Dosti Acres, Wadala.

Monday, September 6, 2010






With a vision of architectural grandeur, the Dosti group developed the Dosti Acres in the central part of Mumbai in Wadala. Initially keeping their needs restricted to the low-rise development, the design of seven storeyed structures were finalized and constructed; but later Mr. Contractor convinced them on proceeding with 14 storeyed structures in the central part of the site. Thus to bring in more luxury to the category of necessity, the buildings took their shape over a one storeyed podium.The usage of low-pitched roofs, arched entryways and the landscaping is an evocation of the Mediterranean style of architecture. The retro style adapted by Mr. Contractor, blends easily with the surrounding greenery.

Allowing easy accessibility to the common activity areas like the clubhouse has also been an important planning aspect, which makes it convenient for the non-residents of the complex visit for activities like – gymnasium, sauna, skating rink, jogging, etc.
Thus, the complex not only promises a soothing view of the surroundings but also is an attempt to provide a healthy ambience for its residents and visitors; with an enduring edifice in the fast growing suburbs.

Art - Architecture

Monday, July 5, 2010




Architecture can be dead yet alive for what it interprets the thoughts, the abstract ideas, in their own way. "Art" and "Architecture" can never be simple, they need to be made.

As one said during the end phase of modernism " Death of an Author and birth of a reader"

But we never witnessed a style, for once we followed what Corbusier said - " Style never exists, it all lies".But in real sense, we never followed a trend, for that brilliance, in Corbusier's - Chandigarh, Kahn's - IIM, Correa's - contemporaries, which influenced "less" could have been "more".

These edifices have always been institutions or public spaces or cultural but never tried to fill the void that was housing.

For a true Architect - Rebirth of Author.. is what has to be witnessed, where architecture includes participation and dialogues. Dialogues between visitor and creator, author and reader. For author comes out from the box, the box of confinement to preach or to follow or practice architecture in a free style set apart from my constraints or rules.

If we cant create good architecture, we rather not. Good form( Gutesh in German)is modernism.

For all wants to witness is architecture...............


Kandariya Mahadev Temple

Wednesday, April 14, 2010




This is the largest and most typical Khajuraho temple. There are abput 900 statues. Dedicated to Lord Shiva, it soars 31 m high. The sanctum enshrines a lingam, while the main shrine is ornately carved and depicts various gods, goddesses, apsaras (heavenly maidens) in elaborate detail. The entrance arch, the massive pillars and ceilings are adorned with exquisite carvings that leave the visitor spellbound. Beyond the archway of the Kandariya Mahadev, lie the six interior compartments; the portico, main hall, transept, vestibule, sanctum and ambulatory. The ceilings are particularly noteworthy and the pillars supporting them have intricately carved capitals. The transept's outer walls have three horizontal panels showing deities of the Hindu pantheon, and groups of lovers, a pageant of sensuousness, vibrantly alive.








Shalimar Bagh

Tuesday, April 6, 2010




A subtle air of leisure and repose, a romantic indefinable spell, pervades the royal Shalimar: this leafy garden of dim vistas, shallow terraces, smooth sheets of falling water, and wide canals, with calm reflections broken only by the stepping stones across the streams.


While the recent history and development of the Mughal types of gardens is credited to Emperor Jahangir of theMughal Dynasty, the ancient history of the garden that existed here is traced to the 2nd century when it was built during the reign of Pravarsena II. Praversena II founded the city of Srinagar and ruled in Kashmir from 79 AD to 139 AD. He had built a cottage for his stay at the northeastern corner of the Dal Lake and had named it as Shalimar (‘Shalimar’ in Sanskit means "Abode or Hall of Love”). It is at this location that Emperor Jahangir built his celebrated Shalimar Bagh, his dream project to please his queen. During the Mughal period in particular, Emperor Jahangir and his wife Nur Jahan were so enamoured of Kashmir that during summer they moved to Srinagar with their full court entourage from Delhi, at least 13 times. Shalimar Bagh was their imperial summer residence, and also the Royal Court.

The layout of the garden is an adaptation of another Islamic garden layout known as the Chahar Bagh in Persia. This garden built on a flat land on a square plan with four radiating arms from a central location as the water source, could not be exactly replicated to the hilly conditions in the Kashmir valley.
Thus, modifications to suit the location were designed, which involved the main channel running through the garden axially from top to the lowest point. This central channel, known as the Shah Nahar, is the main axis of the garden. It runs through three terraces. This layout saved on radial arms and the shape became rectangular, instead of a square plan of the Chahar Bagh.

