Tag: architecture

Vernacular Architecture: A Comprehensive Guide

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Vernacular architecture refers to a style of building that is rooted in local traditions, materials, and construction techniques. It evolves organically over time, reflecting the culture, climate, and lifestyle of the people in a specific region. Unlike modern or formal architecture, which often follows standardized designs, vernacular architecture is deeply connected to its surroundings, embodying sustainable and community-driven practices.

Photo by Rachel Claire on Pexels.com

Key Characteristics of Vernacular Architecture

  1. Use of Local Materials:
    • Builders use materials readily available in the environment, such as mud, timber, stone, bamboo, or thatch.
    • This not only reduces costs but also minimizes the environmental impact.
  2. Climatic Responsiveness:
    • Structures are designed to adapt to local weather conditions. For instance, thick mud walls provide insulation in hot climates, while sloped roofs are common in regions with heavy rainfall.
  3. Cultural Expression:
    • Reflects the customs, beliefs, and social practices of the local community.
    • Ornamentation and layout often have symbolic or ritualistic significance.
  4. Sustainability:
    • Low environmental footprint due to the use of natural and renewable materials.
    • Passive cooling and heating techniques reduce reliance on energy-intensive systems.
  5. Adaptability:
    • Structures are often modified over generations to suit changing needs and lifestyles.

Historical Context of Vernacular Architecture

Vernacular architecture has been practiced since ancient times and varies significantly across the globe. Each region developed its unique style based on:

  • Geography and Resources: Coastal areas often use shells or coral stones, while mountainous regions rely on stone and wood.
  • Climate: Hot arid zones feature courtyards and thick walls, while cold regions emphasize insulation and compact layouts.
  • Cultural Practices: Religious beliefs, rituals, and social structures shape the design and use of spaces.

Examples of Vernacular Architecture Around the World

  1. India:
    • Havelis of Rajasthan: Intricately carved mansions with courtyards to combat extreme heat.
    • Kerala Houses: Sloped roofs and verandas suited for heavy monsoons.
    • Bhunga Houses of Kutch: Circular structures with mud walls, resistant to earthquakes.
  2. Japan:
    • Minka Houses: Wooden structures with sliding panels and thatched roofs, designed for flexibility and climatic adaptation.
  3. Africa:
    • Zulu Huts: Beehive-shaped structures made of grass and wood, ideal for the subtropical climate.
    • Adobe Houses: Mud-brick constructions seen in North African deserts, offering excellent insulation.
  4. Europe:
    • English Cottages: Stone and thatch houses designed for cold weather.
    • Alpine Chalets: Wooden houses with steep roofs to shed snow.
  5. South America:
    • Chilean Rucas: Cone-shaped huts made from natural fibers, used by the indigenous Mapuche people.
    • Amazonian Malocas: Communal structures using palm leaves and bamboo.

Climatic Adaptations in Vernacular Architecture

Hot and Arid Climates:

  • Thick walls and small windows reduce heat gain.
  • Courtyards enhance air circulation and cooling.
  • Whitewashed exteriors reflect sunlight.

Tropical Climates:

  • Large overhangs and verandas provide shade.
  • Elevated structures prevent flooding and improve ventilation.

Cold Climates:

  • Compact layouts retain heat.
  • Use of insulating materials like wood or thick stone.
  • Fireplaces and central hearths provide warmth.

Rainy Climates:

  • Sloped roofs to drain rainwater quickly.
  • Raised plinths to protect from flooding.

Modern Relevance of Vernacular Architecture

  1. Sustainability:
    • With growing concerns over environmental degradation, vernacular practices offer insights into eco-friendly construction.
    • The use of local materials reduces transportation emissions and costs.
  2. Resilience:
    • Many vernacular techniques are inherently disaster-resistant, such as earthquake-proof Bhunga houses or flood-adaptive stilted homes.
  3. Cultural Preservation:
    • Reviving vernacular architecture helps preserve intangible heritage and traditional craftsmanship.
  4. Affordable Housing:
    • Cost-effective construction methods make it suitable for low-income housing projects.

Challenges in Practicing Vernacular Architecture Today

  1. Urbanization:
    • Rapid urban growth often sidelines traditional practices in favor of modern construction methods.
  2. Loss of Traditional Knowledge:
    • The decline in skilled artisans and transmission of traditional techniques poses a significant challenge.
  3. Perception Issues:
    • Vernacular architecture is sometimes viewed as outdated or unsuitable for contemporary lifestyles.
  4. Material Scarcity:
    • Depletion of local resources, like timber and clay, affects the viability of traditional practices.

Future of Vernacular Architecture

Vernacular architecture is seeing a resurgence, especially in sustainable design movements. Architects and planners are integrating traditional principles with modern technologies to create hybrid designs that meet contemporary needs while respecting the environment. Some notable examples include:

  • Earthship Biotecture: Combines vernacular earth-building techniques with renewable energy systems.
  • Green Roofs and Walls: Inspired by traditional vegetative insulation techniques.

Conclusion

Vernacular architecture is more than just a building style—it is a testament to humanity’s ability to harmonize with nature while meeting functional and cultural needs. As the world grapples with climate change and resource scarcity, revisiting these age-old practices can guide us toward sustainable and resilient built environments. Integrating vernacular principles with modern design approaches will not only preserve this invaluable heritage but also provide innovative solutions for a sustainable future.

Scope for Bachelor of Architecture (B.Arch) Course

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The Bachelor of Architecture (B.Arch) is a professional undergraduate degree designed for individuals passionate about planning, designing, and constructing buildings and other physical structures. With the rapid pace of urbanization, technological advancements, and a growing focus on sustainable development, the demand for skilled architects has grown exponentially. This article explores the scope, opportunities, and career prospects for students pursuing a B.Arch course.

1. Overview of the B.Arch Course

The B.Arch program is a five-year degree course blending theoretical knowledge with practical skills in architecture. It covers diverse topics, including:

  • Architectural Design and Principles
  • Building Materials and Construction Techniques
  • Urban Planning and Landscape Architecture
  • Sustainable and Green Architecture
  • Computer-Aided Design (CAD) and Building Information Modeling (BIM)

This holistic approach equips students with the skills to design aesthetically pleasing, functional, and sustainable structures.

