74,*<+64,2.*f*(+')24'($)-*(5, studied spaces in models

T,#$6!Z*>5'+&"'4*")*&'+(+$#-,*7'7,+Part C

Introduction of material

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Material, Structure and Form Studio 3

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Studio 3

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Material, Structure and Form


Zill Patel 2910



Sculpture and CeramicsFaculty: Snehal Kashikar

C6+'($")Z*FY*g,,W2B((,)#')&,Z*Y*U"6+2*7,+*g,,WNumber of Students: 40

The course introduces students to the study of hand-built sculptures in ceramic ma-

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4 weeks:

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Sculpture and Ceramics


Building Construction Detail 3Faculty: M.C.Gajjar

Mona Khakhar

Exercise 1 To study the toilet areas of various kinds of buildings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

Exercise 2 To design the toilet area for a building @5,*2(6#,)(*$2*,^7,&(,#*("*#,2$-)*(5,*("$4,(*'+,'*0"+*(5,*-$8,)*16$4#$)-*$)*'*-$8,)*4"&'($")*9$(5*'44*(5,*+,R6$+,!,)(2*2(6#$,#*')#*#$2&622,#*$)*(5,*&'2,*2(6#/:

Exercise 3 To study the staircase systems in buildings @5,*-+"67*,^,+&$2,*$2*$)(,)#,#*("*!'W,*(5,*2(6#,)(2*"12,+8,*')#*#+'9*(5,*2('$+-&'2,3*&"!7"),)(2*"0*(5,*2('$+&'2,3*2(+6&(6+'4*2/2(,!3*'8'$4'14,*5,'#+""!3*(/7,2*"0*%)$25,2*')#*!'(,+$'42*62,#*$)*8'+$"62*&"!7"),)(2*$)*8'+$,#*W$)#*"0*16$4#$)-2*'2*9,44*'2*$)*8'+$"62*!'(,+$'42:@5,*,^,+&$2,*$2*2677"+(,#*1/*'*(5,"+/*&4'22*("*1+$,0*(5,*2(6#,)(2*'1"6(*(5,*#,2$-)*and structural aspects of the staircase.

Exercise 4To design the staircase for a given building condition@5,*2(6#,)(*$2*,^7,&(,#*("*#,2$-)*(5,*2('$+&'2,*0"+*(5,*-$8,)*16$4#$)-*9$(5*'44*(5,*basic necessities for staircase studied and discussed in the case study.


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Exercise 4 Q6$4#$)-*>")2(+6&($")*C,('$4*KH,,_'*d"5)*F`FE Chandani Patel 0710


Environmental Science 1Faculty: Vishwanath Kashikar

Course content:

k* ;)(+"#6&($")*("*&")&,7(2*"0*,'+(53*+,2"6+&,23*,)8$+")!,)(3*&4$!'(,*')#*56-

man comfort

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?)8$+")!,)('4*S&$,)&,*FChandani Patel 0710

Climatological Study and Design


Climatological Study and Design ?)8$+")!,)('4*S&$,)&,*FPooja Brahmbhatt 0610


?)8$+")!,)('4*S&$,)&,*FClimatological Study and DesignNeel Jain 1210

B7""+8'*S5'+!'*EKFE


History and Theory of Architecture 1Faculty: Riyaz Tayyibji

Sachin SoniContent

g5'(*$2*U$2("+/j*g5'(*$2*@5,"+/j*g5'(*$2*#$00,+,)&,*1,(9,,)*(5,!j*g5/*$(*$2*$!-

7"+(')(*0"+*'*2(6#,)(*"0*'+&5$(,&(6+,*("*W)"9*(5,!j*Architecture as part of material culture in small-scale communities

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Focus

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Exercise 1

S,4,&(*'*2,(*"0*0"6+*(/7,2*"0*2,((4,!,)(*')#*(5,$+*+,2$#,)(2*e*'*8$44'-,3*'*("9)3*'*&$(/*')#*'*!,(+":*A2$)-*&+$(,+$'*4$W,*9'(,+3*0""#3*&4"(5$)-3*25,4(,+*')#*06,43*&"!7'+,*(5,*R6'4$(/*"0*4$8$)-*0"+*,'&5*"0*(5,!:

Exercise 2

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Exercises History and Theory of Architecture 1

C;8/'*T$2(+/*FaFE



H,,_'*d"5)*F`FE



Chandani Patel 0710


Humanities 3Faculty: Gauri Bharat

Sankalpa3. To understand the notion of natural habitat in an urban situation

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Important Instructions

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k* @5,*2&'4,*"0*(5,*!'7*25'44*1,*2'!,*0"+*'44*(5,*-+"672*<("*1,*#,&$#,#*1/*(5,*&4'22*&"44,&($8,4/.k* ?'&5*-+"67*!62(*-$8,*"),*"+*(9"*,^(,)2$")*<"0*+"'#23*4')#!'+W2*,(&:.*26&5*(5'(*'44*%8,*!'7*&')*1,*&")),&(,#*("-,(5,+Storyboard

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Theme: Study of the structure of society and its impact on culture

Focus: The semester focuses on the idea of urban cattle as way to study the kind of

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Title: Urban cattleTasks:;#,)($0/*(5+,,*'+,'2*9$(5$)*(5,*&$(/*"0*B5!,#'1'#*5'8$)-*'(*4,'2(*"),*'+,'*9$(5$)*(5,*"4#*&$(/3*4'(,+*#,8,4"7!,)(*<&""7,+'($8,*5"62$)-.*')#*6+1')*0+$)-,*<),9,+*#,-

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F:* N,(*(5,*8$('4*2('($2($&2*"0*(5,*5,+#':* [6!1,+*"0*!'4,23*0,!'4,2*')#*&'48,2b. Names of all the animals in the herd

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f. Quantity of fodder and water consumption per day

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Exercises Humanities 3


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Exercises


Studio 5Faculty: Leo Pereira

Gauri BharatPuneet Mehrotra

Manalee Nanavati

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The conceptual focus of this studio comes from a concern for careful and judicious

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Institutions


Design Project Studio 5

BO'/*T$2(+/*FYEM



BO'/*T$2(+/*FYEM



C5$+,)*U'4'$*EMEM



Harshil Parekh 2609



[$W,(*C'4'4*ELEM



S!$(*T"#$*DFEM


History and Theory of Architecture 3Faculty: Meghal Arya

?!75'2$2* B+&5$(,&(6+,* $)*6)$%,#*&64(6+'4*2/2(,!2Z*6)$8,+2'4$(/*')#*'12(+'&(*!"#,42p*8'+$'($")*')#*&")2(')(

Content Islamic architecture in India:

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pression of abstract ideals.