The garden was linked to the open Dal Lake water through a canal of about 1 mile (1.6 km) length and 12 yards (11 m) in width that ran through swampy quagmire. Willow groves and rice terraces fringed the lake edge. Broad green paths bordered the lake with rows of chinar trees. The garden was laid in trellised walkways lined by avenues of aspen trees planted at 2 feet (0.61 m) interval.
The first terrace is a public garden or the outer garden ending in the Diwan-e-Aam (public audience hall). In this hall, a small black marble throne was installed over the waterfall.
The second terrace garden along the axial canal, slightly broader, has two shallow terraces. The Diwan-i-Khas (the Hall of Private Audience), which was accessible only to the noblemen or guests of the court, now derelict, is in its centre. However, the carved stone bases and a fine platform surrounded by fountains are still seen. The royal bathrooms are located on the north-west boundary of this enclosure. The fountain pools of the Diwan-i Khas, the Diwan-i-Amm, and in turn, the Zenana terraces are supplied in succession.

In the third terrace, the axial water channel flows through the Zenana garden, which is flanked by the Diwan-i-Khas and chinar trees. At the entrance to this terrace, there are two small pavilions or guard rooms (built in Kashmir style on stone plinth) that is the restricted and controlled entry zone of the royal harem. Shahajahan built a baradari of black marble, called the Black Pavilion in the zenana garden. It is encircled by a fountain pool that receives its supply from a higher terrace. A double cascade falls against a low wall carved with small niches (chini khanas), behind the pavilion. Two smaller, secondary water canals lead from the Black Pavilion to a small baradari. Above the third level, two octagonal pavilions define the end wall of the garden.

The Shalimar Bagh is well known for chini khanas, or arched niches, behind garden waterfalls. They are a unique feature in the Bagh. These niches were lighted at night with oil lamps, which gave a fairy tale appearance to the water falls. However, now the niches hold pots of flower pots that reflect their colors behind the cascading water.
Another unusual architectural feature mentioned is about the doors of the Baradari. In the garden complex, the Baradari had four exquisite doors made of stones supported by pillars. It is conjectured that these stone doors were ruins from old temples that were demolished by Shahajahan. The garden also provided large water troughs where a variety of fountains were fixed.

Even in later years, during Maharaja’s rule, the gardens were well maintained and continue to be so even now as it is one of the prominent visitor attractions around the Dal Lake.
The garden is considered to be very beautiful during the autumn and spring seasons due to the colour change in leaves of the famed Chinar trees.
The gardens were the inspiration for other gardens of the same name, notably the Shalimar Bagh, Delhi in Delhi (built in 1653, which now also has an upscale colony) and Shalimar Gardens in Lahore, Pakistan built by Emperor Shah Jahan in 1641.

Housing in Mumbai..

Saturday, April 3, 2010




Bad effects are from the heritage point of view that first and foremost, grade III listed heritage buildings should be excluded from redevelopment under rule 33(7) and 33(9). Due to this rule being applied indiscriminately across all so called 'old' buildings, irrespective of their heritage value, they are going ahead and pulling down good buildings too.
Localized poor condition in some parts of a heritage building are being shown in surveys as completely bad so that they can pull down the entire building, sell the old wood, material, etc. as well as consume higher FSI. It is a complete racket.



Developers support the modification to the rule as they get more FSI under the modified rule. The proposed cluster redevelopment scheme proposes an FSI of 4 or even higher, so they keep loading the city with new development with minimum open spaces, etc.

The modification has several harmful long term impacts for the city and people such as load to existing infrastructure of the city, worsening the quality of life, promoting poor construction, promoting a new haphazard and thoughtless architectural and urban design language that will alter Mumbai's character.

One of the most basic points against the modification is to question why FREE housing or accommodation of any kind should be given to tenants / occupants of space in the city. Why should a person occupying a tenement of 220 sqft or less get 300 or 400 sq. ft. and what happens to the Rent Control Act?



The modification is driven by vote bank politics and not by any desire to improve the condition of the city. It is a fact that there are more tenants than landlords in the island city; hence the politicians want to appease the greater number of people. It is also a fact that the politicians are themselves builders and developers in Mumbai, and hence have modified the law to suit them.