2. Career Opportunities After B.Arch

A degree in architecture opens up diverse career opportunities in various domains. Here are some of the prominent career paths:

a. Professional Practice

Graduates can become licensed architects by registering with professional bodies like the Council of Architecture (COA) in India. This allows them to design residential, commercial, or public buildings and work as independent consultants or join architectural firms.

b. Urban Planner

Urban planning involves designing and developing efficient, sustainable cities. Architects with a focus on urban design can work with government bodies, private organizations, or international agencies to address challenges in urbanization and infrastructure.

c. Landscape Architect

Specializing in landscape architecture enables graduates to design outdoor spaces such as parks, gardens, and recreational areas that harmonize with the natural environment.

d. Sustainable Design Specialist

With the growing emphasis on green buildings and energy-efficient designs, architects specializing in sustainability are in high demand to create eco-friendly structures.

e. Academics and Research

Those with a passion for teaching can pursue advanced studies (M.Arch or Ph.D.) and contribute to architectural education and research.

f. Interior Designer

Architects with a flair for interiors can transition into designing functional and aesthetic interior spaces for homes, offices, and public spaces.

g. Real Estate Development

Graduates can work as project managers or consultants in real estate firms, overseeing the design and execution of large-scale residential and commercial projects.

3. Emerging Trends in Architecture

a. Smart Cities and Infrastructure Development

The global push towards smart cities has created significant opportunities for architects to design intelligent, technology-driven urban spaces.

b. Sustainable Architecture

The need for energy-efficient and environmentally friendly designs has led to a surge in demand for architects skilled in sustainable practices and materials.

c. Digital Architecture

Architects are leveraging advanced tools like virtual reality (VR), augmented reality (AR), and AI-driven design software to revolutionize how buildings are conceptualized and built.

d. Heritage Conservation

Preserving cultural and historical sites is a growing field that requires architects to balance restoration with modern requirements.

4. Skills Required for Success

To excel in the field of architecture, students should develop the following skills:

  • Creative Thinking: Essential for innovative and aesthetic designs.
  • Technical Proficiency: Knowledge of CAD, BIM, and structural analysis tools.
  • Problem-Solving Abilities: Addressing client needs and environmental challenges.
  • Project Management: Overseeing budgets, timelines, and resources.
  • Communication Skills: Collaborating with clients, engineers, and contractors.

5. Job Market and Salary Prospects

The architecture field offers lucrative salary packages, which vary depending on experience, location, and specialization:

  • Entry-Level: ₹3–6 lakhs per annum in India or $40,000–$60,000 globally.
  • Mid-Level: ₹6–12 lakhs per annum or $60,000–$90,000 globally.
  • Senior-Level: ₹12–25 lakhs per annum or $90,000–$150,000 globally. Experienced architects and those working in niche fields like sustainable design or urban planning often command higher salaries.

6. Future Prospects

The B.Arch course offers a promising future due to:

  • Increasing urbanization and the demand for infrastructure development.
  • Growing awareness of climate change, driving the need for sustainable architecture.
  • Expanding real estate and construction industries worldwide.
  • Government initiatives like the Smart Cities Mission in India and global green building movements.

7. Higher Education and Specialization

After completing a B.Arch degree, graduates can pursue advanced studies to specialize in areas such as:

  • Master of Architecture (M.Arch) in Urban Design, Landscape Architecture, or Interior Design.
  • Certifications in sustainable design or advanced software like BIM.
  • Ph.D. programs for academic and research careers.

8. Challenges in the Field

While the scope of architecture is vast, it comes with challenges:

  • Meeting client expectations while adhering to budget constraints.
  • Keeping up with evolving technologies and building regulations.
  • Balancing aesthetics with functionality and sustainability.
  • Handling competition in a saturated market.

9. Conclusion

The B.Arch course is a gateway to a fulfilling career for those with a passion for creativity, design, and problem-solving. With growing urbanization and the focus on sustainable development, architects are increasingly playing a pivotal role in shaping the future of our built environment. The wide-ranging opportunities in professional practice, research, and academia make B.Arch a highly rewarding career choice.

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NICDC and CEPT University hold workshop on sustainable design for administrative buildings in India’s new greenfield industrial Smart Cities

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The National Industrial Corridor Development Corporation Limited (NICDC), under the administrative control of the Department for Promotion of Industry and Internal Trade (DPIIT), Ministry of Commerce and Industry, Government of India, in collaboration with the CEPT Advisory Foundation (CAF) of  the Centre for Environmental Planning and Technology (CEPT) University, organised a workshop to discuss the sustainable design of administrative buildings for 12 new greenfield industrial smart cities recently approved by the Government of India. This first-of-its-kind workshop, held on October 24, 2024, at the CEPT University campus in Ahmedabad, Gujarat, focused on highlighting sustainable design concepts such as biophilic architecture, integrated and inclusive planning, energy efficiency, and climatic bio-massing.

It has been envisioned that administrative buildings in these futuristic smart cities will embody these advanced principles to create uniquely designed structures that contribute to eco-friendly urban landscapes.The workshop was held to inspire Special Purpose Vehicles (SPVs) and state officials to participate in discussions on emerging technologies and sustainable practices on both national and global levels.

Participants engaged in two detailed sessions during the workshop. In the initial session, the emphasis was placed on the value of good design and its role in creating appealing, functional workspaces. Distinguished architects demonstrated exemplary projects to showcase the advantages of innovative designs, while open discussions were held on the latest design trends and implementation challenges. This session was led by renowned professionals, including Ms. Aparna Khemani from Gensler, Mr. Bedanta Saikia from Edifice, and Mr. Ambrish Arora from Studio Lotus.

In the second part of the workshop, the CAF team outlined a robust and transparent process for procuring architectural services. This presentation emphasized the importance of balancing quality and cost in commissioning competent designers through a reliable and thorough process. This session was facilitated by Mr. Prasad Jasti from Jacobs and Mr. Avanish Pendarkar, Center Head, CEPT Urban Planning and Design Foundation – CoE.

CEO and MD, NICDC, Shri Rajat Kumar Saini, IAS, stressed the significance of developing unique, iconic administrative buildings in the industrial smart cities being established under the National Industrial Corridor Development Programme. The aim of these industrial corridors is to create dynamic zones that stimulate industrial growth, improve logistics, and foster eco-friendly environments. Shri Saini expressed the NICDC’s vision of collaborating with CEPT University and CAF to develop resilient cities equipped to meet the needs of future generations.

CAF Director, Mr. Darshan Parikh, highlighted the importance of this collaboration with NICDC and SPVs, emphasising that CAF is committed to supporting NICDC in realising the vision of iconic buildings across designated locations. Mr. Parikh added, “Together, we aim to work collaboratively to bring the best design competencies for the development of these iconic administrative buildings”.

The workshop concluded with state officials gaining a deeper understanding of the nuances involved in designing and planning context-specific, innovative administrative buildings. This initiative represents a step toward the goal of Viksit Bharat,  showcasing the pivotal role that architecture, culture, design, planning, technology, research play in building a robust and sustainable future.