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Islamic Architecture


Srushti Surati 3909



Srushti Surati 3909 @')8$*d'$)*`FEM



@')8$*d'$)*`FEM



Bhoomi Panchal 2509



@')8$*d'$)*`FEM



Building Technology 1Faculty: Sharad Panchal

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Exercises Q6$4#$)-*@,&5)"4"-/*F@')8$*d'$)*`FEM Neharika Sanyal 2809


Exercises Q6$4#$)-*@,&5)"4"-/*FPratik Chandresha 0409

G5/'($*KDEM T6#$('*T,5('*`DEM


Building Services 1Faculty: Mona Khakhar

Exercise 1 - To study the issues related to the natural resource as water in various regions

@5,*,^,+&$2,* $2*'$!,#*("*2,)2$($_,* (5,*2(6#,)(2*'1"6(* (5,*8'+$"62* $226,2*+,4'(,#*("*9'(,+*$)*(,+!2*"0*(,&5)"4"-$&'4*6)#,+2(')#$)-*')#*$(2*-+'8,),22*')#*'77,'4*("*(5,* 4"&'4,*2"&$",&")"!$&*')#*,)8$+")!,)('4* 0'&("+2:*@5,*,^,+&$2,*9"64#* 4,'#*("*&'7'&$(/*16$4#$)-*"0*(5,*2(6#,)(2*("9'+#2*&")&,+)2*$)*8'+$"62*2,(($)-2*')#*'8,)6,2*for possibility of research in the area.

Exercise 2 - To design the toilet area for the given requirements related to studio exercise

@5,*2(6#,)(2*'+,*+,R6$+,#*("*#$2&622*')#*#,2$-)*(5,*("$4,(*'+,'2*9$(5*'44*(5,*),&,2-

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T'+-$,*>5'65')*EVEM Nishtha Bnaker 2409

Exercise 2 Q6$4#$)-*S,+8$&,2*F


Exercise 2 Q6$4#$)-*S,+8$&,2*FNiharika Sanyal 2309


Studio 8Faculty: Meghal Arya

Shilpa Ranade

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Bird hides.

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Studio 8Faculty: Nitin Raje

Sanal

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Studio 9Faculty: Neelkanth Chhaya

Surya KakaniPratyush Shankar

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Smashan

Introduction:

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* B0(,+*#,'(5*+,4'($8,2*&'++/*(5,*1"#/*("*(5,*&+,!'($")*-+"6)#:*\)*(5,*&+,!'-

($")*-+"6)#*(5,/*76(*(5,*1"#/*")*'*9""#,)*7$,+*<l>5$('c.*')#*2,(*'*%+,*$)*$(:* B2*(5,+,*'+,*),9*(,&5)"4"-$,2* $!!,+-$)-*7,"74,*16+)* (5,*#,'#*1"#/* $)*&+,!'("+$,2*<,4,&(+$&*16+),+.*'42":**

City:

* U$!!'()'-'+* $2* "),* (5,* 0'2(,2(* -+"9$)-* &$($,2* $)* )"+(5*N6O'+'(*95$&5* $2*4"&'(,#*")*(5,*1')W*"0*(5,*+$8,+*U'(5!'($:*@5,*2$(,*$2*'(*(5,*,#-,*"0*(5,*+$8,+*95$&5*still has some rawness of nature.

Function:

=+"-+'!*7+"8$#,2* A place to store wood

A house of undertaker

2 places to cremate with wood

2 places to cremate with crematory

A place to take bath

Intention:

** @5,+,*$2*'*2(+")-*')#*+'9*+$(6'4:*@5,*'+&5$(,&(6+,*$2*(+/$)-*("*6)#,+2(')#*')#*+,27,&(*(5,*7"9,+*"0*)'(6+,*')#*$(2*"),*"0*(5,*2(+")-,2(*')#*2$!74,2(*!')$0,2-

('($")3*#,'(5:* >$(/*-+"92*'(* $(2*7'&,:*=+"O,&(* $2* (+/$)-* ("*!'W,J&+'0(* '*74'&,*95$&5*9$44*&")('$)*$(2*&5'+'&(,+*,8,)*95,)*(5,*&$(/*16$4#2*$(2*),2(*'+"6)#*$(:

Studio 9

S'-'+*@+$8,#$*MDEa

Smashan


Studio 9

S'-'+*@+$8,#$*MDEa

Smashan


S'-'+*@+$8,#$*MDEa

Smashan Studio 9


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Bhopas and the Settlement of Stories Studio 9


@5,*!$22$")* 4,'#2* ("* (5,*G$)-#"!c2*7+"27,+$(/:*@5,* 4')#2*1,&"!,* 0,+($4,*'-'$):*@5,+,*$2*')*"8,+O"/,#*')#*0,2($8,*'$+*'44*'+"6)#:* P"+*I,&+,'($")k* B*2,+$,2*"0*2('$+&'2,2*4,'#$)-*("*(5,*7'8$4$")*2$(($)-*$)*(5,*4')#2&'7,:k* ?4'($)-3*$)8$($)-*')#*-,),+"62:** H,$26+,*$)*(5,*S,((4,!,)(F:* B*74'&,*0"+*5"4#$)-*#$2&622$")2:k* d"25$c2*74'&,*"0****************2,40J$)#64-,)&,:k* Q5"7'2*74'&,*"0*7,+0"+!')&,:@5,*G$)-*-",2*("*%)$25*2"!,*6)%)$25,#*162$),22:*B0(,+*-"$)-*(5+"6-5*'*#$0%&64(*O"6+),/3*5,*+,'&5,2*5$2*#,2($)'($"):*U,*&4'$!2*5"4#*"0*(5,*!'-$&'4*'-,)(*')#*2,(2*"00*0"+*(5,*5,'8,)4/*'1"#,:* B*S(+,,(*"7,)$)-*76(*("*(5,*7"$)(*"0*?)(+')&,k* B*O"6+),/*(5+"6-5*(5,*4$0,*"0*(5,*8$44'-,: The Houses

