Smt. Manoramabai Mundle College of Architecture, Nagpur

INDEX PAGE

3.4.1

3.4.1 Extension activities in the neighborhood community in terms of impact and

sensitizing students to social issues and holistic development during the last five years

Criteria

No.

Sr.No.

Title

Year

3.4.1. 1 Preamble To Joint Studio

2 Report Of Vertical Studio

Extending Hands: In Collaboration With Ngos

2019-20

3

Report Of Joint Studio: Light Museum

2018-19

4 Report on Joint Studio : Metro Corridor

2017-18

5 Report on Revitalisation Of Public Spaces Of Nagpur 2016-17

6 Report competition for Kasturchand Park Ground, organized by

Office of Collector ,Nagpur and Heritage Committee Nagpur.

2016-17

7 News Paper Coverage of Panel Discussion Perception:

Paradoxes in Architecture

2017-18

8 Report on Melghat Tiger Tech Award 2018

9 Report on Studio of Workplace Architecture: The Local

Universe

2018-19

10 Drawings of Studio on the evolution of city of Nagpur 2019-20

Women’s Education Society’s

Smt. Manoramabai Mundle College of Architecture, Nagpur

Women's Education Society’s, SMT. MANORAMABAI MUNDLE COLLEGE OF ARCHITECTURE, SEMINARY HILLS, NAGPUR

JOINT STUDIO

Architects are socially responsible as architecture can create better places, can affect society have a role in making a place civilized by making a community more livable. Architecture can affect the quality of life in our communities through involvement beyond our practice. As citizens, architects can enhance social conditions by articulating the built environment and can even be the cause of positive social change and benefit by contributing to our social fabric.

This social responsibility needs to be inculcated in students so as to sensitize them for their immediate surroundings. With the vision SMMCA apart from giving formal architecture education attempts to make the students aware of their social responsibility as an architect.

With the initiative of Prof. Vijay Munshi joint studio is conducted every year with an aim to make the students socially responsible, to make them understand urban area issues and propose relevant solutions to resolve the identified problems by innovative and conscious approach to architectural and urban issues evolving an architectural design program.

The other objective of the joint studio is also to develop team work skills, stimulate their creativity and encourage student- student and student- teacher interaction. The students of all the semesters are divided in vertical groups of 10 students in each group and teacher mentors are allotted for guidance.

Women's Education Society’s, Nagpur

SMT. MANORAMABAI MUNDLE COLLEGE OF ARCHITECTURE, SEMINARY HILLS,NAGPUR

REPORT OF VERTICAL STUDIO

EXTENDING HANDS: IN COLLABORATION WITH NGOS

Date: 17th June – 28th June 2019

Team Members: Dr. Priya choudhary, Ar. Sarika Joshi, Ar. Seema Burele, Ar. Nehal Maheshwari

Introduction and brief for vertical studio:

Society is a network or web of social relationship. Co-operation is the most elementary process of social life without which society is impossible. It serves in meeting our social, economical, cultural, religious and (sometimes) environmental needs. Communities, social groups, regions, states, nations, and also continents are interdependent. No doubt society consists of individuals but sometimes some part of this society remains underprivileged. They get away from mainstream and lack the confidence to be the part of ongoing development. Women, children, differently abled, tribal, are some of the most vulnerable population of our society and need the cooperation and support from us. We should thrive to give back to society by helping these vulnerable units and contribute as a responsible citizen. NGOs (Non Governmental Organization, usually non profit) are one such small units of society that work independent of government and are active in humanitarian, education, healthcare, human rights, environmental and other areas to effect changes according to their objectives. NGOs are founded and funded by citizens, non profit, and voluntary citizens’ group which is organised on a local, national or international level. They bring citizens of common interest together for specific task oriented function and bring citizens concern to government.

With this background, students worked with two NGOs, under the joint studio projects. Apanga Mahila Bal Vikas Sanstha, Nagpur (AMBVS) which is working for disabled women and children and Vidarbha Vanvasi Kalyan Ashram which is working for betterment of tribal people.