NICDC, formerly known as the Delhi Mumbai Industrial Corridor Development Corporation, is responsible for developing greenfield industrial smart cities with manufacturing as the primary economic driver, as part of the National Industrial Corridor Development Programme.

CEPT Advisory Foundation (CAF) is a section 8 (non-profit) company that focuses on advisory projects, constituted in November 2023. CAF offers services across nine thematic centres, including urban planning, transport, infrastructure, and water supply and sanitation. Its portfolio includes over 200 projects, ranging from development and strategic plans to feasibility studies and development control regulations.

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Top Architectural buildings and their designers:

Here’s a list of top architecture buildings and their designers:
1. Burj Khalifa (Dubai) – Skidmore, Owings & Merrill (SOM)
2. Guggenheim Museum (Bilbao) – Frank Gehry
3. Sydney Opera House (Sydney) – Jørn Utzon
4. Taj Mahal (Agra) – Ustad Ahmad Lahori
5. Fallingwater (Pennsylvania) – Frank Lloyd Wright
6. Eiffel Tower (Paris) – Gustave Eiffel
7. Colosseum (Rome) – Vespasian and Titus
8. Louvre Pyramid (Paris) – I.M. Pei
9. Empire State Building (New York) – Shreve, Lamb & Harmon
10. Casa Batlló (Barcelona) – Antoni Gaudí
11. Chrysler Building (New York) – William Van Alen
12. Golden Gate Bridge (San Francisco) – Joseph Strauss and Irving Morrow
13. St. Peter’s Basilica (Vatican City) – Donato Bramante, Michelangelo, and Carlo Maderno
14. The White House (Washington D.C.) – James Hoban
15. The Gherkin (London) – Norman Foster
Please note that some buildings have multiple architects involved, but I’ve only listed the most prominent one. Let me know if you’d like me to expand the list!

India Art Architecture Design Biennale

 Ministry of Culture organized the curtain raiser event for the India Art Architecture Design Biennale (IAADB ‘23) last evening at the National Gallery of Modern Art, Delhi along with the Logo launch for the Biennale.

In a video message, Shri. G Kishan Reddy, the Union Minister for Culture, Tourism, and DONER, announced that the Ministry of Culture is hosting its inaugural India Art Architecture Design Biennale in December 2023, with events scheduled in Delhi, Mumbai and Bengaluru. He extended his best wishes for the Biennale’s success.

Minister of State for External Affairs and Culture Smt. Meenakashi Lekhi delivered the key note address for the event. She stated that, “the India Art Architecture Biennale promises to stand as a beacon in India’s vibrant festival tapestry aiming to showcase the nation’s architectural and artistic brilliance on the global stage. This Biennale mirrors the grandeurs of International counterparts and promises not just inspiration but also pure enchantment. The Biennale will initiate dialogues, innovation & collaboration by bringing together grassroot artisans and contemporary designers thereby furthering the creative economy”.

Smt. Mugdha Sinha, the Joint Secretary, provided an overview of the upcoming Biennale in her opening remarks. She revealed that the Biennale is scheduled to take place from 9th to 15th December 2023, at the iconic Red Fort. The event will explore various themes through exhibitions and panel discussions, with each day centred around a specific theme, curated by experts in the field. The themes encompass topics such as doors and gateways, enchanting gardens, awe-inspiring stepwells, majestic temple architecture, modern wonders of independent India, the contemporary face of indigenous design, and the role of women in architecture.

Additionally, it was mentioned that the India Art Architecture Design Biennale 2023 will serve as a precursor to India’s participation in the Venice Biennale 2024, fostering a comprehensive dialogue among practitioners and professionals in the realms of art, architecture, and design. The Biennale aims to bring traditional grassroots artists and contemporary designers, curators, architects, and thought leaders to the forefront, transcending age, gender, and genre boundaries. Furthermore, it was noted that the Biennale aligns with the vision of the Prime Minister and will mark the launch of the Development of Cultural Spaces project at the Red Fort.

 

The event witnessed a significant turnout with diplomats, artists, architects, designers, curators, government officials, gallerists, and museum professionals in attendance. The evening was enhanced by the captivating performance of the jazz quartet ‘Capital Three’.

For the latest information and updates, please follow the official Instagram page of the India Art, Architecture and Design Biennale at @iaadb2023.

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The Evergreen Mughal Architecture

Mughal architecture, is a characteristic Indo-Islamic-Persian building style that flourished in Northern and Central India under the patronage of the Mughal emperors from the mid-16th to the late 17th century. This new style combined elements of Islamic art and architecture, which had been introduced to India during the Delhi Sultanate (1192–1398) and had produced great monuments such as the Qutb Minar, with features of Persian art and architecture. Mughal monuments are found chiefly in the northern parts of India, but there are also many remains in Pakistan. The Mughal period marked a striking revival of Islamic architecture in northern India. Under the patronage of the Mughal emperors, Persian, Indian, and various provincial styles were fused to produce works of unusual quality and refinement.

The tomb of the emperor Humayun (1564) at Delhi inaugurated the new style, though it shows strong Persian influences. The tomb was designed by a Persian architect Mirak Mirza Ghiyas. Set in a garden at Delhi, it has an intricate ground plan with central octagonal chambers, joined by an archway with an elegant facade and surmounted by cupolas, kiosks, and pinnacles. 

The first great period of building activity occurred under the emperor Akbar (reigned 1556–1605) at Agra and at the new capital city of Fatehpur Sikri, which was founded in 1569. The latter city’s Great Mosque (1571; Jami Masjid), with its monumental Victory Gate (Buland Darzawa), is one of the finest mosques of the Mughal period. The great fort at Agra (1565–1574) and the tomb of Akbar at Sikandra, near Agra, are other notable structures dating from his reign. Most of these early Mughal buildings use arches only sparingly, relying instead on post-and-lintel construction. They are built of red sandstone or white marble.

Mughal architecture reached its peak during the reign of the emperor Shah Jahan (1628–1658), its crowning achievement being the magnificent Taj Mahal. This period is marked by a fresh emergence in India of Persian features that had been seen earlier in the tomb of Humayun. The use of the double dome, a recessed archway inside a rectangular fronton, and parklike surroundings are all typical of the Shah Jahan period. Symmetry and balance between the parts of a building were always stressed, while the delicacy of detail in Shah Jahan decorative work has seldom been surpassed. White marble was a favored building material as is evidenced with the Wonder of the World. After the Taj Mahal, the second major undertaking of Shah Jahan’s reign was the palace-fortress at Delhi, begun in 1638. Among its notable buildings are the red-sandstone-pillared Diwan-I-Am (“Hall of Public Audience”) and the so-called Diwan-I-Khas (“Hall of Private Audience”), which housed the famous Peacock Throne. He established Delhi as his capital (1638) and built there the famous Red Fort (1639) which contained the imperial Mughal palace.