F:* I,2$#,)&,2*"0*(5,*Y*d"25$*0'!$4$,2:

@5,*7'+(2*"0*(5,*FV*0,,(*4")-*2&+"44*"0*7'$)($)-3*+,4,8')(*("*(5,*74"(*!,)($"),#*'1"8,*5'8,*1,,)*76(*("-,(5,+*'2*6)#,+:*Intention of the Project

;)(,)($")*"0*(5,*7+"O,&(*$2*("*,)8$2$")*'*74'&,*95,+,*"),*&')*%)'4*'44*(5,*'27,&(2*"0*4$0,*$)*&4"2,*7+"^$!$(/*'*&"!74,(,*),$-51"6+5""#:*B*74'&,*95,+,*9"+W3*2"&$'4$_'($")3*+,&+,'($")3*0'!$4/*4$0,*')#*&"!!6)$(/*0,,4$)-3*'*&")),&($")*("*)'(6+,*&')*'44*,^$2(*("-,(5,+*9$(5*,'2,*')#*#$-)$(/:Q+"'#*\1O,&($8,2*"0*(5,*=+"O,&(Z

T'^$!$_$)-*(5,*7"22$1$4$(/*"0*+,62$)-*(5,*,^$2($)-*2(+6&(6+,*"0*(5,*74'&,:

[,$-51"6+5""#*4,8,4ZIncorporate community and institutional facilities

Facilities within reach

Heirarchy of streets

T'$)('$)*&")(,^(* * * * * *

C9,44$)-*H,8,4Z\+$,)('($")*4$-5(*')#*8,)($4'($")B44"9*06(6+,*-+"9(5Appropriate materials

Self built approach

>462(,+*4,8,4Z* * * * * * * * *>"!!")*='+W$)-*S"&$'4*')#*+,4$-$"62*'&($8$($,2* * * * * * * *>"!74,(,*7+$8'&/*0"+*("$4,(2

S,+8$&,Z;)#$8$#6'4*&5'+'&(,+*("*,'&5*&462(,+S')$('($")*0'&$4$($,2*0"+*'44*16$4#$)-2?0%&$,)(*>$+&64'($")

S5$8')$*d,(5'4$'*`FEa

Bhopas and the Settlement of Stories Studio 9


Studio 9

S5$8')$*d,(5'4$'*`FEa

Bhopas and the Settlement of Stories


Studio 9

S5$8')$*d,(5'4$'*`FEa



City Concert Hall Studio 9

Buland Shukla 3406

City Concert Hall

Introduction

B5!,#'1'#*$2*'*&$(/*"0*162(4$)-*),9*,),+-/:*Q6(*$(2*2(6&W*1,(9,,)*(5'(*_"),*"0*'*!,-'&$(/*')#*'*!,(+":*;(*$2*'*74'&,*"0*),9*#,8,4"7!,)(2*$)*1"(5*&64(6+'4*')#*(,&5-

)"4"-$&'4*%,4#2:*@5,*QI@S3* (5,*+$8,+* 0+")(*')#*26&5*7+"O,&(2*W,,7* (5,*'!#'8'#$*population excited.

\),*26&5*#,8,4"7$)-*_"),*$)*(5,*&$(/*"0*B5!,#'1'#*$2*(5,*_"),*"0*!62$&:*@,&5-

)"4"-$&'4*'9'+,),22*')#*-4"1'4$_'($")*5'2*!'#,*$(*,'2/*("*27+,'#*$)0"+!'($")*')#*7,"74,*'+,*1,$)-*,^7"2,#*("*),9*-,)+,2*"0*!62$&:*g5,)*&"!7'+,#*("*"(5,+*&$(-$,2* $)* ;)#$'3*B5!,#'1'#* $2*)"(*/,(* (5,+,*16(* (5,+,* $2*')*6+-,* $)* (5,*/"6(5* ("*#"*2":*@5,+,*'+,*1')#2*0"+!$)-*$)*,8,+/*2&5""43*(5,+,*'+,*4"&'4*+"&W*&")&,+(2*,8,+/*!")(53* (5,+,* $2* (5,* 1$-*S'7('W*!62$&* 0,2($8'43* (5,+,c2* 27$&*!'&'/3* (5,+,* '+,* "+--')$2'($")2*4$W,*T,('4'1'#*')#*@+"61'#"6+*95$&5*"+-')$_,*&")&,+(2*')#*&'44*'+(-ists from around the world. The embassies of The European countries like Alliance

P+')&'$23*N",(5,*r,)(+6!3*')#*(5,*C6(&5*,!1'22/*'+,*&")2(')(4/*$)8$($)-*'+($2(2*0+"!* (5,$+* &"6)(+$,2* ("* 27+,'#* (5,$+*!62$&*5,+,:*T"+,"8,+*B5!,#'1'#*5'2*'42"*2('+(,#*("*-,(*")*(5,*4$2(2*"0*;)(,+)'($")'4*'+($2(2*("6+$)-*;)#$':g5'(*;*'!*7+"7"2$)-*$2*')*$)(,-+'(,#*7614$&*27'&,*9$(5*'*06)&($")*"0*'*4'+-,*&'7'&-

ity concert space as well as smaller informal performances. The site functions as