Apanga Mahila Bal Vikas Sanstha,Nagpur (AMBVS):

Apanga Mahila Bal Vikas Sanstha, Nagpur (AMBVS) was established on 3rd July 1993, with the objective to providing services in the field of rehabilitation of the handicapped, as well as nutrition and health, especially for mothers and children. Sanstha has initiated number of schemes co-ordinated under the project “ASHADEEP” addressing the problems of divyanga persons, children and



women with a multidisciplinary approach. During last 25 years, Ashadeep centre has extended need based support to various divyanga students for educational and skill development programmes, such as conveyance, computer education, etc. It has initiated “Academic Support Centre for Divyanga” with the objective to provide support for the educational and overall development of divyanga students. This includes Audio library, for visually impaired students, along with other supportive activities and encourage co curricular and extracurricular activities.

Vidarbha Vanvasi Kalyan Ashram (VVKA):

Vanvasis are an integral part of the society and therefore the goal is to make the vanvasis realise that the entire society is behind them for their developmental needs. The VVKA is carrying out this work by establishing constant contacts with Vanvasis through various "Seva projects" in Vanvasi areas. VVKM is affiliated to the Akhil Bhartiya Vanvasi Kalyan Ashram (ABVKA), Jashpur Nagar. The aim of this NGO is to uplift the tribal people, which are an integral part of the Indian society in all walks of life, i.e. social, religious, cultural, material, ethical, financial, intellectual and educational.

The main objectives of the ABVKA and VVKA are: - 1. Generate awareness among the Vanvasis (tribal) about their faiths, culture, customs and traditions. 2. Make them self reliant and self-confident thereby bringing them in the national mainstream. 3. Promotion of educational, Health awareness & Developments. 4. Generate enlightened leadership among them. To achieve this, Kalyan Ashram is running Hostels, Balwadies, Chikitsa Kendra, Arogya Rakshak, Library, Khelkud Kendra etc.

Architectural intervention Taking this opportunity of contributing to this cause, students were sensitised that as an architect how can we help society by giving them Sustainable Architectural design solution for the projects proposed by the said NGOs. AMBVS has the vision of providing Divyang Prerna Kendra to facilitate the differently abled women for their academic development and livelihood where as VVKA has the vision of providing skill development centre with residential facility for tribal people residing nearby villages. Parameters considered while dealing with architectural intervention were as follows: 1. Participatory design approach- an approach to design attempting to actively involve all stakeholders (e.g. employees, citizens and end users) in the design process to help ensure the result meets their requirement.



2. Universal design Approach- is the design and composition of an environment so that it can be accessed, understood and used to the greatest extent possible by all people regardless of their age, size, ability or disability. 3. Environmentally sustainable design- is a critical part of good design, reducing the impacts of buildings and construction on the natural environment. 4. Appropriate Technology- is technology that is designed to be "appropriate" to the context of its use. 5. Budgetary constraints Aim: To sensitise the students towards societal responsibilities/issues through innovative architectural interventions. Objectives: 1. To make students understand the participatory design approach. 2. To understand the application of Universal Design Approach (barrier free design). 3. To identify specific issues and requirements through discussion with stakeholders. 4. To sensitise students about the ground reality, the users are living in. 5. To resolve the identified issues through innovative architectural intervention within given budgetary constraint. Methodology: Stage 1: Understanding tangible and intangible aspects of users to extract architectural design requirements. Stage 2: Identifying the relevant precedent studies. Stage 3: Site analysis Stage 4: Formulating design program. Stage 5: Architectural drawings, working model and estimate of overall project. Stage 6: Working drawings with construction details and final model. Studio Modalities:



Submission Requirements: 1. Sheets of precedents study, data collection and site analysis. 2. Detail Design Program 3. Output of interaction in any format.(poster, essay, movie, collage, story or in any creative medium) 4. Architectural and working drawings. 5. Estimate 6. Views and 3DModels Proposed Sites Suggested readings: Sustainable building manual (TERI publication manual volume II) Climate Responsive Architecture, (Author: Arvind Krishnan) Sustainable design approach to heating, lighting and ventilation (Author: Norbert Lechner) For universal design principles refer National Building Code.



