Forest Landscaping

There is a need in the wood – lands to integrate the design arts with the principles of forest management. Through the collaboration of landscape architects and foresters the wood – lands produce remarkable visual amenities in greater measure. Many of the positive visual effects of forest management have been over – looked. Although many receive a high degree of aesthetics and recreational enjoyment from their wood – lands, few understand the improvement scenery that can be achieved.

Many complaints are often heard about monotony of driving or walking through forests from miles after miles. It becomes boring and soporific. This monotony can be removed by prescribing silvi – cultural treatment that can establish contract and variety in successive strands of trees.

Color and texture are important design elements of forest vegetation. The primary visual function of forest vegetation is to reveal or to conceal what lies beyond. If trees are removed from an area, it helps to open – up the landscape, affording views far and wide revealing the out – door spaces. The landscaping itself is not visible if tracts of land have not been cleared. The depth of visual penetration can vary from metre to hundred metres or more beneath a closed canopy of foliage.

The forest is a renewable landscape element. A plot of undisturbed land usually does not remain open for a long time. The forest is manipulable landscape element, whereas buildings, land forms are relatively fixed and permanent elements in a landscape. But forest vegetation can be easily changed by removing trees.

We have to manipulate forest vegetation solely for scacial effects and other amenities lthat would result. We have to see how natural processes can be directed to shape stands of trees into useful products and attractive forest spaces with in testing forest landscape.

Future of Architecture.

“ Strength is born of constraints and dies in fear “.

-- Leonado da Vinci

India offers a fantastic scope to explore pushing the individuals to arrive at innovative solutions to work within limited resources. A lot of what we do may seem ordinary to outsiders. But to create something within our cities with their uncertain regulatory environment, zillion bureaucratic hassles and other standard real estate exigencies is in itself is a miracle. Design and architecture should be for a cause – for people.

Whatever design is been designed is not unique, i.e. nothing new is created. Whatever is coming up has derived its inspiration from some creation of the past. For e.g.: wood and stone was used in architecture from ancient era, not only because everyone loved them but more because it was available resource then, but also because there is a comfort attached to that material. The usage of material gradually changed to brick and concrete and now glass has come into perspective. Every time a new material comes, the older generation definitely looks at it with skepticism. But the past is the main guide to the future. We always apply principles from the past because these principles would always stay to guide us to create the right future.

Thus we can say that presently the challenge for the present generation of architects is to use new technologies and new design concepts in shaping up the buildings and cities that gives the people a sense of comfort, and aesthetic delight with a background of serenity. We have to chose either humanistic architecture or improve architecture; either coherent civilization with serene environment or chaos. We can no longer ignore them for a deal of ideal perfection.

The Housing Element.

Shelter is one of the most important ingredients in the urban pattern. The many programs developed over the years have seldom resulted in overall plans for the meeting all levels of community need. From the broad scope of Housing Act 1949 to the present drastic reductions of federal financial participation, there has been little evidence indicating that those with greatest need for shelter protection have been provided for. In the past, federal government assistance made some inroads on the solution of the most pressing conditions. In recent years, however, that assistance has diminished greatly and the burdens have fallen on state, country, and city governments, only a few of which have the economic resources or social conscience that are essential.

The major reasons for lack of adequate shelter for low – and – middle – income groups are not only the cost of land but also the facilities that are required to satisfy local laws and ordinances, the inflated costs of construction, and the cost of money itself.

Perhaps the most difficult facet of the comprehensive plan to achieve is the housing element. It requires maximum participation by the private sector in order to accomplish the objectives and to deal with the economic problems associated with those features that involve low – and – moderate – income groups; these require extensive subsidy by public agencies, many of which are hard pressed to meet even their everyday financial obligations.

The housing element shall consist of an identification and analysis of existing and projected housing needs and a statement of goals, policies, quantified objectives, and scheduled programs for the preservation, improvement, and development of housing. The housing element shall identify adequate sites for housing, and mobile homes, and shall make adequate provision for the existing and projected needs of all economic segments of the community.