')*,^(,)2$")*"0*(5,*]$&("+$'*N'+#,)3*95$&5*#",2*)"(*5'8,*')*'&&,22*("*(5,*+$8,+*'(*7+,2,)(:*;(*$2*26++"6)#,#*1/*(5,*S6)#'/*!'+W,(*')#*(5,*+$8,+*'2*9,44:*B)#*5'2*(5,*1'&W#+"7*"0*(5,*5$2("+$&'4*?44$2*Q+$#-,:*@562*(5,*$)(,)($")*$2*("*&+,'(,*(5,*4"9,+*o""+2*$)*26&5*'*9'/*(5'(*(5,/*2,+8,*'2*'*&")),&($")*0+"!*(5,*-'+#,)3*(5+"6-5*8'+$-"62*7614$&*27'&,23*("*(5,*+$8,+p*95$4,*(5,*&")&,+(*5'44*2$(2*")*(5,*677,+*o""+:

@+,'(!,)(*"0*2$(,*,#-,2*8$2JvJ8$2*(5,*7+"O,&(

]$&("+$'*N'+#,)Z**@5,*-'+#,)*27'&,*&")($)6,2*$)("*(5,*16$4#$)-3*2677"+(,#*1/*8'+$-"62*7614$&*06)&($")2:*@5,*&")&,+(*5'44*9"64#*1,*4$0(,#*2"*(5'(*(5,*-+"6)#*+,!'$)2*0+,,*0"+*7614$&:*@5,*$)(,)($")*$2*("*&+,'(,*'*0+,,*o"9$)-*-+"6)#*o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

4"6)-$)-*'+,'2*0"+*7+,X7"2(*&")&,+(*-'(5,+$)-*0'&$)-*(5,*+$8,+:*=+"-+'!!'($&*27'&,2?'($)-*'+,'2Z*@5,*,'2($)-*'+,'2*9"64#*1,*0"+*'1"6(*FVEJDEE*7,"74,:*;(*9"64#*'&(*4$W,*'*0""#*&"6+(*7+"8$#$)-*(5,*7614$&*9$(5*'*8'+$,(/*"0*&5"$&,2:*@5,2,*'+,'2*"7,)*"6(*("*(5,*+$8,+:@5,+,*9$44*1,*'*2,7'+'(,*&'0,*'(*(5,*&")&,+(*5'44*4,8,4*0"+*7+"8$#$)-*#6+$)-*(5,*7+,X7"2(*&")&,+(*-'(5,+$)-*7,+$"#2:S5"72Z*@5,*25"72*'+,*("*1,*#,2$-),#*'2*')*,^(,)2$")*"0*(5,*S6)#'/*!'+W,(*2('442:*@5,*"+-')$2'($")*9"64#*7+"!"(,*0+,,*!"8,!,)(*')#*$)(,+'&($")*'!")-2(*(5,*7,"-

ple.

T'$)*4"11/XB(+$6!Z*@5,*$#,'*"0*'*2$)-4,*!'$)*4"11/*$2*'&(6'44/*)"(*0"44"9,#*5,+,:*@5,*4"11/*1+,'W2*#"9)*$)("*(,++'&,2*'(*8'+$"62*4,8,423*&"++,27")#$)-*("*(5,*2,'($)-*4,8,42*$)*(5,*5'443*')#*(5,/*4""W*"6(*("*(5,*8$,92*")*1"(5*2$#,2:>")&,+(*U'44Z*@5,*&")&,+(*5'44*$2*0"+*DEEE*7,"74,:**@5,*&")&,+(*5'44*0"44"92*'*8$),-

/'+#*(/7,*(,++'&$)-*'2*0'+*'2*(5,*2,'($)-*$2*&")&,+),#:*@5$2*7+"8$#,2*(5,*8'46'14,*+,o,&($")2*("*'(('$)*&,+('$)*'&"62($&*R6'4$($,2*95$&5*9"64#*1,*#,2&+$1,#*4'(,+:@5,*'&"62($&*R6'4$(/*"0*(5,*5'44*9"64#*1,*'2*0"44"92ZI,8,+1,+'($")*($!,Z** F:KJF:Y*2,&")#2>4'+$(/Z* E*("*<JF:V.**>LE;)($!'&/*<;@CN.Z* FDJFa*!2B7'+(*0+"!*(5"2,3*(5,*5'44*9"64#*'42"*1,*&")&,+),#*9$(5*"(5,+*'&"62($&*R6'4$($,2*4$W,*g'+!(5*')#*Q+$44$')&,3*S7'&$"62),22*,(&:@5,*0"44"9$)-*'+,*(5,*#,2$-)*$!74$&'($")2*0"+*"1('$)$)-*(5,*'1"8,*!,)($"),#*%-6+,2pk* I:@Z*@"*$)&+,'2,*I@3*(5,*8"46!,*),,#2*("*1,*$)&+,'2,#*')#*(5,*'!"6)(*"0*absorption should be reduced.

k* >4'+$(/*<>LE.Z*@"*$)&+,'2,*&4'+$(/3*(5,*'!"6)(*"0*,'+4/*2"6)#*,),+-/*+,4'($8,*("*(5,*4'(,+*2"6)#*,),+-/*25"64#*1,*$)&+,'2,#*')#*'12"+7($")*25"64#*1,*'##,#*$)*areas further from the source.

k* ;)($!'&/Z* @"* $)&+,'2,* $)($!'&/3* (5,* #$2(')&,* 1,(9,,)* (5,* %+2(* +,o,&($)-*26+0'&,*')#*(5,*'6#$,)&,*25"64#*1,*25"+(,),#*')#*&,$4$)-*+,o,&($")2*"+*7+"(+62$")2*should be added.

k* g'+!(5*')#*Q+$44$')&,Z*B*1'4')&,* $2*'&5$,8,#*1/*1'4')&$)-* (5,*+'($"*1,-

(9,,)*4"9*0+,R6,)&/*I:@:*')#*5$-5*0+,R6,)&/*I:@:*95$&5*$2*'42"*W)"9)*'2*(5,*Q'22*ratio.

k* S7'&$"62),22* Z* @"* $)&+,'2,* 27'&$"62),223* $++,-64'+$($,2* $)* (5,* 26+0'&,*25"64#*1,*'##,#:*I,o,&($8,*26+0'&,23*"+)'(,*#,&"+'($")2*1'2$&'44/*$)&+,'2$)-*(5,*26+0'&$)-*'+,'*9$44*5,47:

@5,*-,),+$&*25'7,*"0*(5,*U'44*9"64#*1,*25",*1"^*(/7,*9$(5*8$),/'+#*(,++'&,*'++')-,!,)(:*\8,+*(5,*7,+$"#*"0*($!,3*!')/*0"+!'($")2*5'8,*1,,)*(+$,#:*P"+*,^-



'!74,*(5,+,*$2*(5,*25",*1"^3*(5,*0')*25'7,3*(5,+,c2*,44$7($&'4*"+*&$+&64'+3*(5,+,c2*(5,*8$),/'+#*(,++'&,:*Q6(*'0(,+*2(6#/$)-*R6$(,*'*0,9*&")&,+(*5'442*')#*(5,$+*7,+0"+!')&,3*;*&")&46#,#*")*62$)-*'*!$^(6+,*"0*(5,*S5",*1"^*(/7,*')#*(5,*8$),/'+#*(,++'&$)-*'+-+')-,!,)(:*Amphitheatre: The amphitheatre is for small informal performances for about 300

7,"74,:*Q6(*$(*2,+8,2*'2*'*!'$)*&")),&($")*7"$)(*0+"!*(5,*+$8,+*2$#,*9'4W*1,4"9*("*(5,*16$4#$)-*'1"8,:*;(*$2*2$(6'(,#*),^(*("*(5,*'4+,'#/*,^$2($)-*2('$+&'2,*95$&5*&")-

nects the both.

@5,*0"44"9$)-*'+,*(5,*7+"-+'!!'($&*27'&,2*(5'(*&"!7+$2,*(5,*16$4#$)-Zk* =614$&*27'&,2Zo Exhibition space

o Shops

o Food court

"* N'+#,)*27'&,2

k* >")&,+(*U'44*27'&,2Zo The Hall

"* T'$)*N+,,)*I""!2"* S61"+#$)'(,*N+,,)*I""!2"* S('-,*S("+'-,"* g>*0"+*1'&W2('-,*7,"74,"* g>*0"+*-6,2(2X7614$&"* S,+8$&,*?4,8'("+"* g'$($)-*H"6)-,2"* @,++'&,2*')#*#,&W2*'(*8'+$"62*4,8,42"* I,0+,25!,)(*'+,'2"* Q"^*"0%&,o Producers room

k* ='+W$)-*0"+*`EE*&'+2

k* B!75$(5,'(+,*0"+*'1"6(*FVE*7,"74,

Buland Shukla 3406


Studio 9

Buland Shukla 3406

City Concert Hall


Buland Shukla 3406



;)(,+!"#'4*(+')20,+*2('($")*'(*I')$73*B5!,#'1'#

=+"O,&(*Q'&W-+"6)#Z;(c2* (5,*!"8,!,)(* (5'(*!'W,2*'*&$(/*'4$8,:*@5,*!"8,!,)(2*"0*-""#2*')#*7,"74,*')#*$#,'2*')#*!"),/*5'8,*1,,)*')*$)(,-+'4*7'+(*"0*&$($,2*'44*'+"6)#*(5,*9"+4#:*B44*(5,2,*('W,*74'&,*'(*#$00,+,)(*27,,#2*')#*!"#,2*')#*'(*!')/*7"$)(2*$)*(5,*&$(/3*26&5*!"8,!,)(2*&+"22*,'&5*"(5,+:*S6&5*7"$)(2* $)5,+,)(4/*1,&"!,*5612*"0*,&")"!$&*')#*2"&$'4*'&($8$($,2:*@5,*$)&$#,)('43*25"+(*!,,($)-2*"0*(5,*7,"74,*$)#6&,#*1/*'*&"!-

!")*+,'2")*"0*!"8,!,)(*!'W,*26&5*)"#,2*'*2"&$'44/*'&($8,*74'&,:The problem in our cities is that all different modes of public transportation are

5')#4,#*1/*#$00,+,)(*"+-')$2'($")23*')#*5,)&,*(5,+,*$2*'*-,),+'4* 4'&W*"0*74')),#*$)(,-+'($")*1,(9,,)*(5,*!"#,23*')#*1,(9,,)*(5,*!"#,2*')#*(5,*),$-51"6+5""#:*@5$2*,8,)*!'W,2*(5,*,&")"!$&*'&($8$($,2*27+$)-*67*6)74')),#*'44*'+"6)#*(5,*)"#,2:*B)#*(5,*#$2(')&,2*')#*!,')2*"0*$)(,+&5')-,2*!'W,*(5,*$)(,+!"#'4*(+')20,+*#$0%&64(*')#*2(+,22064:*T"+,"8,+3*!')/*!"#,2*'+,*#,2$-),#*$)*$2"4'($")*0+"!*(5,*),$-51"6+-5""#*'+"6)#*$(3*!'W$)-*$(*')*,^&462$8,*l$)0+'2(+6&(6+,c*4$),*&6(($)-*'&+"22*(5,*&$(/:*

Intentions:

@5$2* 7+"O,&(* $2* ')* '((,!7(* ("*!'W,* '* 74'&,* &")),&($)-* 8'+$"62*!,')2* "0* 7614$&*(+')27"+(3*"0*8'+$"62*2&'4,2*"0*),(9"+W23*27,,#2*')#*(,&5)"4"-$,2*$)*'*9'/*(5'(*(5,/*#,4$8,+*"77"+(6)$($,2*"0*'*+$&5,+*2"&$'4*,^7,+$,)&,*$)*'*2(+,22*0+,,*,)8$+")!,)(:*;(*allows many options of intermodal transfers where the paths of transfer become the

74'&,2*"0*,&")"!$&*'&($8$($,2:*@5,*74'&,*$)(,-+'(,2*9$(5*(5,*26++"6)#$)-2*(5+"6-5*(5,*(,)('&4,2*"0*!"8,!,)(*7,),(+'($)-*(5,*),$-51"+5""#:**

