Livable Street Standards : Curb and Curb Ramps
05 December 2016 5:18 AM | No Comments
Livable street standards : Trashcans
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LIVABLE STREET STANDARDS : ON STREET PARKING
25 November 2016 11:42 AM | No Comments
Protected: Berlin Reccomended Reading List
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Livable street standards : Landscape and planting strip
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LIVABLE STREET STANDARDS : TREE GUARDS
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“URBAN TREES ARE KEY TO THE HEALTHY AND SMART CITIES”
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“Significance of STREET FURNITURE”
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- Angela Brady PPRIBA
Photo Blog : Leader Study Program : London 2014
- Jigar Pankhania
“Reimagining Mumbai’s Public Spaces: Civic Hackathon”
“Reimagining Mumbai’s Public Spaces: Civic Hackathon”
- Anuradha Kelkar
“Reimagining Mumbai’s Public Spaces: Civic Hackathon”
- Rajiv Mishra
Leaders Study Program , NYC 2013: Manifesto , Photos ,Presentations & Reports
- Nidia Fiechter
- Meta Bambas
Why Mumbai Needs a Strategic Urban Design/ Ecological Master Plan
- Josefa Gunto
Revival of Historic cores of Cities
- Livable Street Standards : Curb and Curb Ramps
The Urban Vision : Capture the BIG Picture
Name: K Jaisim
Bio: Architect Krishnarao Jaisim is known for his creative designs and inventive use of materials. Inspired by the writings of the legendary Ayn Rand, he started practice under the title JAISIM – FOUNTAINHEAD in 1970. He is the current chairman of the Indian Institute of Architects, Karnataka Chapter. His work has been featured in the New York Times, The Hindu, The Times of India, The Deccan Herald, and on HGTV.
Posts by jaisim:
“When you know that in order to produce, you need to obtain permission from men who produce nothing, when you see that money is flowing to those who deal not in goods but in favours, when you see that men get rich more easily by graft rather than by work, and your laws no longer protect you against them but protect them against you, you know that your society is doomed.”
Any city that has evolved over time without major cosmetic change and intervention MUST be left alone (read : preserved) with its own cultural ethos identity. And a TWIN city should be created within its arms stretch to deal with new migration .This urbanization can be characterized by modern ideals.
India must learn not to imitate or copy. We are a continuum of a culture and a civilization. We have never had “start’ , “stop” or “start”; we have wandered and wondered. Our culture is like a great vessel that takes in “all” and makes absolutely unheard of delicateness to cater to every need from violence to peace.
We do not create preserve and destroy. We just move on. No one understands us.
If you like the Chaos then you can see Order. Even the heavens smile and merrily leave us alone.
What is your one big idea for cities in 2012? Submit a blog post to firstname.lastname@example.org along with a bio & Pic.
There are times you contemplate: what is humanity? …Who are we? … We are simply a set of memories. Memories are our experiences of the past and the recollection of the same which is one of the greatest functions of a human mind. It in actual fact makes us individually unique. If we take away those memories we are just another body with a mind. Try to imagine the result if my memories were taken off and some other memories were put in place. Don’t we see that happening in architecture today? We seem to be disregarding our culture, heritage and traditions and replacing it with some one else’s!
When we delve deeper into this experience, you wonder -Is there an external influence beyond yourself? Are you as a person “anything” by yourself? You are a part of the influence of the environment immediately around yourself. That could be your family, friends or your immediate neighbors. Now this faction forms the basic group. Beyond this it’s their interaction and interfaces with the other groups. These groups become sub groups .This may later develop into neighborhood. This neighborhood has its own reflection of architecture. Now these neighborhoods then interact with larger neighborhoods which then have an interactive architectural reflection. Now already the basic entity –“you “is almost lost. May be if he is powerfully dominating he could influence the larger neighborhood but that’s very rare. Eventually, these neighborhood and communities become towns and cities. And cities of influence become nations.
However, today there is a sense of the whole world coming together. That’s because all these influences start merging together to a point that it becomes one. It becomes a compromise. A larger language is heard and expressed. That’s the essence of globalization theory – It says that you can have anything, anywhere in the world at the same cost in the same way. But how can we have a single facet in architecture?
Even trees and plants grow differently in different places. Do the plants on the sea side grow the same way as that on the mountains? Heritage originates from nature. Heritage is the nature. You don’t see nature manifested in the same way in two places –then why should architecture be perceived in a single dimension? When this analogy is directed on a higher perspective- the ultimate form of nature is the human mind. All the other forms of existence are attainable. To a point where any other forms of nature can be recreated. The mind that is capable of comprehending and conceptualizing all this is incapable of being recreated. The brain can be recreated but not the mind. And the mind is the human being .And that mind is the “Architecture”! It is the highest form of expression. You can express culture, heritage, tradition, technology, science and you can even express the mind.
Architecturally we have been taken over by defined spaces of a particular technology rather than the traditional “defined spaces” .The logically consequent defined spaces are influenced by the individual where as the technologically derived defined spaces are pre-designed by a mechanical output process which pronounces that a human being requires a definite quantity of space. It becomes a very industrial, mechanical, global logic process. At times, it takes out all the sensitivity, perspective and rationale out of architecture. Architecture we are seeing today could be anywhere in the world. It does not have any identity, depth and it doesn’t speak beyond itself! They are designed on very hardcore functional patterns of production. Unquestionably, a lot of thinking has gone into it but that thinking has happened somewhere else …not here! And when that expression is used in our context it becomes gibberish. It does not echo the specific needs of our environment. Architecture is responsive, contextual and logical. You will have to connect architecture with circumstance and individual spirit. In architecture, you have the ability to infuse certain traits at will and take away a few at will. You are able to push in and pull out at will according to the contextual framework!