The outreach strategy is composed of a three equally critical components:

Community Advisory Body

During the first phase of the project, this Planning Department-appointed Community Advisory Body (CAB) will advise staff on the development and refinement of policies and implementation programs. The body will be tasked with working with staff and stakeholder groups to complete a draft of the 2009 Housing Element Update. CAB members will be expected to participate in six to eight working sessions and participate in ongoing outreach to the larger community for up to one year.

Stakeholder Sessions

Stakeholder sessions will be held midway through the CAB process in order to gain an understanding of the needs and policy interests of groups and organizations related to housing or housing services– for-profit & non-profit developers, housing advocacy groups, and homelessness and social service providers. These sessions, facilitated by City staff and members of the CAB, will directly influence the draft policies written by the CAB.

Citywide Outreach

Broad neighborhood outreach focused on key goals of the draft 2009 update will be a critical aspect of the Housing Element update. Elements of the citywide outreach will be:

A series of community conversations with neighborhood organizations on housing priorities, to guide the framework of the draft Housing Element

Utilize Community Advisory Body members as Ambassadors to community during outreach process

Monthly office hours providing an opportunity for interested citizens to engage with staff about housing issues

Mughal Gardens.

"Islamic art was the very antithesis of Hindu art; for Hindu adornment was individualistic, irregular and symbiotic, while Islamic decoration was mathematical, continuous and abstract."

India was the last of the three countries to experience the transformation to Islam and wasn't invaded by Muslims until 1200 when they united the region that was previously ruled by independent city states.

The Mughal dynasty was founded by the Emperor Babur in 1527 and lasted until 1857, producing a number of visionary and charismatic kings whose contribution to art, architecture and horticulture were magnificent. Mughal architecture is a synthesis between Islamic and Hindu architectural styles prevalent in the Indian sub-continent. Mughal architecture in India needs no preliminary introduction with regards to its grandeur, magnificence, lavishness, colossal in every attempt, monumental in proportions and meticulous in every work of art ever chiseled upon any Indian monument. The Mughals beginning from Babur and his advent from Persia, with the near culmination during the times of Aurangzeb, with little help from the later Mughals, indeed had been splendid and resplendent in every attempt they had made in relation to administration and its associated elements. The domain of `garden architecture` under the umbrella of Mughal architecture is one such area, which have not gained much of the limelight and veneration, with much of them perhaps lost to anonymity. The architectural geometry and its minute details, with special stress upon other architectures and its framework - Mughal architectural particulars of the gardens ever grounded in India, is not an element which can be captured by the naked eye. As a consequential answer, it can be stated that, gardens in Mughal architecture do demand a special space amidst the other imposing monumental builds.

Mughal garden design derives primarily from the medieval Islamic Garden, although there are nomadic influences that come from the Mughals’ Turkish-Mongolian ancestry. Its essential features included running water (perhaps the most important element) and a pool to reflect the beauties of sky and garden; trees of various sorts, some to provide shade merely, and others to produce fruits; flowers, colorful and sweet-smelling; grass, usually growing wild under the trees; birds to fill the garden with song; the whole cooled by a pleasant breeze. The garden might include a raised hillock at the center, reminiscent of the mountain at the center of the universe in cosmological descriptions, and often surmounted by a pavilion or palace”. The Turkish-Mongolian elements of the Mughal garden are primarily related to the inclusion of tents, carpets and canopies reflecting nomadic roots. Tents indicated status in these societies, so wealth and power were displayed through the richness of the fabrics as well as by size and number.

Mughal gardens and their architecture possess a splendid and fragrant proud history. Indeed, some the gardenia instances of the Mughals in Kashmir or Delhi, do possess much popularity and respect owing to their stretch of being virtually unlimited in the length and breadth of flora and fauna. Gardens in Mughal architecture redefine the advent of overspreading gardens, slender streams flowing by all through the middle of the garden, the rare arrival of flora from the Persian landscape, the rainbow-tinted flowering of exceptional flowers dispersing their scent and fragrance in the nearby lands, the pastures of exotic-ness, the conception of being amidst Eden suddenly upon earth, or the umpteen other unique aspects that one can imagine. Mughal gardens and its architecture deserves thundering applaud from every quarter of the universe, with the emperors practically thinking in heavenly proportions to make out-of-this-world constituents a reality to human beings in India.