Working and Progress of the studio: Students were divided in 30 vertical groups having 10 to 12 students in each group. i.e. 3 to 4 students from each year (2nd yr, 3rd yr, 4th yr). Students selected the project (one of the either) and faculty as mentor through lucky draw system. The very first session started with interaction of students with Mr. Ravindra Sangitrao (secretary) from vidarbha vanvasi kalian ashram and Mrs. Pratima Shastri (president) from Apanga Mahila Bal Vikas Sanstha. Both the dignitaries addressed and sensitised the students about the social works that are performed by their respective NGOs. Three specially abled students of divyang prerna Kendra were also present with Mrs. Pratima madam with whom students interacted and tried to find out their requirements and needs and the problem they face while dealing with their day to day life.

Second day session started when Students of skill development went for the site visit in the village khairi bk village where they got to see and feel the site in its surrounding context. They also interacted with villagers and asked them about the development that they actually want in the village. Students of Apang mahila bal vikas Kendra went to the centre and interacted with the users and studied their existing set up.

After having the detail discussion with the users and site visit, students prepared their design program and data collection on which they were reviewed by their mentors. In the second stage students prepared their conceptual drawings and detail drawings along with the models.

Well known architects of the city Ar. Sameer Deshkar , Ar. Nitin Kurvey and Ar. Priyadarshan Nagpurkar evaluated the final proposals of the project After reviewing all the groups at final jury, external jurors evaluated the students and declared the best three proposals for each NGO. The members of the NGOs were also present for the final jury.

Well known architects of the city Ar. Sameer Deshkar , Ar. Nitin Kurvey and Ar. Priyadarshan Nagpurkar evaluated the final proposals of the project. The studio was successfully co-ordinated by Ar. Sarika Joshi, Ar. Seema Burele and Ar. Nehal Maheshwari. Dr.UjwalaChakradeo, Dr. Priya Choudhary, Dr. Sampada Peshwe, Prof. Vijay Munshi and Prof. Shriram Marathe extended guidance to the team.

Feedback: It was a very good beginning for students to start a new semester with working in vertical groups. It helped them to know their immediate senior as well junior batch. Students of 3rd semester actually get to know how to go about the design project and they got to learn architectural drawing and



presentation from their senior group members. The group leaders had the difficult job to develop the spirit of team work and test their leadership quality. Students become highly sensitive towards the participation of users in their design program. They interacted with the boys of vanvasi kalyan ashram by visiting their place. Though the time given to the students to prepare entire design project with detailed estimation was found to be less, still they tried to complete the requirements of submission along with models. After the completion of the project, members of both the NGOs asked for the exhibition of the project and so it was done on 2nd August 2019. They were glad to see the hard work and dedication of the students towards their project. External examiners also appreciated the new concept of vertical studio and the experiment of sensitizing students towards the social responsibility. Detail drawings, detail estimation along with models were big task to complete but students ended up by giving rough estimate in their submission. Over all the vertical studio was extremely successful in achieving its objectives. Names of winning teams and their mentors

Name of project

Name of mentor

Name of student Semester

Divyang Prerna Kendra

(AMBVS)

DR. UJWALA CHAKRADEO

KHUSHBOO .B, SHOURAVI GOSWAM, VIJAYA KALE

7th semester

ADITI TIKHE, DIVYANSHI SHARMA, ADITI AGRAWAL, NIKITA .C

5th semester

PREETI K. , GUNJAN KATARIYA, SURUCHI PARSAWAR

3rd semester

Skill development

centre (VVKA)

AR. SUJATA GODBOLE

AKANKSHA AGRAWAL, ANUSHREE K. , ANKITA D. ,

ISHA D., MANALI

7th semester

RASHMI MOTWANI, DIMPI D. , MANISHA R. ,

5th semester

NIMISHA G. , RUTUJA G. , PARUL R. , YOGITA VYAS

3rd semester

JOINT STUDIO GROUP LIST - 2019GROUP MENTOR

IVTH YEAR IIIRD YEAR IIND YEAR1 RASHMI THAKRE PAKHI JAIN(60) SIMRAN JAISWAL(60) MANSI SINGHANIA (60)

DPK SHRISHTI SINGHDEO(60) ADITI PATEL(60) SHRUTI AGRAWAL(60)SHRUTI SINGH (42)

NIDHI AGRAWAL (36)NITIN KURWE NIKITA GUPTA(60) HARSHITA(12) RIDHI KOTHARI(60)