Project brief:

@5,*I')$7* $)(,+!"#'4* (+')20,+* 2('($")*9$44* 2,+8,* 0"6+*!"#,2* "0* 7614$&* (+')27"+(3*8$_:*T,(+"3*QI@S3*BT@S*<&$(/162.*')#*NSI@>**<2('(,9$#,*1623*)"+(51"6)#*(,+!$-)'4.*$)*(5,*I')$7*),$-51"+5""#*$)*["+(5*B5!,#'1'#:*;(*9$44*$)(,-+'(,*'42"*$)(,-+'(,*'44*!,')2*"0*7'+'(+')2$(*26&5*'2*+$&W25'93*1$&/&4,23*7,#,2(+$')2*')#*"(5,+*7+$8'(,*8,5$&4,2:*@5,*95"4,*74'&,*9"64#*1,*!'#,*'2*')*,^(,)2$")*')#*!"#64'($")*"0*(5,*-+"6)#*$)*8'+$"62*9'/2:*@5,*7+"O,&(*$2*'*&,4,1+'($")*"0*(5+,,*1'2$&*&")&,7(23c*(5,*+'9*+"162(),22*"0*(5,*-+"6)#*,^(,)#$)-*")("*(5,*16$4#$)-c*l(5,*24,,W),22*"0*(,&5)"4-"-/*"7,+'($)-*(5,*(+')27"+(c*')#*l*(5,*4$-5(),22*"0*(5,*2(+6&(6+,*5"4#$)-*(5,*16$4#$)-*("-,(5,+c:*S7'&,2*'+,*$)(,+9"8,)*'2*4$),2*"0*!"8,!,)(*')#*,^7,+$,)&,2*'4")-*'44*the axes.

Context:

@5$2*7+"O,&(*+,4'(,2*("*'*8'+$,(/*"0*&")(,^(2*'(*#$00,+,)(*2&'4,2*$)*#$00,+,)(*!')),+2:*P"+* (5,*NSI@>*(+'8,44,+23*95$&5*9"64#*!"2(4/*1,*0+"!*["+(5*N6O'+'(3* (5$2*74'&,*9$44*1,*')*$)(+"#6&($")*("*B5!,#'1'#:*P"+*(5,*&$(/3*(5$2*9"64#*1,*'*7"$)(*"0*$)(,+-&5')-,*1,(9,,)*#$00,+,)(*!"#,2:*P"+*(5,*),$-51"+5""#3*(5$2*9$44*1,*!"+,*(5')*'*74'&,*"0*(+')27"+('($")p*!"+,*4$W,*'*7614$&*2R6'+,3*'*74'&,*"0*2"&$'4*$)(,+'&($"):**@5,*),$-51"+5""#*&")2$2(2*"0*9"+W$)-*&4'22*!$##4,*$)&"!,*-+"67*+,2$#,)(2*"0*5"62$)-*2"&$,($,2*")*(5,*)"+(5*"0*(5,*2$(,3*')#*4"9*$)&"!,*-+"67*+,2$#,)(23*4$8$)-*$)*(5,*246!*&'44,#*I'!'7$+*)"*(,W+"*")*(5,*2"6(5:*@5,*74"(* $2*"+$-$)'44/*,'+!'+W,#*'2*l-+,,)*1,4(c*1/*(5,*&$(/*-"8,+)!,)(3*16(*$(*$2*&6++,)(4/*4/$)-*1'++,):*@5,*NSI@>*B5!,#'-

bad North Terminus is under construction to the east of the plot.

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The Open Forum Studio 9


Studio 9

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The Open Forum


Studio 9

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The Open Forum


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The Open Forum


Studio 9

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The Open Forum


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The Open Forum


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The Open Forum


Urban HistoryFaculty: Neelkanth Chhaya

Pratyush Shankar

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LECTURE TITLEDescription

Introduction;)(+"#6&($")*("*&"6+2,*&")(,)(23*!,(5"#*')#*2,R6,)&,

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herence and order. Public spaces.

The Architecture of CitiesU"9*16$4#$)-2* 25'7,* ')#* +,27")#* ("* 6+1')*27'&,*')#*,^7,+$,)&,:*@/7"4"-/3*2&'4,3*-,-

READING LIST

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The Form and Structure of settlements

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@5,* "+-')$_'($")* "0* !'(,+$'43* (,&5)"4"-$&'4*and social systems.

Expression of political economic and techno-

4"-$&'4*"+$,)('($"):

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Urban History

THEORIES or FRAMEWORKSThe modern city

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Exercises Urban History

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Exercises


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67*("*(5,*%)'4*1'2$&*&"6+2,:*?#6&'($")*9$44*!$)$2(,+*("*767$42*!$)#3*1"#/*')#*2"64*1/*62$)-*(5,['$@'4$!*(,&5)$R6,*"0*(,'&5$)-*(5+"6-5*5')#$&+'0(2:*@5,*7+"#6&(2*(5'(*2(6#,)(2*!'W,*9$44*1,*(5,*7'/!,)(*0"+*(5,$+*),90"6)#*W)"94,#-,:*?8,+/*8"&'($")*9$44*&'++/*(5,*2'!,*+')W*')#*9'-,2:*=,"74,*9$44*&5""2,*(5,$+*7+"0,22$")*'2*'*0"+!*"0*2,40J,^7+,22$")*')#*'*9'/*"0*2,40J+,'4$_'($")*(5+"6-5*(5,*2,+8$&,*"0*2"&$,(/:**@5,+,*9$44*1,*)"*&'2(,2*"+*#$8$2$")2*1,(9,,)*+,4$-$")2:?8,+/*!')*9$44*5'8,*(5,*95,+,9$(5-