The architectural monuments of Shah Jahan’s successor, Aurangzeb (reigned 1658–1707), were not as numerous, though some notable mosques, including the Badshahi mosque in Lahore, were built before the beginning of the 18th century. Subsequent works moved away from the balance and coherence characteristic of mature Mughal architecture. In general, however, Mughal architecture had begun to decline during his reign, a process that would accelerate after his death. “Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.” The Mughal architecture truly was a revolutionary blend of different cultures and till the present day. Some of the buildings constructed under the reign of the emperor’s are some of the most famous and well known and continue to inspire and attract millions towards its timeless design.

FLOATING NEIGHBORHOODS OF AMSTERDAM: A STEP TO COMBAT SEA LEVEL RISE

“Floating Neighborhood” is a water-based solution for the problem for Holland’s housing needs. This neighborhood floats, freezes, tilts on the water of Lake Eimer. The goal is to “make a circular, resilient, floating neighborhood”. The floating houses have similar architecture to that of the land homes and each house is connected to the floor of Lake Eimer. The building elements of the houses are: wood, plastic and glass. The architecture of the neighborhood is based on water environment and each house have individual water jetties for getting connected with land. Running below the jetties, cables and pipes generate gas, electricity, water, cable, and provide a sewage drainage system for each floating home. The community of the water dwellers have the facility where when one resident is short on electrical power, another neighbor can offer some of theirs if they’ve got any leftover current. The Municipal Authority along with other innovators, planners and architects developed a draft for sustainability master plan for the floating development with maximum priority on sustainability.

Floating House

The main aim of “Floating Neighborhood” is to build sustainable neighborhood capable of addressing the challenges of an aquatic environment and harness the unique synergies it offers to residents. The neighborhood has adopted many approaches for solving environmental issues and rising sea level.

Adopted Approaches:

Sustainability of Floating Neighborhoods
  • Sustainable Solutions: The neighborhood relies on carbon intensive gas heating, well-insulated homes and passive solar heating through designs which make maximum utilization of natural sunlight, along with pumps which harvest warmth from the canal water even in winter. Solar boilers provide hot water, and water-recycling showers are equipped with technologies that recover heat that would otherwise go down the drain.
  • Harvesting waste water: The wastewater is transported to a nearby floating biorefinery which recovers nutrients and energy from the organic waste streams. Houses have vacuum toilets which are linked with decentralized sanitation facility and use anaerobic digester for producing energy using biogas, phosphorous and nitrates.
  • Usage of Sustainable Building Materials: The neighborhood uses sustainable building materials only which are light in weight and buoyant (bamboo is mostly preferred). The neighborhood has a community center which serves as a hub of neighborhood wide sustainability initiatives.
  • Smart Microgrid on Water: With the help of smart microgrid system on water, the residents have special permission that provides them the ownership of their own grid as well as energy sourcing and billing. Each house as installed large solar PV array and heat which with battery storage systems. The households have connections with energy management system which intelligently coordinates supply and demand of power within the community and allows the residents to trade energy with each other.
  • Replicable Blueprint for Green Building: The homes have green roofs where the residents can grow foods and plants. They can also collect rainwater and use it for different purposes. The rainwater can also be used for flushing the ultra-efficient toilets. The homes have solar hot water collector which connects to fixtures like recirculating shower, which cleans water in a water loop and saves both water and energy.
Floating House of Amsterdam

Why Skyscrapers are not that great.

The story of early skyscrapers begins in the late 19th and early 20th century America. Between 1884 and 1945 numerous skyscrapers were built American cities of New York City and Chicago. The two cities competed with each other with many subsequent constructions surpassing the earlier one. The growth of the skyscrapers in the 20th century American cities were mainly fueled by dynamic economic growth as the demand for various new office spaces to hold America’s expanding workforce of white-collar employees continued to grow. With better engineering and construction methods it became easier to construct taller buildings.    

Flatiron Building in New York City finished its construction in June 1902. The 22 floors building was one of the first tallest skyscrapers and later in the subsequent decades even taller buildings were constructed.

But the developments of modern skyscrapers have many challenges and questions that need to be cleared. Though the growth of skyscrapers has not subsided, they are not the most ideal form of buildings. According to engineer Tim Snelson, of the design consultancy, a typical skyscraper will have at least double the carbon footprint of a 10-story building of the same floor area. This tells us that skyscrapers are not environmentally sustainable. Also, any additional methods to minimize the environmental impact will require overcoming the fight of the handicap of being a tall skyscraper in the first place. As the majority of the building is made with glass and steel frame, high-rise buildings are subject to the consequence of the substantial amount of sunlight and a lot of wind on their mostly glass skins. Glass is inherently inefficient in keeping excessive heat out of the buildings in summer or keep heat trapped in the colder months. This also leads to the reliance on continuous Air Conditioning.

The modern construction of skyscrapers in the cities of today is no longer driven purely by economic growth or the need for commercial office space, but instead, it is more driven by glamorous architecture construction and many times the dirty money gets funneled into the construction of Skyscrapers.  High rises also separate people from the street and people lose a connection to nature and the outdoors. The occupants in the tall buildings are often isolated from the street of the city and meaningful contact with ground-level events is often disconnected with taller buildings.  

High-rise buildings also lead to gentrification and inequality. It is no surprise that taller buildings often tend to be luxury units as the higher a building rises, it becomes more expensive to construct. This means that high rises also inflate the prices of the adjacent lands and driving out the affordable properties, thus increasing the inequality. The areas near the skyscrapers are often dark and swept under the shadow of these tall buildings.

Contrary to the popular notion, skyscrapers are not the only way to build high-density construction. The mid-rise buildings are often more able to house more amount of people per area compared to the high rises. Mid rises are also more flexible to affordable.  The mid-rises can work as a good middle ground between the taller buildings and low-density buildings. Instead of blindly building taller buildings we will have to look at the construction of our future buildings that are more sustainable, affordable, and efficient.

References:

Universal Design

Universal design is the approach of designing products and environment so that it can be used by broad number people irrespective of age, disability, ability, status in life and various other factors.