The Mughals were obsessed with symbol and incorporated it into their gardens in many ways. The standard Quranic references to paradise were in the architecture, layout, and in the choice of plant life; but more secular references, including numerological and zodiacal significances connected to family history or other cultural significance, were often juxtaposed. The numbers eight and nine were considered auspicious by the Mughals and can be found in the number of terraces or in garden architecture such as octagonal pools. It is acknowledged that even before the battle of Panipat, Babur had considered Punjab rightfully his, and since earlier it had been conquered by his legendary ancestor, Timur.

The garden, which the first Mughal had designed himself, was completed in 1528-29. Although it no longer survives, literary reports indicate that Babur`s first Indian garden in Punjab was built around a natural spring and that the garden itself was situated in a narrow mountain valley, a terrain close to that of Babur`s own Kabul. The char bagh mentioned earlier was the most sublime and most praiseworthy of Mughal garden`s architectural aspect, which was ever grounded by Babur. Since his arrival to India, the char bagh style was the most complied with and abided by the succeeding dynasties that have ever ruled India, a practice which is continued even today. Char bagh by Babur had redefined Mughal gardens and its architecture for the successors to come, only to make India magnificent by filling empty places up with trees, plants and more of everything green.

Babur and his Mughal plan of garden architecture was such that he had issued orders of regular, symmetrical gardens and orchards which needed to be laid out in all large cities. Such four-part, ordered Mughal gardens and its architectural plan represented a Timurid tradition. After Babur, Humayun who had ascended the throne was much to occupy to consolidate his Empire from Sher Shah, which made him kind of neglect the Mughal architectural scenario, which thus rested in the hands of his son, Emperor Akbar. Akbar is not however not much legendary to have lent life to any such celebrated gardenia or its strict Mughal architecture, which, on the other hand, had looked towards the future with Jahangir. Jahangir, the man with an exceedingly artistic bent of mind, was legendary to possess immense regard and respect for gardens and garden settings. He is also known to have rewarded most of the architects with premium richness. Just after returning to Agra in 1619, he had discovered much delight in witnessing the Gul Afshan garden, probably the same garden later owned by Nur Jahan and renamed the Nur Afshan Bagh. Huge sums of money and a smooth cash flow was guaranteed by this emperor, who was so much dedicated and ardent to the aesthetic side of life that Mughal garden architecture truly was ably carried forward after the arrival of Babur.

Emperor Jahangir is an absolute legend in connection with gardens in Mughal architecture. The captivating properties, never seen before elements, the exhaustive renovation work done to already built gardens, the disciplined supply of water flow in all the gardens are just some of the brilliance of every Mughal garden`s architecture, which was patronised by the emperor himself, under special guarantee. Just like his son Shah Jahan, Jahangir also had too much favoured to give birth to gardens in the verdant scenario of Kashmir. Jahangir did give special attention to gardens in the valley south of Srinagar, in Kashmir. Shah Jahan, as well his architectural plannings of Mughal gardens, deserves to be specially mentioned. It was Shah Jahan as the man who was of the habit to scout out sites to give life to luxuriant garden architecture, adhering strictly to Mughal norms. The emperor had a life-long interest in the construction of superbly well-ordered gardens. Many of these had indeed also served as the setting for major structural works, for example the tomb of Mumtaz Mahal, legendary today as the Taj Mahal, or Jahangir`s tomb in Lahore. Palaces of Shah Jahan also had incorporated gardens into their layout. Other gardens of Mughal architecture, however, were developed independently of tombs and palaces. Royal structures had enhanced these gardens, but they were not the sole reason for the gardens` existence.

There are two types of Mughal Gardens, one is like park enclosures surrounding the principal monumental structure especially Mughal tomb such as Taj Garden at Agra, and in other type there are no principal monumental structure such as Nishat Garden at Srinagar, Kashmir.