'4*("*26774/*'44*5$2*)'(6+'4*9')(2*')#*)"(5$)-*!"+,:*=,"74,*9$44*6)#,+2(')#*(5'(*$(*$2*$)'77+"7+$'(,*("*&+'8,*0"+*!"+,*95$4,*1+"(5,+2*')#*2$2(,+2*5'8,*4,22:*B)/*7,+2")*(5'(*#",2*5'8,*,^&,22*9,'4(5*9$44*1,*'*(+62(,,*')#*5,*9$44*62,*$(*0"+*(5,*1,((,+!,)(*"0*2"&$,(/:*@5,*]$44'-,*S9'+'O*9$44*1,*'*&"!74,(,*+,7614$&*9$(5*'*=')&5'/'(*"0*%8,*7,+2")2*'))6'44/*,4,&(,#*1/*(5,*'#64(*8$44'-,+2:*@5,*]$44'-,*S9'+'O*9$44*1,*+""(,#*$)*

(5,*7+$)&$74,2*"0*B5$!2'3*(+6(53*')#*)")J8$"4,)&,:T/*8$2$")*0"+*B5!,#'1'#*$)*DEKE*$2*(5'(*$(*1,*,!7($,#*')#*(5'(*(5,*'1')#"),#*&$(/*becomes a symbolic prison that India narrowly escaped.

Stephen Curti 7911

Q""W*I,8$,9Urban History and Theory

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Exercises


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Exercises


Architectural Research MethodsFaculty: Vishwanath Kashikar

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Bohra and Architecture.

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Exercises


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Exercises


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C$-$('4*s*B+&5$(,&(6+,

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='+'!,(+$&*s*C,2$-) BSS;N[T?[@*KPaper abstract

g+$(,*')*'12(+'&(*"0*)"*!"+,*(5')*DEE*9"+#2*0"+*/"6+*+,2,'+&5*7'7,+

2'!74,*F*yS'7('+25$*T$(+'zAbstract:

@5,+,*,^$2(2*'*56-,*1'&W4"-*"0*!'22*5"62$)-*$)*&,)(+,2*"0*A+1')*'--4"!-

,+'($"):*;(*5'2*1,&"!,*'*!'((,+*"0*-+,'(*6+-,)&/*("*16$4#*5"62,2*,&")"!$-&'44/*')#*'(*'* 0'2(* +'(,* $)* 26&5*2$(6'($")2:*=+,0'1+$&'($")* (,&5)"4"-/*5'2*1,,)*'*-+,'(* $))"8'($")*')#*$(*5'2*,00,&($8,4/*!'#,*&")2(+6&($")*,0%&$,)(*')#*R6$&W3*(5"6-5*62,*"0*(5,*2/2(,!*5'2*)"(*1,,)*'#'7(,#*("*(5,*2&'4,*"0*+,2$#,)($'4*#,8,4"7!,)(p*27,&$%&'44/*!'22*5"62$)-:@5,*+,2,'+&5*'$!2*'(*#,!")2(+'($)-*(5,*&")(+$16($")*"0*7+,0'1+$&'($")*'2*'*!,(5"#*"0*&")2(+6&($")*(5'(*9"64#*1+$#-,*(5,*-'7*1,(9,,)*(5,*#,!')#*')#*(5,*26774/*"0*!'22*5"62$)-*7+"O,&(2*$)*;)#$':**Aim:

@"*2(6#/*(5,*,00,&(*"0*7+,J0'1+$&'($")*")*!'22*5"62$)-*7+"O,&(2*')#*$(2*'7-

plicability in the Urban Indian context.

T,(5"#*"0*I,2,'+&5Zk* @"*2(6#/*(5,*7+,2,)(*#,!')#*"0*A+1')*U"62$)-*$)*;)#$')*T,(+"23*')#*7'+'44,4*("*$(*(5,*+'(,*'(*95$&5*$(*$2*&6++,)(4/*1,$)-*7+"8$#,#:k* @"*#,8,4"7*!,(5"#2*1/*95$&5*T'22*U"62$)-*$)*;)#$'*')#*=+,0'1+$-&'(,#*T'22*U"62$)-*2/2(,!2*&')*1,*')'4/2,#*1/*2(6#/$)-*@,^(1""W2*')#*7+,8$"62*I,2,'+&5*#"),*")*1"(5*261O,&(2:k* @"*2(6#/*')*,^$2($)-*!'22*5"62$)-*7+"O,&(*$)*;)#$'*<$)*'*T,(+"*&$(/.*')#*')'4/2,*$(*1/*(5,*!,(5"#2*"0*')'4/2$2*#,+$8,#*1/*(5,*7+,8$"62*"1O,&($8,:k* @"*2(6#/*')*,^'!74,*"0*=+,0'1+$&'(,#*T'22*U"62$)-*7+"O,&(3*')#*analyse it by the same methods.

k* @"*#"*'*&"!7'+'($8,*')'4/2$2*')#*'++$8,*'(*'*&")&462$"):P$)#$)-2ZThe system of Prefabrication of the total process of construction increases

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,)(*")*!')6'4*4'1"6+:*S6&5*1,),%&$'+/*,00,&(2*'+,*-+,'(4/*7,+($),)(*$)*(5,*present Urban Indian scenario.

<'2*;*5'8,*)"(*'&(6'44/*#"),*(5,*(5,2$2*(5,*%)#$)-2*("*'*&,+('$)*#,-+,,*'+,*5/7"(5,($&'4.*

H'+-,+*;!74$&'($")2Z

Exercises


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ment.

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2'!74,*F*yT$5$+*Q,#,W'+zAnalytical data

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dress the socio-cultural aspects of architecture.

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Attribute Public spaces Private spaces

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Ahmedabad.

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Exercises


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text

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Exercises


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8,4Student: Sarosh Anklesaria

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declassify of the two architects from the associations labelled on them by the cri-

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S'!74,*D*yS(,75,)*>6+($zThesis Title:

@+'#$($")*')#*I,$)(,+7+,('($")3*?^'!$)$)-*(5,*9"+W2*"0*U'22')*P'(5/:Student: Tithi Sinha

Aim:

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search dissertation.”