If you study the density and pattern of development of an area such as C-Ward (that is proposed to be redeveloped using the cluster redevelopment model), then you can see the existing architectural, social and cultural grain of the area, that is finely woven due to its low-rise and dense pattern of redevelopment.
This pattern of building will be replaced by the even more dense (due to additional loading of FSI) high-rise pattern of building, that will completely alter the fabric of the old city.
Much of the suburbs of Mumbai are largely characterless and homogeneous due to the building byelaws that allow this kind of thoughtless redevelopment. Infrastructure in the suburbs is already inadequate to cope with the population that is living there. The modifications to DC Rule 33(7) and 33(9) will similarly overload the existing infrastructure of the island city, leading to a reduced quality of life for all who stay or use this space.



Blanket solutions and rules are not applicable in a city like Mumbai. Different areas require different solutions.

What is required is:
- a rational survey of the existing building stock to be done, to identify poor buildings,
- amend or abolish the rent control act that has distorted the value of land and housing in the island city,
- apply sensitive and sensible (vs. lucrative) solutions to the existing problem being faced
- give incentives to people who want to repair their buildings skillfully
- allow reconstruction more through owners rather than builders
- Remove free redevelopment and offers for free housing - those who can afford to stay here should stay, rest should move northwards etc.

Dis(s)tress

Thursday, April 1, 2010


The language of architecture is a vague term used to classify them selves. What it means is rather defined which rather confines which rather puts into a fixation of constraints.
"Witness" rather to be 'experienced' which is a linear technology as it requires an address and a start of lines...
A state of time, which see around a world of constraints, which see an opposing origin. Radicalism. RADIX. An opposing/ derogatory language abusing to the world of so called "purity".
"Get off my cloud"
Coop Hamilton - language- of- rather- buildings is a brilliant usage of deconstruction and post modernist architecture. Architecture to comment on these manifestations of the architectural neo avant - garde, vilifying the presumed aesthetization of the style and parodying its false motives.
The work of Eisman and Tschumi strive towards willful and theoretical deformation towards the metrically problematical solution to existing confusing traditional mass.
Architects/ theorists such as Eisman and Tschumi used their own writings to legitimize their architectural projects – a self reflexivity that isn’t without a merit, at least as a limiting point for radicalizing the trajectory of built form.
Coop – Hamilton upsets the purists’ nature of the projects with deliberately apologetic program, , allowing the sheer force using the innate aspects of architecture – such as tension, counterbalance their works, allowing the sheer force of building materials to impact upon their structural selves and inducing a struggle from within the actual materials.
What is rather seen is a result of stripping which results over action and a reaction.
The resulting forms are a search beyond – mere physics – a result of time.
Destroying in order to Recover…

Deconstruction





Deconstruction was first developed by French philosopher Jaques Derrida. The definition for deconstruction is not easy to understand, and Derrida and his interpreters actually intend it to be difficult. It was first meant to be a method of interpretation and analysis of a text or a speech. He introduced the concept of deconstruction as a text or speech. The entire idea was to draw out conflicting logics of sense and implications. the main objective was to show that text never exactly meant what it said. Though it had been applied not only to text but also to the visual arts and architecture.
The approach of deconstruction in architecture is to get architects, think of things in a new way, to view architecture in bits and pieces. Also to develop buildings which shows how differently from traditional buildings c, buildings can be built without losing their utility and still complying with the fundamental laws of physics. Especially, in 1988, when deconstruction was first promoted in architecture.



Derrida takes the word deconstruction from the work of Martin Heidegger. In the summer of 1927, Martin Heidegger delivered a lecture course now published under the title, Basic Problems of Phenomenology. Given the topic of his lectures, Heidegger appropriately begins them with a discussion of the nature of philosophy and, particularly of the philosophical movement called phenomenology. Borrowing creatively from his teacher, Edmund Husserl, Heidegger says that phenomenology is the name for a method of doing philosophy; he says that the method includes three steps -- reduction, construction, and destruction -- and he explains that these three are mutually pertinent to one another. Construction necessarily involves destruction, he says, and then he identifies destruction with deconstruction, Abbau (20-23). Heidegger explains what he means by philosophical destruction by using an ordinary German word that we can translate literally "unbuild."