At the Taj Garden, the tomb building is placed at the farthest end. The tomb garden and subsidiary buildings are enclosed by a broad wall with octagonal pavilions at each end and a monumental entrance gate in the centre of southern side. When the Emperor built the Taj, the garden was full of trees, such as fruit trees, cypress, palm trees and flowering trees. The flowers were not what we see today, but species of narcissus, iris, tulip and rose. It was conceived as Garden of Eden or Bagh–i–Adam with flowers, trees and water channels. To – day it has few trees, a lawn and regimented flower beds not of Mughal but of 19^th century of British origin. The formal garden is based on Char Bagh or four proportional garden plan. The use of water is the most remarkable character of Mughal Garden. Shah Jahan built a pool in the centre to reflect the perfection of Taj Mahal. From the central, elevated pool Haus–I- Kausar, the water channels flow in four directions dividing the garden at right angles into four. The inclination and level of the garden is carefully designed to keep the water continuously flowing form Jamuna river behind the Taj.

The second type of Mughal Gardens was also designed as a pleasure resort and picnic spots, but without a tomb, a monumental structure, for example Nishat Garden at Srinagar, Kashmir. Here the full advantage of the slope of hills is made to construct flow of water in pools, fountains, water channels etc. thus forming an enchanting water – garden. The gardens are laid out on regular and suitable forms and divided into smaller squares or rectangular.

The gardens are with no monuments as tomb gardens. Here shelters, loggias, kiosks are provided to create a central focal point in the scheme. These earlier formal gardens of Versailles and Mughal gardens were relevant for the particular time and culture when they were laid out.

Yet, there existed reason enough for gardens in Mughal architecture to receive the most valuable of attention under every proficient Mughal ruler to have existed in India.

The Temple of Parthenon at Athens .

“The monuments were imposing in their unrivaled grandeur, beauty and grace; the artists vied with one another in the technical perfection of their work, but the most admirable thing was the speed of execution”.

---- Plutarch.

The temple is built entirely in pentelic marble on high ground of Acropolis, south of Temple of Athena (old) and dedicated to Athena Parthenos the Virgin Athena. It is constructed by Architects Ictinus and Callicrates under supervision of sculptor Pheidias.

The temple is built on rectangular plan 71m (228’-2”) long and 32m (101’-4”) wide. It sends on crepidoma, a platform of three steps with tread 70 cm. and rise 50 cm and curves up in the middle of all four sides. These being to climb, smaller steps are also provided at the centre of east and west ends. The temple is designed in octa – style i.e. eight columns in front and back, which lean inward. There are seventeen columns on either side measuring the corner column twice. The intermediate columns are about 1.88 m whereas the corner columns are 1.90 m at the base. The corner columns were not only made stouter bit also set closer to the adjacent columns. Otherwise they would have appeared thinner and lonely against the open sky than those seen against the solid background of the naos wall. All are 10.4 m high and of Doric order. The fluting of the columns represents the highest degree of artistry. The shafts have the slight convexity or entasis with upward taper or diminution.

The temple is constructed facing the east so that the first rays of the rising sun should fall and illuminate the status of Athena, which is placed in ‘naos’ measuring 30 m long, 19 m wide with three rows of columns, ten on each side and five on western side in ten tiers. The statue of Athena in gold and ivory with eyes of precious stones was the finest sculptural achievement of master artist Pheidias. The statue measured 13m with its pedestal.

To its west is the virgin’s chamber – the Parthenon from which the temple derived its name. Its roof is supported by four Ionic columns. At the rear end there is opisthodomos or epinaos.

The entablature supported on columns is about 3.4 m high and curve up in the middle. The architrave was ornamented with bronze shields. The sculptured metopes are about 1.34 m square numbering 14 on front and back and 32 on south and north sides. The eastern metopes contained contests between gods and giants, on western metopes, between Greek and Amazons, on the southern between Cenaturs and Lapiths; on western metopes, between scenes from ‘Capture of Troy’. The friezes lean outward slightly.

The pediment inclined at 13º - 30’ had floral decoration called ‘Acroteria’ about 3 m. high as its top and lower angles. The sloping cornices of pediment contained the honey suckle ornament.

In order to cover the ends of marble tiles, the lower edges of the roof are masked by ‘Antifixae’ ornament.

The ‘Tympana’ in the pediment are fully enriched with fine sculptures in bright colors. Those on the eastern one presented the birth of Athena, and on the western, the contest of Athena and Poseidon for the soil of Attica. All these have undergone the ravages of time and remained in the ruin state.