Then again, what is global design? It is obviously a preferred language. It’s like English which is spoken everywhere and can be understood everywhere. It is a global language. However when it comes to India it becomes “hinglish”. We improvise it according to the way we spell, write and speak. That means when you come into the smaller plateaus the dialect and parlance changes. It’s is still a language for communication but varies according to the circumstances and context. This is another interesting way of looking at heritage and tradition .The smallest axis of communication is between two people. When a third person enters the dialogue, he may not understand the communication between those two people. But in spite of everything there is a communication- a primitive communication. Now when this communication goes beyond a few people and to the whole of human race and is taken in by everyone two things happen. The larger issue is understood by everybody but the subtle innuendos and inferences are understood only by the minor fractions. This means that your ability to communicate is limited to the other person’s ability to understand. So the understanding and communication gets marginalized to a point that it gets averaged. That means that anything specific becomes communicated between only two people. And that becomes small nodes of great architecture which some one can appreciate when he understands it. But when you put that language outside its context it becomes pure nonsense. Because it makes no sense in a different context- this is happening in architecture today in this country. Dialects that should have worked somewhere are being thrown in someone else’s place without any contemplation.
On the contrary, if we built our building our way which can’t be built any where else in the world- it becomes more valuable and distinctive. But if we build something that is already perceived in New York or Chicago- No one is going to come here to see it. Why should they? They obviously have better quality buildings of that nature elsewhere. But if we made our buildings our way – as something that can be achieved and realized only here that will create a whole new enterprise. Sometimes I think that if I had a little more time on any of my projects I would forget the purpose of the project and make the project the purpose. People then may not come there for the function of the building but will come there to see the building itself. For instance, people don’t come to see Tajmahal because Mumtazmahal was buried in it. They come to see it because it is a marvel. We should always go beyond the point of purpose to create architectural masterpieces. This sense of working in timeless as well as temporal frameworks makes architecture unparalleled and extraordinary
As Ayn Rand’s particular brand of humanism called objectivism articulates…” Collectivism as an intellectual power and a moral power is dead. But freedom and individualism, and their political expression, capitalism, have not yet been discovered. I think men will have time to discover them. It is significant that the dying collectivism philosophy of today has produced nothing but a cult of depravity, impotence and despair. Look at modern art and literature with their image of man as a helpless creature doomed to failure, frustration and destruction. This may be the collectivist’s psychological confession, but it is not an image of man. If it were, we would never have risen from the cave. But we did. Look around you and look at history. You will see mans unlimited potentiality for greatness and the faculty that makes it possible. You will see that man is not a helpless monster by nature, but he becomes one when he discards the faculty: mind. And if you ask me what is greatness: I will answer, it is the capacity to live by three fundamental values: reason, purpose and self esteem.”
Heritage is a deep sense of values. And, for those values to set in there must have been a time tested process-by which human beings have over time a deep sense of respect for each other. That respect for one another is expressed through a bond. This bond which is spiritual involves human mind and sets a pattern. The spiritual is something one feels as a bond together because of certain values or a sense of achievement. It essentially echo’s the human spirit. This “spiritual” is achieved by a ritual-a manner of repetition to give strength and permanency to those spiritual values. This “spiritual” permanency of human thought and action can be frozen and experienced by the realm of architecture-in its built form. Therefore it is the ultimate stage where the process becomes a product which is acclaimed, celebrated and accepted.
Heritage reflects a society or community that has sustained certain values over a period of time for it to have become significant enough to be turned from spiritual to ritualistic. Ritual stimulates emotion but the spiritual is linked to a reason. But a reason in the ritual brings about a new platform. This reason is intended for justifying rather than understanding. As a result, wisdom looses meaning in ritual over a period of time.
When ritual originates, the initial reason for the setting in of the ritual was the spiritual. But in due course when the culture changes, people evolve and time elapses the spiritual is forgotten and the ritual alone becomes important that’s when decadence sets in. That’s because when values are repeated time and again the meaning not only changes but it becomes mundane. When certain values are passed down through generation-we don’t have the patience to pass on the truth but we have the patience to pass on the rituals or obedience. That’s when the degeneration starts. Decay sets in when human spirit of achievement and heroism dies. It happens when the human being does not understand the true reason behind the ritual or he does it out of force rather than a conviction. When the phenomenon only becomes a ritual and looses the spiritual, then the true values disappear. Decadence sets in. A new set of ethos is born and the change happens. The “same” is no longer the same. This metamorphic change over time becomes today’s modernism which should decay in time.
In modernism, the sheer pleasure of technology becomes important. But in truth, Technology can only enhance the value of the past. The past always tried to touch edge of technology. But technology is not a deterrent of the past. The deterrent is our inability to comprehend to use the present technology to its edge. Furthermore, today Architecture seems to be directly derived from technology. Art has been set aside. Art isn’t able to comprehend technology. Art should always be beyond technology. Philosophy comes ahead of technology. At present in modernism heritage is lost because it does not even in the sense of symbolic value to the past. It doesn’t give an attendance to the past and it doesn’t even give a presence to the past.-it simply cuts it off. In essence, at the moment “modernism” follows the heritage of the rationalization: a belief in the logical method, a notion that there is a truth that can be determined by applying data and the scientific method. On the other hand, when art pretends to follow values, the values made by the ritual rather than the spiritual- it’s another web of pretense. Heritage or values of the past is a consensus and a complete collection of memories. But the imperative point is that you should understand the memories and not get drowned in it. You must be able to use the memories to create new ideas. The true responsibility of tradition is not the acquiring the past, but the ensuring of a future. Only when we know how the story has run to this point can we responsibly decide how the plot might unfold.