Different architects of different places seemed to be placing buildings and bits of buildings at odd angles so that they clashed and even penetrated each other. The geometry in these architects had been set up, but has at least one overlaid and clashed with the other. Also, there is much different kind of clashes such as: clashes in history and....leaves construction without its form.
Ironically, given much of the current discussion of Heidegger's work and the work that derives from his, Heidegger's answer is, "No." We can use these concepts, horizons, and approaches against themselves to discover what produced them. We might, for example, think about Aristotle's discussion of form and matter, using those very terms to show their inadequacy. What, after all, is matter? Any answer I give is in terms of another form rather than in terms of matter. Questions: "What is that desk made of; what is its material?" Answer: "Wood." But the word wood gives us a form, not a matter. I can ask, "What is the wood made of?" and give a reasonable answer, though one still in terms of form.


As we use the terms matter and form against them, what starts out looking like a perfectly sensible question becomes problematic. By problematizing the distinction, we begin to get at least a glimpse of the problem to which Aristotle was responding. Perhaps we begin to wonder -- to think -- in the same way that he did. If we do, perhaps we begin to do philosophy with regards to Aristotle's questions rather than simply to repeat the scholarly exegesis of Aristotle's philosophy.
Deconstruction can be a matter of showing whom the text has omitted, overlooked, or forgotten. There are various others whom we may forget. Sometimes we fail to remember God, someone with whom, contrary to many expectations.

The Echoing Ruins..

Monday, March 29, 2010







Some several thousand years ago there once thrived a civilization in the Indus Valley. Located in what's now Pakistan and western India, it was the earliest known urban culture of the Indian subcontinent. The Indus Valley Civilization, as it is called, covered an area the size of Western Europe. It was the largest of the four ancient civilizations of Egypt, Mesopotamia, India and China. However, of all these civilizations the least is known about the Indus Valley people. This is because the Indus script has not yet been deciphered. There are many remnants of the script on pottery vessels, seals, and amulets, but without a "Rosetta Stone" linguists and archaeologists have been unable to decipher it.

They have then had to rely upon the surviving cultural materials to give them insight into the life of the Harappan's. Harappan's are the name given to any of the ancient people belonging to the Indus Valley civilization. This article will be focusing mainly on the two largest cities of Harappa and Mohenjo-Daro, and what has been discovered there.












The discovery of the Indus Valley civilization was first recorded in the 1800's by the British. The first recorded note was by a British army deserter, James Lewis, who was posing as an American engineer in 1826. He noticed the presence of mounded ruins at a small town in Punjab called Harappa. Because Harappa was the first city found; sometimes any of the sites are called the Harappan civilization.
Alexander Cunningham, who headed the Archaeological Survey of India, visited this site in 1853 and 1856 while looking for the cities that had been visited by Chinese pilgrims in the Buddhist period. The presence of an ancient city was confirmed in the following 50 years, but no one had any idea of its age or importance. By 1872 heavy brick robbing had virtually destroyed the upper layers of the site. The stolen bricks were used to build houses and particularly to build a railway bed that the British were constructing. Alexander Cunningham made a few small excavations at the site and reported some discoveries of ancient pottery, some stone tools, and a stone seal. Cunningham published his finds and it generated some increased interest by scholars.

Although, Harappa was undoubtedly occupied previously, it was between 2600-1900 B.C. that it reached its height of economic expansion and urban growth. Radio carbon dating, along with the comparison of artifacts and pottery has determined this date for the establishment of Harappa and other Indus Harappa. During this time a great increase in craft technology, trade, and urban expansion was experienced. For the first time in the history of the region, there was evidence for many people of different classes and occupations living together. Between 2800-2600 B.C. called the Kot Diji period, Harappa grew into a thriving economic center. It expanded into a substantial sized town, covering the area of several large shopping malls. Harappa, along with the other Indus Valley cities, had a level of architectural planning that was unparralled in the ancient world. The city was laid out in a grid-like pattern with the orientation of streets and buildings according to the cardinal directions. To facilitate the access to other neighborhoods and to segregate private and public areas, the city and streets were particularly organized. The city had many drinking water wells, and a highly sophisticated system of waste removal. All Harappan houses were equipped with latrines, bathing houses, and sewage drains which emptied into larger mains and eventually deposited the fertile sludge on surrounding agricultural fields. It has been surprising to archaeologists that the site layouts and artifact styles throughout the Indus region are very similar. It has been concluded these indicate that there was uniform economic and social structure within these cities.