YASHVI THAKRANI (54)2 SNEHA MANDEKAR SHRUSHTI MEHARE SHIFALI SONTAKE (60) LAKSHMI .T(60)

DPK GAURI NARINGE(60) MINAL .B (60) VAISHNAVI KOLHE(60)NITIN KURWE RACHNA.M(60) PRATIKSHA. J (60) TANAYA. D (48)

MANSI THAKRE(60) ANKITA GUPTA (60)3 RASHMI TIJARE RAIMA SINHA(60) ARYA BOPCHE (42) SAKSHI RAJPAL(60)

SDC KRUTIKA MESHRAM(54) VAISHNAVI. D (48) BHAIRAVI. B (18)SAMEER DESHKAR RASHMI DESHMUKH(60) ADITI .D (48) KHUSHBOO. B (48)

KSHIPRA .A (48)4 ANURADHA BHUTE SAKSHI CHANDEL (60) PALVI. D (60) KADAMBARI.D (60)

SDC SHREYA. N (60) VAISHNAVI .M (60) PIYUSHA.D (54)SAMEER DESHKAR TANVI.M (48) KALYANI PATEL (30) YUKTA.C (60)

NISHA BANSOD (60)5 SUJATA GODBOLE AKANSHA AGRAWAL RASHI MOTWANI NIMISHA.G

SDC ANSHREE K DIMPI.D RUTUJA.GSAMEER DESHKAR ANKITA. D MANISHA.R PARUL.R

ISHA.D YOGITA VYASMANALI

6 NAMRATA ANUSHA. C (60) ADITI.K (54) MOHANA.K (57)SDC APEKSHA.H (60) ISHA.W (54) SAKSHI .D (60)

SAMEER DESHKAR DEEPALI.C (60) SAMIKSHA.B (48) ANKITA.JAMGADE(54)ANANYA .C (60) RUCHI .S (54)

NAYANA.C (54)7 UJWALA CHAKRADEO KHUSHBOO .B (60) ADITI TIKHE (60) PREETI. K (60)

DPK SHOURAVI GOSWAMI (60) DIVYANSHI SHARMA (60) GUNJAN KATARIYA (60)NITIN KURWE VIJAYA KALE (60) ADITI AGRAWAL (60) SURUCHI.P (60)

NIKITA .C (60)8 SNEHA BODHANKAR RASHI (30) MRUNMAYEE (54) GUNJAN.KALE (48)

DPK AMRUTA (60) ARYA.K (54) HUMA HAQUE (12)NITIN KURWE SHWETA (60) ROHITA (54) BHAIRAVI MULE (45)

VRUNDA (60) MONALI (30)9 PRATIMA DHOKE PRANJALI SONAM JAIN PRIYAL.J

SDC SPRUHA. K TANAYA .C ROMANA KHANSAMEER DESHKAR TRUPTI . G KALYANI U RUTUJA .K

PRANSHU .L ANAGHA DEGWEKAR10 ATULA PATWARDHAN ADITI VERMA(60) SAMIKSHA.P (57) AYUSHI.K (48)

DPK KRUTI AGRAWAL(60) POJA BAGHA (45) AKSHITA.B (42)NITIN KURWE MAHEK SONDI (42) ROHINI .P (60) ANUSHKA DAFF (30)

AKRUTI KEDIA(36) INA JAIN (18)11 SAMRUDHI AMTE AKSHATA.M(60) KARISHMA .Z(60) ANVI ALTI(60)

DPK ALFIYA ANSARI(60) NIKITA .C(60) STUTI(60)NITIN KURWE ANUSHKA .G(60) EKTA.K(60) SHRUTI(60)

SHRADHA (60)12 VAIJAYANTI YADAV PRAJAKTA KULKARNI VAISHNAVI. B SAKSHI TARALE

SDC RUKMINI SALIHA NIKITA.SSAMEER DESHKAR KHADIJA MANASI TIKRE NIKITA.C

MADIHA.R13 ANURADHA TIKKAS PRATIKSHA JAJU (60) PRATIKSHA.W (50) BHARGAVI.P(60)

SDC KRUTIKA DHARME(50) ADITI SONARDHARE(50) AVANTIKA.S (40)SAMEER DESHKAR RASHESHWARI .V (50) AYUSHI .S (40) CHAITALI.C (60)