Exercises


@5$2*2('(,!,)(*$2*!$24,'#$)-*1,&'62,*(5,*'&(6'4*'$!*"0*(5,*7'7,+*$2*("*6)#,+2(')#*5"9*')#*95/*U'22')*P'(5/*+,$)(,+7+,(,#*(+'#$($")'4*?-/7($')*B+&5$(,&(6+,:*P"+(6-

)'(,4/*(5,*($(4,*$2*&")&$2,*')#*2(+'$-5(0"+9'+#*16(*$(*$2*2($44*6)0"+(6)'(,*(5'(*(5,*'6(5"+*did not boldly state the aim.

\1O,&($8,2Z;*5'8,*26!!'+$_,#*(5,*-$8,)*"1O,&($8,2*1,4"93J* S(6#/*(+'#$($")'4*'+&5$(,&(6+,*$)*?-/7(J* S(6#/*(5,*,^'!74,*"0*'+&5$(,&(*')#*&+'0(2!,)*9"+W$)-*("-,(5,+3*')#*62$)-*4"&'4*(,&5)$R6,2X!'(,+$'423*("*16$4#*0"+*(5,*7""+J* A)#,+2(')#*95/*P'(5/*'22$!$4'(,#*'*7,+2")'4*4')-6'-,*"0*5$2*"9)J* B)'4/_,*')#*6)#,+2(')#*U'22')*P'(5/c2*$)(,+7+,('($")*"0*27'&,*')#*0"+!*in comparison to modern architecture

It appears that one person wrote the introduction to the thesis and then a totally dif-

ferent person actually wrote the thesis because there are so many inconsistencies.

U,+,*$2*95'(*(5,*"1O,&($8,2*"0*(5,*(5,2$2*+,'44/*'+,3J* S(6#/*(+'#$($")'4*'+&5$(,&(6+,*$)*?-/7(J* S(6#/*7"764'+*"7$)$")2*")*+,$)(,+7+,($)-*(+'#$($")J* C"*0"6+*&'2,*2(6#$,2*"0*16$4#$)-2*#,2$-),#*1/*U'22')*P'(5/**J* A)#,+2(')#*5"9*')#*95/*P'(5/*+,$)(,+7+,(,#*(+'#$($")'4*?-/7($')*'+&5$(,&-

ture.

P"+(6)'(,4/* (5,* (5,2$2* $2*!6&5*!"+,* &"5,2$8,* (5')* (5,* $)(+"#6&($"):* @5,* 0"+!'(*"0*(5,*(5,2$2*#",2*!'W,*2,)2,:*@5,*"),*7'+(*(5'(*!'/*5'8,*1,,)*6)),&,22'+/*("*2(6#/*7"764'+*"7$)$")2*")*+,$)(,+7+,($)-*(+'#$($"):**T,(5"#"4"-/Z@5$2*$2*95'(*$2*2('(,#*$)*(5,*$)(+"#6&($")*&")&,+)$)-*!,(5"#"4"-/3J* P"+!'4*')#*27'($'4*')'4/2$2*5'2*1,,)*#"),*("*#$2&"8,+*(5,*&")&,7(2*6)#,+-4/$)-*(5,*7+"&,22*"0*!'W$)-:J* S,&")#'+/* 2"6+&,2* "0* $)0"+!'($")* 5'8,* 1,,)* 62,#* +,-'+#$)-* (5,* 9"+W2*chosen.

@5$2*'-'$)*$2*7""+*16(*(5,*7'7,+*'&(6'44/*#",2*5'8,*'*#,&,)(*!,(5"#"4"-/p*$(*O62(*$2*)"(*&"!!6)$&'(,#*$)*(5,*$)(+"#6&($"):*@5,*'6(5"+*')'4/_,#*')&$,)(*?-/7($')*'+&5$-(,&(6+,*1'2,#*")*Q,4$,0*S/2(,!23*S7'($'4$(/3*\+#,+$)-*=+$)&$74,23*P"+!'4*]"&'16-

4'+/3*')#*=+$)&$74,2*"0*>")2(+6&(*')#* (5,)*5,X25,*')'4/_,#* (5,*9"+W2*"0*U'22')*P'(5/* $)* (5,* 2'!,*9'/:*A2$)-* (5$2* 2(')#'+#* 0"+!*"0* ')'4/2$2*!'W,2* $(* ,'2$,+* ("*&"!7'+,*P'(5/c2*9"+W2*("*(+'#$($")'4*?-/7($')*B+&5$(,&(6+,:*P+"!*(5,+,*(5,*'6(5"+*is able to see how Fathy has reinterpreted the traditional style.

xxB)'4/($&'4*;4462(+'($")2ZB44*"0*(5,*$4462(+'($")2*!,+,4/*')'4/_,*(5,*(+'#$($")'4*?-/7($')*'+&5$(,&(6+,*"+*P'(5/c2*'+&5$(,&(6+,*2,7'+'(,4/:*@5,*$4462(+'($")2*#"*)"(*'((,!7(*("*&"!7'+,*P'(5/c2*9"+W2*9$(5*(+'#$($")'4*?-/7($')*'+&5$(,&(6+,*")*(5,$+*"9):*@5,+,0"+,*(5,*$4462(+'($")2*#"*)"(*

+,$)0"+&,*(5,*&")&462$")*"0*(5,*(5,2$2*8,+/*9,44:*

Conclusion:

It could be clearer but the conclusion does say how and why Fathy sometimes

+,$)(,+7+,(,#*(5,*(+'#$($")'4*2(/4,:*?^'!74,2*$)&46#,3*&'(,+$)-*("*(5,*62,+X&4$,)(3*+,-

27")#$)-*("*(5,*2$(,3*,(&::**S"*(5,*&")&462$")*#",2*+,4'(,*1'&W*("*(5,*"1O,&($8,23*16(*$(*$2*)"(*2677"+(,#*9$(5*')'4/($&'4*$4462(+'($")2:*@5$2*(5,2$2*"8,+'44*$2*)"(*9,44*9+$((,):*;(*4'&W2*&4'+$(/*1,&'62,*$(*$2*)"(*9,44*"+-')$_,#*')#*$2*&46((,+,#*9$(5*#$2(+'&($)-*$)-

formation.

Exercises

architecture yearbook 2011-2012 semester 1

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