Usually, products are designed to be suitable for average users whereas products designed under the principle of universal design try to be suitable for the maximum number of users. The purpose of universal design is not to create a design that can work for 100 percent of the people because it is almost impossible to have a ‘One size fits all’ design. The purpose is to create a design that can serve solutions that are more inclusive. Designers have to look at those designs that push the boundaries as far out as possible without compromising the quality and integrity of the product.

There are many instances where a designer will have to choose between different designs and determine the more suitable design according to UD principles. For instance, if there is a choice to choose between a lever-design handle and a knob-design handle. It is preferable to choose the former rather than the latter as the lever design can accommodate more people’s daily usage. The lever design feature will be a more inclusive element compared to the latter. It can accommodate various usages like opening the door with closed fists or the elbow or so that a person can easily access the door while carrying something as well as people with finite strength.

There are briefly 7 Principles of Universal Design. These were developed in 1997 by a team of architects, designers, engineers, and environmental design researchers.  The team was led by the late Ronald Mace who was an internationally recognized American Architect and designer in North Carolina State University.

The seven principles are:

  • Equitable use

While designing, the product should be kept in mind that it should be accessible by every person including disabled people.  

  • Flexibility in use

The design needs to be configurable to accommodate everyone’s preferences, needs, and abilities.

  • Simple and intuitive

This means that the design should be easy to understand for everybody. The person can easily figure out a well-designed product or an environment without thinking too much about it.

  • Perceptible information

The design can communicate all of its necessary information to everybody irrespective of the environmental conditions or the user’s sensory abilities.

  • Tolerance for error

It refers to safety so that the design minimizes hazards, accidents or unintended actions.

  • Low physical effort

The design in use needs to be comfortable and efficient rather than being exhausting and fatiguing to use.

  • Size and space for approach and use

The design irrespective of user’s body size, posture, or mobility should not restrict anybody by its size or space.

Universal design can really make the lives of people much more comfortable, safer, and efficient in the long run. There are still many areas that are not designed well and poorly designed products, buildings or the environment can be a safety hazard as well. It is usually the job of a universal designer to design new products from the ground up and many also renovate existing designs to make them more accommodative and accessible.

References:

http://universaldesign.ie/What-is-Universal-Design/The-7-Principles/

https://www.washington.edu/doit/what-universal-design-0

Roman Architecture

Roman architecture has always been admired for its strong and colossal structure. Throne’s power and the ordinary lives of its citizens have greatly inspired the majestic architecture. The grand temples and buildings demonstrate the perpetual influence of gods over the people. Architecture has widely contributed to the European art and culture. It has been observed that the architecture Romans were influenced was from Greek’s art. The designs on Roman buildings were relatively similar to Greeks architectural designs. Though, the architecture was identical, Romans preferred Corinthian Order. Another characteristic feature that set its architecture apart was its continuous urge of perfecting concrete buildings in all of its monumental creations with modern arches and domes as a modern touch.

Roman Colosseum is the largest and most famous amphitheater of Rome. Its construction began in 72 AD under Emperor Vespasian and finished in 80 AD under his son Titus. It was built with materials like travertine limestone, tuff, wood, concrete. This colosseum has a seating capacity of 50,000 and more. Gladiatorial competitions, battles, executions, roman mythology dramas were conducted for entertainment purposes. Compared to other amphitheaters, Colosseum was built in the heart of the city. However, the interior of Colosseum was profoundly destroyed by fires and earthquakes. Even though, the structural standing of the monument is still sound, the pollution and general destruction has deteriorated the inner part of the structure.

Pantheon is a Roman temple built during 113 to 125 AD. It has dome structure with traditional porch. It served as a Roman Catholic Church. This monument stands on brick arches and hidden wall niches. The temple’s structure has survived because of its well-engineered walls and domes. The interior is refined with polished marble that shines when sunlight penetrates through the ceiling, which is called the Oculus, also known as ‘great eye. Being unique in all of Romans architectural creations, its interior and exterior classical designs have been adapted by architects.

Arch of Constantine was built in honor of Constantine’s triumph over Maxentius at the Battle of Milivian Bridge in 312 AD. Arch of Constantine is a glorious celebration of political power and leadership. It is well-known for geometric details and massive stone work. Lower part is covered with marble blocks and extraordinary marble brickwork. It is 20 meters high, 25 meters wide and 7 meters deep. In the main archway, victory figure occupy spandrels and river gods are depicted over the arches.  Emperor Marcus Aurelius’s life was carved on the arches which was remodeled to resemble Constantine I. It signifies Constantine’s changing religious affirmations.

Arch of Titus was built in 81 AD by Emperor Domitian that commemorates Titus’s and his father’s victor over Jewish rebellion in Judea. It measures 15.4 meters in height. The upper left and right of arches contains a winged woman that personifies victory. Temple of Jerusalem is partially depicted on south inner panels. North inner pane portrays Titus as the Triumphator, where there is an Amazonian wearing a helmet leading four horses carries Titus. The inscriptions on the horse were mainly written in gold or silver.

Roman architecture signifies beauty of triumph and rich culture. Roman culture has splendidly attracted people to experience the foundation of Roman history with astounding work of art that continues to inspire today’s architects.

Sagrada de Familia: The controversial church

We humans always have an impeccable liking for controversies. They give us something to put the gray cells of our brain to work. Let’s exercise them today by taking a look into the world’s tallest church(basilica), Sagrada de Familia, constructed by the famous architect Antoni Gaudi(1852-1926). The God’s architect, started the construction of Sagrada de Familia in the year 1882. Be prepared for this statement. The basilica is still under construction and will not be completed until 2026! That’s a whooping 135 years of construction! If it is a famous church, which can be funded abundantly, why is it still under construction after over a century?

Sagrada de Familia and its private funding

The construction of the basilica has been carried out with the help of private funding and donations and is not funded by any government or church. Now you may ask why a church has shortage of funds. The answer to this is the beginning of the controversy. Before divulging into it, it is important to note that it isn’t a church, but rather a basilica. It was originally designated as a cathedral but then in 2010, Pope Benedict XVI declared it a basilica. What’s the difference between a basilica and a church?

Antoni Gaudi drew inspiration from nature

Before answering the question of why it is considered controversial, let me give you a brief tour of the basilica. The basilica is to have eighteen spires out of which only eight has been constructed as of now. These spires symbolize the Twelve Apostles, Virgin Mary, Four Evangelists, and Jesus Christ. They also differ in their heights accordingly to denote the hierarchy, with Jesus Christ’s spire the tallest of all at an astounding 560 feet.

Antoni Gaudi was an admirer of nature. He often finds inspiration for his works from mother nature herself.