PRIYA BHOYAR (46) ANUSHKA.O(60)KRUTIKA (54)

14 PIYUSHA RATHOD SOUMYA PANDEY (60) VANSHIKA .I (60) MITALI .C (51)SDC SONALI SINHA(60) SHRUTKIRTI .B (60) SHRUTIKA.K (54)

SAMEER DESHKAR SIDHI.T (60) SANCHITA.W (60) DEVANGI.K (45)SANIKA.D (54)

15 SAMPADA PESHWE SHRUTI GURBANI PRIYALI TANVIDPK SANHITA .K RADHA SAKSHI RATHI

NITIN KURWE SAKSHI.D PRIYALI SHREYA JAISWALSOUMYA GUPTA INGELA

MANSI .K 16 RITA MESHRAM PRIYANKA .P (60) SHREYA.D (48) SUMEDHA.S (40)

SDC MEGHALI DESAI (60) PURVA.T (8) NAYAN MILMILE (40)SAMEER DESHKAR RIYA SINGH (54)

KRUTIKA .S (54) ASTHA.B (54) RUTUJA JISKAR (40)

JOINT STUDIO - GROUP LISTSTUDENTS NAME (ATTENDANCE -60)

WOMEN'S EDUCATION SOCIETYSMT. MANORAMABAI MUNDLE COLLEGE OF ARCHITECTURE

17 SHOBHNA T K NAINSEE .S MUSKAN AMLANIDPK ANUSHREE JADHAO MANSI JAIN MUSKAN GALANI

NITIN KURWE MANJEERI .A ALPEE THAKUR SHREYA MAHAJAN18 TARIKA DAGADKAR PRATIKSHA BHUJADE SAILEE .S VIDISHA.C

DPK REENI.M RUCHA. A SANCHITA.NNITIN KURWE KRUTIKA .B SHUBDINI.K SOUJANYA.R

REEMA .K19 MADHURA RATHOD SEJAL B VAIDEHI .N NAYAN AGRAWAL

DPK AKANSHA JOSHI AYUSHI.S RADHIKA DIGAMBARNITIN KURWE GUNJAN JAIN SAKSHI .U POORVA BOPCHE

PRADNYA PPRATIKSH SHINDE (60) AISHWARIA. K(60) HIMANGI .S(60)

AKANSHA JOSHI AYUSHI.S RADHIKA DIGAMBARDPK NIDHI .J(60) FALGUNI .K(60) SHREYA .S(60)

NITIN KURWE SHARVARI.T(60) ISHITA TIWARI(60) ANAGHA .K (60)NAYAN .J(60)

21 NEETA LAMBE ART KATARIYA ADITI .K ISHA.CSDC RADHIKA AGRAWAL SAKSHI TAORI TOSHVI

SAMEER DESHKAR MANASVI DESHMUKH UNNATI AKSHATARENU KOTHARI TARUNI

22 KETKI TIDKE SHIVANI .N (60) HIMANI.A (60) KASHISH BELANI (60)SDC SADAF .N (60) VANSHIKA .B (60) DYUKSHA .B (60)

PRIYADARSHAN SAILEE .D (60) VAISHNAVI .N (60) MUSKAAN PILLAY (60)SHREYASI .I (60)

23 PRIYANKA S POOJTA REDDY SHRUTI.D KOMAL .ASDC SHRUTALIKA .K BHOOMIKA.K VAISHNAVI.N

PRIYADARSHAN KOMAL .K SIMRAN.K SWATI .G24 VISHWAS DHIKOLE SAKSHI .D PURVA .G MRUNMAYEE .T

SDC SNEHA.N GAURI MOARIR PRANALI LAMBATPRIYADARSHAN HARSHA JAIN TWINKLE .S PAYAL .M

SIRISHA.B SANJANA .S DOLLY .S25 POORNIMA DESHPANDE MANJIRI GUPTA (60) ANDREA .M (54) DURGESHWARI (60)

SDC HARSHALA .K (60) PRARTHNA.D (51) KHUSHI .R (48)PRIYADARSHAN AYUSHI.W (60) BHAGYASHREE. A (24) KALYANI. W (54)