Other indicators of this are that the bricks used to build at these Indus cities are all uniform in size. It would seem that a standard brick size was developed and used throughout the Indus cities. Besides similar brick size standard weights are seen to have been used throughout the region as well. The weights that have been recovered have shown a remarkable accuracy. They follow a binary decimal system: 1, 2, 4, 8, 16, 32, up to 12,800 units, where one unit weighs approximately 0.85 grams. Some of the weights are so tiny that they could have been used by jewelers to measure precious metals.

Ever since the discovery of Harappa, archaeologists have been trying to identify the rulers of this city. What has been found is very surprising because it isn't like the general pattern followed by other early urban societies. It appears that the Harappan and other Indus rulers governed their cities through the control of trade and religion, not by military might. It is an interesting aspect of Harappa as well as the other Indus cities that in the entire body of Indus art and sculpture there are no monuments erected to glorify, and no depictions of warfare or conquered enemies. It is speculated that the rulers might have been wealthy merchants, or powerful landlords or spiritual leaders. Whoever these rulers were it has been determined that they showed their power and status through the use of seals and fine jewelry.
Seals are one of the most commonly found objects in Harappan cities. They are decorated with animal motifs such as elephants, water buffalo, tigers, and most commonly unicorns. Some of these seals are inscribed with figures that are prototypes to later Hindu religious figures, some of which are seen today.

This is an interesting point because of the accepted notion of an Aryan invasion. If Aryan's had invaded the Indus Valley, conquered the people, and imposed their own culture and religion on them, as the theory goes, it would seem unlikely that there would a continuation of similar religious practices up to the present. There is evidence throughout Indian history to indicate that Shiva worship has continued for thousands of years without disruption.
The Aryan's were supposed to have destroyed many of the ancient cities right around 1500 B.C., and this would account for the decline of the Indus civilization. However the continuity of religious practices makes this unlikely, and other more probable explanations for the decline of the Harappan civilization have been proposed in recent years; such as climate shifts which caused great droughts around 2200 B.C., and forced the abandonment of the Indus cities and pushed a migration westward. Recent findings have shown that the Sumerian empire declined sharply at this time due to a climate shift that caused major droughts for several centuries. The Harappans being so close to Sumer, would in all probability have been affected by this harsh shift in climate.

Many of the seals also are inscribed with short pieces of the Indus script. These seals were used in order to show the power of the rulers. Each seal had a name or title on it, as well as an animal motif that is believed to represent what sort of office or clan the owner belonged to. The seals of the ancient Harappan's were probably used in much the same way they are today, to sign letters or for commercial transactions. The use of these seals declined when the civilization declined.





The ruling elite controlled vast trade networks with Central Asia, and Oman, importing raw materials to urban workshops. There is even evidence of trade with Mesopotamia, for Harappan seals and jewelry have been found there. Harappa, along with other Indus cities, established their economic base on agriculture produce and livestock, supplemented by the production of and trade of commodities and craft items. Raw materials such as carnelian, steatite, and lapis lazuli were imported for craft use. In exchange for these goods, such things as livestock, grains, honey and clarified butter may have been given. However, the only remains are those of beads, ivory objects and other finery. What is known about the Harappan's is that they were very skilled artisans, making beautiful objects out of bronze, gold, silver, terracotta, glazed ceramic, and semiprecious stones. The most exquisite objects were often the tiniest. Many of the Indus art objects are small, displaying and requiring great craftsmanship.

After 700 years the Harappan cities began to decline. Although certain aspects of the elite’s culture, seals with motifs and pottery with Indus script on it, disappeared, the Indus culture was not lost. It is seen that in the cities that sprung up in the Ganga and Yamuna river valleys between 600-300 B.C., that many of their cultural aspects can be traced to the earlier Indus culture. The technologies, artistic symbols, architectural styles, and aspects of the social organization in the cities of this time had all originated in the Indus cities. This is another fact that points to the idea that the Aryan invasion did not happen. The Indus cities may have declined, for various reasons, but their culture continued on in the form of technology, artistic and religious symbols, and city planning. Usually, when a people conquer another they bring with them new ideas and social structures.

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