The great book, always open and which we should make an effort to read, is that of Nature.

-Antoni Gaudi

This can be reflected in his basilica too. To showcase it to you, let me show you a staircase inside the Sagrada Familia. You will notice that the staircase spirals, not ordinarily, but rather ‘scientifically’. The spirals represent the famous Fibonacci spiral. The Fibonacci spiral is a logarithmic spiral whose growth factor is φ, the golden ratio 1.69, which is the ratio which is found almost everywhere. In flowers, sea shells and even the human body. You may now understand Gaudi’s love for nature.

Spiral Staircase
Spiral staircase(Left), a sea shell on the right.

Also, the basilica incorporates curved lines rather than straight ones. This can be observed in the pillars of the basilica, curved and giving the illusion of many trees huddled together to form a forest. According to Gaudi, nature did not give us straight lines. So it is to do justice to nature by incorporating curved lines in his temple.

The straight line belongs to men. The curved one to God.

-Antoni Gaudi

Not only in this basilica, Gaudi’s work reflects nature in many of his other art works and buildings.

Ceiling of Sagrada Familia
Ceiling of Sagrada Familia, resembling trees in a forest

Freemasonist?

magic square
The magic square in the passion façade.

His fascination for nature is co-walked by his fascination for something strange too. Interesting right? Next to the passion façade, near his tomb(yes, Gaudi is buried inside the basilica)there lies a 4×4 magic square with 15 numbers inscribed on it. Even bizarre. These numbers are positioned in such a way that when you add the numbers horizontally, vertically or diagonally, they add up to the number 33!

Now, 33 is not any number. There is symbology in play here. 33 is said to be the highest rank that a freemasonist can go. There exists a controversy that Gaudi was a masonist and that he achieved the 33rd rank. But 33 maybe a coincidence, you may think. But note that his other work Parque Guëll, has staircase whose steps sum to 33 too. Now this is far too real to be ignored as a mere coincidence. One more thing, Gaudi’s friend Eduard was a freemasonist and his patron Guëll was also a freemasonist. These facts make it difficult to ignore ’33’.

Addressing the elephant of the room

So what does all this have to do with the controversy. Gaudi’s nature inspired works were frowned upon during his days. The basilica had undergone many attacks, also a reason for its delayed construction. George Owens, in his novel Homage to Catalonia, wrote:

I went to have a look at the cathedral—a modern cathedral and one of the most hideous buildings in the world. Unlike most of the churches in Barcelona it was not damaged during the revolution—it was spared because of its ‘artistic value,’ people said. I think the Anarchists showed bad taste in not blowing it up when they had the chance.

Alongside this, there was the freemasonist theory. Christianism and freemasonry were not exactly the friendly combo. In 1983, the Church issued a new code of canon law, which stated: ‘A person who joins an association which plots against the Church is to be punished with a just penalty; one who promotes or takes office in such an association is to be punished with an interdict‘.

Such was the heat between these two groups. And having said that Gaudi may have been a masonist, poses no doubt in churches denying funding to Sagrada de Familia. Even though it is addressed a basilica, by now you can be sure that it isn’t seen as one by many Catholics. This can be contradicting and confusing. Like an oxymoron, propagating absolutely different ideas: Science and Religion. These two have always been like oil and water. No matter how hard you try to mix, they will stand separated.

Thus, I leave you all with questions lingering in your minds. May your quest begin!

Note: More information regarding the intertwining of science and religion symbolism can be read in the book ‘Origin’ by Dan Brown. Meanwhile, you can check another article which revolves around the ideas of the book here.

 

 

 

 

Mysteries of Indian Architecture

Ajanta caves

Ancient Ajanta caves

Carved over a period of several centuries, the mystery of Ajanta Caves might never have been uncovered had it not been for a chance pursuit of a tiger by the British Officer John Smith in the year 1819! As old as 200 BCE, the caves are located in Aurangabad district of Maharashtra. Over the multitude of years they fell into disuse and a forest grew over and around them. Carved over many many years by different artisans, they are believed to have been made a refuge for the Buddhist monks during the rains. Some go as far as to say that they were pathways to heaven.

With numerous carvings that describe the life and times of the eras, they are like a window that one can peek through into the glorious past of India. The caves run for a mind numbing length of 29 rock cut caves, all of which have both female and male representation, which is a rare sight! Examples of immense scientific calculations are evident too, as the sun lights up cave 19 on the winter solstice and cave 26 on the Summer solstice in a precision that has persisted over the years!

The monument to love that inspired the Taj Mahal-The Humayun Tomb

The Humayun’s Tomb

Pick up any form of literature and you will notice that ‘Taj Mahal’ has forever been cited as the all enduring monument of the love of a king for a queen. But, there was one tomb before that, that a grieving widow built for the love and devotion that she felt towards her husband; The Humayun Tomb. The pioneering example of Mughal architecture, its glorious combination of Persian and Indian architecture forms was to set a prelude to an era that was to be embellished by the grandeur of Mughal architecture. Bega Begum, spent her entire life overseeing the construction and design of this tomb that was commissioned to the great Persian architect Mirak Mirza Ghiyas.

One of its kind architecture, this garden tomb houses the graves of over 150 members of the Mughal family. The UNESCO cites it’s reasons for considering it as one of the greatest examples of architecture by saying, “This building tradition culminated in the Taj Mahal, constructed a century later. Despite being the first standardized example of this style, Humayun’s Tomb is an architectural achievement of the highest order.”

Konark Sun Temple

An ode to Sun God, where even stones speak up in prayer- Konark Temple

No text of architecture in India is complete without the mention of Sun Temple at Konark, the namesake of the city itself is an elegy to the Sun God, Kona (Corner) and Arka (Sun). On the sparkling coasts of Bay of Bengal rests this edifice that commemorates the work of the masters of ancient times. The temple has an elaborate and intricate mammoth structure that depicts the chariot of the Sun God replete with 24 carved wheels, each of them 3 m in diameter, pulled by seven horses and guarded by two lions at the entrance that bravely crush elephants.

An example of beautiful melee of science, architecture and devotions the sun dials on the temple can calculate time to the exact minute even to this day! There are also three statues of the sun god that catch the rays of the sun precisely at dawn, noon and sunset! Rabindranath Tagore has famously said about the temple “Here the language of stone surpasses the language of man.” The temple beckons to question the monotonous styles of architecture that India has regressed itself to!