After the fall of Greeks, it was under the Romans but still it received the same status as it did during the Greek’s control. The Greeks embraced Christianity and Parthenon ultimately became Christian chapel. Its one part was removed to create an apse. Under Turks it was turned into mosque in 1458. During Venetian siege, in 1687, a cannon shot exploded the gun powder stored in it which destroyed many valuable sculptures. The Venetians after winning the battle got over the Parthenon. They removed the central figure from the pediment. During the period of disorder, many marble pieces of sculptures disappeared. There were still 20 left in 1674 but there were only 12 in 1747 and hardly 4 in 1800. In 1803, Thomas Bruce, VIIth, Earl of Elgin, brought 120 tonnes of sculptures to Britain. These now adorn the British Museum at London, as they did at Acropolis of Athens.

The temple at its glory stood as a miracle of architecture with its glory stood as a miracle of architecture with its shining marble, sensuous sculpture in glowing colors.

It has influenced number of writers, artists and architects. Poet John Keats got inspiration for his poems. ‘Hyperion’ and ‘Ode on a Grecian Ura’. Poet Emerson paid highest compliment in following lines:

“Earth proudly wears the Parthenon

As the best gem upon her zone”.

Taj Mount Road, Chennai.

With crisp rectilinear lines and sleek glass walls, Taj Mount road in Chennai, stands redefining the architectural style. The hotel is situated in the heart of Chennai, conveniently located on Clubhouse Road, just off Mount Road, Chennai’s business district. The signature look of Taj Mount Road is a 45,000 sq. feet sheer blue facade that encases seven floors of the hotel. Specially designed frosted glass boxes lighted at irregular sizes and intervals on the Northern façade of the building which acts as a special identity to the building which is thoughtfully created and designed by Architect Hafeez Contractor.

With usage of modern day building materials like glass, steel, aluminium cladding and the grandeur of marble, the building derives its stunning aesthetics with a complete contemporary expression. The transparency of the glass at ground level provides an ideal overview of the internal spaces which are normally not seen from outside.

To cater to the needs of today’s cosmopolitan traveler, the hotel offers 220 rooms including 16 suites and one elegant presidential suite with ultra modern facilities to offer that rare experience of style and sophistication.

Taj Mount Road comprises full suite of contemporary conferencing and banquet amenities, making it the perfect choice for any kind of business meets and social occasions. The main banquet hall which covers an area of 3,300 sq feet has elegantly designed with wall paneling and stylish chandeliers. The business facilities at Taj Mount Road are geared up for the discerning business traveler complementing the ease of access with wireless connectivity and state-of-the-art board rooms.

Taj Hotels Resorts and Palaces is renowned for their eclectic culinary experiences. To enhance the dining experience there are 3 uniquely designed restaurants – Indus, kefi and Deli, covering a wide gamut of palettes and choices. The Club House is an all-day dining restaurant that serves European fare with an Asian twist.

The renowned Thom Catallo of Catallo+MacKenzie Designphase Hospitality Pte. Ltd., Singapore, has designed the interiors of the hotel. They have enriched the spaces with texture, and the play of light within the hotel designed to vary the mood from day to night and enhance the experience.

The styling is contemporary with marble and wood on floors and columns combined with stainless steel accents and blue glass which all blends to perfect harmony.

The benignancy of the rooms is further punctuated with high-tech internet access, plasma TVs, unique custom lighting, spacious bathrooms and excellent storage creating a plush “lived in” environment for business travelers. The living spaces in the suites area are a blend of comfort and style, with Italian-inspired designer furniture, unique area rugs and distinctive bedrooms with concealed lighting on the headboards. The Deluxe suites at Taj Mount Road feature walk in closets and a spacious bar creating a feel of being in a stylish apartment rather than a hotel room.

A lap pool on the rooftop with a picturesque view of the city and a gym overlooking the pool has a yoga room - all engineered to invigorate and relax.

Rich in cutting-edge design and complete with aesthetic appeal, Taj Mount Road, reinterprets the tradition of hospitality in a refreshingly modern way to create unique experiences and lifelong memories.