A eulogy to undying love set in white marble- The Taj Mahal

Taj Mahal

Ask anyone, any man or woman about the icon they associate with India, and their answers would most likely allude to the Taj Mahal. Built by the Mughal Emperor Shah Jahan, it is one of the most grandiose gestures of love to ever be materialized on the face of earth. As famously said by the greatest poet, Rabindranath Tagore, “The Taj Mahal rises above the banks of the river like a solitary tear suspended on the cheek of time.” Inspite of the multitude of tourists that visit it, the declarations of love that it has witnessed and countless examples that it has set, there is a sense of melancholy as one approaches the monument, a sense of pain of a lover separated from his wife by death.

The Taj Mahal was built in 1653 AD by over twenty thousand artisans who toiled over 22 years! The white marble was bought in from Makrana in Rajasthan and was transported by elephants. In its days of glory the Taj Mahal was adorned with no less than 28 types of precious stones, brought in from as far as Tibet and Persia.  Like the moods of his lady love, the exterior of the Taj also changes colors from a pinkish hue in the dawn to a dull gold at noon and finally, all enduring sparkling white under the moonlight. Legends say that as the emperor lay imprisoned by his own son in the Agra Fort, he derived solace from gazing at the tomb of his beloved wife, at whose side he was finally laid to rest.

The integral land of three beliefs, The Ellora Caves

Ellora caves

The Ellora caves is a sculpture’s beautiful blended expression of three major Indian regions: Buddhism, Brahmanism and Jainism. There is something beautiful about this place that takes you to a journey in the past where all these religions born and grew together. The 34 monasteries and temples are carved and dug all together on the wall of a huge basalt cliff in Maharashtra. These splendors of art is a beautiful combination of, when art meets religion

The twelve caves of the Buddhist group speaks about the benevolence of this calm religion, Buddhism. The ‘Cavern of the Ten Avatars’ is a majestic art piece constructed under the reign of Krishna I. The ethnicity of Jain group is well reflected by the sanctuaries carved by the Digambra sect of this pure religion. These gems of art are the immortal legends of the vast rock-cut architecture in India. The elegance of Dravidian Sikhara, which is a flat roofed madapa positioned over sixteen pillar, the gigantic Ravana figure reflecting the strength of this villainous legend as the sculpture here shows him lifting Mt Kailasha is an epitome of the ancient Indian art.

Where the walls sing and sculptures dance, the Chola temples

Brihadisvara Temple

The beautiful Chola temples are living tales of the vast empire that Cholas established in Thanjavur. These magnificent temples built during the reign of Rajaraja were the epitome of the vast religious inclination of these rulers as the inscriptions and the chronicles on the wall sing about their opulent rule. This temple in the ancient time was note a mere religious center but a full functional business establishment which was served and maintained by a permanent staff of several hundred priests, 400 devadasi and 57 musicians.

Airavatesvara Temple At Darasuram

The temple was also used for lending money to ship-owners, craft guilds and villagers on a fixed interest rates. The entire temple carved in granite is believed to be inspired by the Pallava architecture. The beautifully adorned 108 poses of the Bharata- Natyam on the walls reflects the hours of torturous patience the sculptures went through. The beautiful series of carvings depicting the legend ruler Rajaraja conversing with his guru, Karuvir Devar is stunningly sculpted in rich colors which rewinds you to the beautiful ancient time of king and queens.

A rock cut sonnet to the great war of Mahabharata, Mahabalipuram

Shore temple Mahabalipuram

It is a widely accepted belief that the great war fought between the Kauravas and the Pandavas, at Kurukshetra, is instrumental in shaping the history and geography of the Indian subcontinent as we know today. The temples of Mahabalipuram demonstrate exactly that, in the rock cut carvings of the great temple architectures, one can clearly see the scenes from the great epic.

The architecture demonstrates a clear allusion to the sectarianism that had started during the period as different areas were assigned to different Gods. The travels of Marco Polo also describe the Seven Pagodas of Mahabalipuram that belonged to the original structure built in the time when the city was a thriving merchant port. Out of these seven only one has survived in the form of a beautiful shore temple!

Sunset reflection of shore temple

The architect represents neither a Dionysian nor an Apollinian condition: here it is the mighty act of will, the will which moves mountains, the intoxication of the strong will, which demands artistic expression. The most powerful men have always inspired the architects; the architect has always been influenced by power.

– Friedrich Nietzsche

Architecture is a Living Tapestry

“And of everything We have created in pairs.”

-The Holy Quran [51:49]

“Glory to Allah, who created in pairs all things that the earth produces, as well as their own(human) kind and (other) things of which they have no knowledge.”

-The Holy Quran [36:36]



No element on the life sustaining earth exists without its complement. For example, the complement of zero is one; solids and voids; light and dark; if one did not exist, the other would lose its meaning.
This refers to both in terms of the one who sustains as well as the energies sustaining them. The balance among the elements of the entire universe is maintained through the various visible as well as invisible energies which in turn exist in pairs.
The energy could be classified as the ones within the human who sustain the energies of the earth and the other being the natural forces of the universe that aids the universal equilibrium which further keeps the physical and psychic activity in balance.
The harmony of the earth is controlled by the physical as well as the metaphysical energy forces of the cosmic energy. The energy takes part in influencing all the occurrences on the earth be it at architecturally large scale element like a city or a small scale architectural structure as a home. Both would be classified into the microcosmic level of the energy.

“Space is nothing, yet we have a kind of vague faith in it.”

-Robert Smithson



The existence of energy occurs in the place of nothingness. Voids hold the highest sources of energy. The architectural design is nothing but a technique of designing voids to show a flow of spaces making a way for the flow of energy among the various spatial arrangements. Most of the people in the Indian Society prefer Vastu Vidya to be incorporated while designing a space. The major reason being the energies that is considered to be flowing through the designed spaces and to create the balance between the concrete mass and the natural elements. Humans occupy the voids yet they fail to understand the meaning of the unseen energy forces that is felt through the experiences they encounter while inhabiting that particular personalized void that is the physical manifestation of the memories and imagination of their own. The metaphysical aspect of architecture lies within the fact that it influences the user experiences of their inhabited voids in the line of time. It connects the past to present and brings about a psychological and emotional connection.

An environology master, David Koh, stated, “When people built the house, the energy inside the house is static. Once the people live in, the energy inside the house is dynamic. People may affect the building, and the building may affect the people. And it’s not positive thinking that the people need, but it’s energy that makes people think positively.”
The energy flowing through the various spaces creates an imbalance due to the dynamism of the humans living in. This in turn, creates a flux within the dialects of energy within the physical, emotional and psychic connectivity of the people.
Architecture is a living tapestry and a constantly changing phenomena. The connection of the energy within the human body and outside, impacts not only buildings but other elements too that together builds the abstract and hypothetical whole.
The spatial fabrication of the concrete masses and the multiplicity of the same in diverse alignments as a whole builds the city fabric. A city is a spatial and temporal dimensions of architecture on a vast scale. The physicality that a city comprises is, districts, landmarks, streets, edges and nodes. The streets become the prominent defining thread of the city, connecting the different entities through its networks. They show a directional shift in motion of spaces with respect to different frames of reference exploring more than what is comprehended by the senses with the metaphysical lens to look behind the abstraction.

To represent the extraordinary within the ordinary, the light is put forth to a street in Kolkata, Topsia, recognized by the number ‘90’, has not yet been identified as one of the most alive streets of the city of joy yet they have the metaphysical fundamentalism. The street is particularly a connectivity to one of the Muslim populated locality of the place. The majority of the population living in the locality belongs to the middle class strata of society. They adapt themselves to the concept of ‘less is more’3 and seek the intangible aspects of the spaces that they use.
Considering the theories relating to the energy sources, streets becomes the most dynamic element that could be considered as the life of the whole city. They deal with more than the vehicular and pedestrian movement. The streets deal with the dialects of dynamics of metaphysical consequences.

Figure 1: Layout of Streets of Kolkata; source: author.

Within and outside the realms of architecture, streets pave the way at the microcosmic level for the energy distribution network similarly to the way it functions for the crowd and vehicular activity. The metaphysical lens from different frames of reference gives an opportunity to analyze the impact of the metaphysical link and how it is evoked with the crowd in context to the existing surrounding. Different users feel a variety of different emotions in consideration to one particular space.

Figure 2: The Street ‘90’ on 12th June, 2019; source: author.




A resident of the place when asked about her experiences with the place said, “We have been staying here for about 15-18 years now. It has an essence of familiarity and home. The existing buildings, the shopkeepers, the vendors, and when I say vendors I really mean it. They are accurate with their location of stalls and wouldn’t trade it with anyone. Ive seen a lot of changes in the place. The building in red and white was built after demolition of an old 3-storey building for commercial purpose yet the upper floors still remain untouched after being built for so many years. The chaos is the essence of this place and without it, this street will lose its essence and identity.”

Considering the quantitative aspect of the street, it is about ten meters in width, with two meters of it occupied by the street vendors. An analysis of the street was done in three different phases of the day. When the morning struck, the silence is disturbed only by the daily activities of parents dropping off their half-dozed children to schools either by private or public convenience, which here is the auto rickshaws, who typically place themselves along the edge of the building as shown in Figure 2. Slowly and gradually as the time transcends the vegetable and fruit vendors take the edge of the street as their potential business spot. The traffic becomes evident by the noon with children coming back from school, having there go at the Sharbet waalas. As soon as the sun goes down, the street has an overwhelming response by the users creating itself in a chaotic mess of disoriented vehicles and people trying to make way to get out. Simultaneously, the sequence of functioning of the streets inflects thrrough its natural course. The female crowd encircles the ‘puchka waale bhaiya’, drooling over the smell of the tamarind water. A few steps towards the east would bring us to a smellscape of a multi-cuisine food corner with a large hot plate with parathas being fried, a traditional clay barbeque for the kebabs being cooked upon the coals, another man assorting the shelves with momos, fried crispy chicken and another struggling with delivering the order to the respective customers superimposing each other tones in a competitive streak to get their order first. The edges of the streets are defined by the utilities of all kind such as a pharmacy, general stores, grocery shops, food kiosks and corners, markets within a radius of a hundred meters, a shopping complex built few years back, occupied only the ground floor of the building structure. A fruit vendor defined the street as, “It is a metaphor of how our life is, always moving and moving in the forward direction. Despite the chaos we love our life so do we love this place.”

Figure 3: The Feeling Mapping of the Street (red-chaos, green- rejuvenation, orange-action, blue-contentment); source: author

The rhythm of the basic functioning of the street is inflected during the festivities, such as the two Eids and Muharram. The zeal within the crowd becomes evident and the streets stop serving as a vehicular access instead it becomes a hub of utilities as shown in Figure 4.

Figure 4: The Street ‘90’ on 4th June, 2019 (On the Eve of Eid); source: author



In terms of architectural analysis, the flaws couldn’t remain unseen, but what the architects couldn’t see is the intrinsic experiences that the users have with the place. The elegance of the street is a culture of contentment and containment. It depicts the unification of the users belonging to all strata of the society interacting with each other whatever the purpose may be. The dynamics of the streets and the humans represent a whole of the community be it the rich or the poor. In a simple world, the whole of the world can be explored. The local architectural vocabulary of the streets shows motions and emotions of all colours. It depicts joy as well as sorrow. The chaos and the peace, all the comedies and tragedies. The energy drained is rejuvenated with the constant flow of energy on the street. The essence of the chaos in itself shows the intrinsic connection between the built and the unbuilt. The street evokes the intangible aspects of the userrs. The user activity is the result of the concentrated energy source at the micro cosmic level connecting humans with the space at a deeper level. Configuration of the whole of the city is determined by the streets that becomes the highest sources of energy flowing throughout.
The built is to exist what the unbuilt is to life. The boundaries defined by the concrete is a personalized space to exist in harmony, but to co-exist, an undefined yet the key that holds the city together. A street has a potential to turn itself into anything it wants. The street is an induced public space. The street has evolved through the line of time of urbanization inflecting the course of its motion. Due to the increasing number of concrete massing, the spatial contraction of the streets are taking place in localities like Topsia in Kolkata whereas due to the urbanization, the expansion of streets also take place with putting an end to the life of the city creating it in a block of monotony and regularity only used as an access not as a space for creating an interaction between the built and the unbuilt, the known and the unknown. Spatial expansion and contraction taking place to accommodate structures. Street is one part to the whole that encapsulates the built and the user.
People have a tendency to experience voids hence, they hold human sentiments. We are dehumanizing the streets by making it lose its existence by the loss of depiction of culture and tradition. It is a lost element with the thoughts drowned in hues of grey unaware of how to survive in the chaos. The task of an architect is to blend imagination with practicality by balancing ideas and reviving the true nature of the streets in context to human activities.

REFERENCES

1. The Holy Quran

2. Mustofa, 2011. According to Dr. R Tatang Santanu Adikara, the Head of Bioenergy Research Centre in Surabaya, human gets energy from two sources: inside the human body and outside the human body.

3. Metaphysical Approach for Design Functionality in Malay-Islamic Architecture, article in procedia-social and behavioral sciences-aug 2015

4. Mies Van der Rohe

5. Lynch, Kevin. Image of the City.