SURBHI (42)26 ROOPAL DESHPANDE DIMPLE .M AISHWARIA.M S. POOJA

DPK RIDHI .S MRUNAL.T PURVI SHARMANITIN KURWE KHYATI .B MUBASHSHARAH BHARGAVI .D

SHIVANI .D ARYA JADHAO27 SRIRAM MARATHE KHUSHALI .P (60) REVATI .P (54) PRNALI .G (60)

DPK Srishrti Dixit (60) MUGDHA .KALE(54) VAISHNAVI .R (54)PRIYADARSHAN RIYA .A (60) VAISHNAVI .K (48)

RACHANA .S (54)28 MADHURI GEHANI WARIDHI GOYAL(54) RADHIKA .M (40) YASHSHVI .K (45)

DPK SAMIKSHA .C(12) RUPAL. N (54) SAMRUDHI .A(12)PRIYADARSHAN SHRADHA.S(54) MANALI.B (54) SHWETA .A (12)

YUTHIKA(40)KALYANI .J(54)

29 VISHWAS DHIKOLE DHAMADINA .G SHRADHA .S POOJA KEDARDPK DHANASHREE SHAILASHEE. D SONALI .S

PRIYADARSHAN CHANDNI PRIYAL .K SAKSHI .VARMAAVANTI .J ANKITA GUPTA VAILDEHI GOTEY

30 HARPREET KAUR SANIKA .D SHWETA .K YUGASHRI .BSDC KUNIKA .K DOLLY .N RITIKA .P

PRIYADARSHAN PRERNA .W MRUNAL .P AVANTI ALONINEHA .A

20 ISHA PAWAR

This is to certify

________________________________________ has participated in the Vertical Studio “ Extending Hands: in collaboration with NGOs”

organized by WES's SMMCA and Apanga Mahila Bal Vikas Sanstha, Nagpur (AMBVS) and Vidarbha Vanvasi Kalyan Ashram which was held from

17th June 2019 – 28th June 2019.

Womens Education Society's

Smt. Manoramabai Mundle College of Architecture, Nagpur

Certif icate of Part ic ipation

P r i n c i p a l

S M M C A , N a g p u r

V e r t i c a l S t u d i o I n c h a r g e

S M M C A , N a g p u r


SMT. MANORAMABAI MUNDLE COLLEGE OF ARCHITECTURE, SEMINARY HILLS, NAGPUR

JOINT STUDIO LIGHT MUSEUM

15th June – 25th June 2018

Team Members : Ar. Sujata Godbole, Ar. Vaijayanti Yadav, Ar. Priyanka Sambare, Ar. Renuka Chutke

Introduction The built and the living are not divided from each other but one is part of the other, architect has to envisage how the building will affect the persons psychologically. Architect has to look into the smallest detail of what he is creating . The space cannot be perceived without light.

Light is essential factor in architecture. Light as the medium that reveal space, celebrate the property of certain material and itself can also be tested as the material. Like other material, light have to be crafted into desired shapes for its functionality. Light source is the raw material. ‘Materiality’ of light is the intensity and orientation. Things that reflect, refract, diffuse, block light are the tools. Natural light can function as a narrative tool to tell story. Light not only illuminates the space but also helps in creation of moods.

Natural light is dynamic and ever changing. It gives the sense of time progressing as the focus is changing over time.

Light museum is a typology where in no exhibits are going to display rather light along with shadows acts as exhibit with different building materials forming various moods or evoking various emotions. The building itself acts as exhibit.A museum should showcase the beauty of light. The museum explores the different facets of light phenomenon & its relationships to various sciences.

One has to explore different meanings of character of a space which are associated with the four factors: (1) The Source, (2) The Geometry, (3) Different Surfaces inside the Space and (4) Movement and Visual Perception of the Observer. These meanings are both particular and universal. Don’t always look for the light in things, because beauty is found in the dark, too. Shadows succeed at making patterns, providing shade, and adding a different dimension to the spaces around us.

The concept of spatial envelope as a convenient tool for the analysis of an architectural space in



relation to its lighting design. The criteria for the analysis could be 1. THE SPATIAL ENVELOPE a) Boundaries for Spatial Definition b) Visual Perception of the Envelope c) The Character of Space

d) Distortion of the Spatial Envelope e) Clarity of the Spatial Envelope f) Proportioning of the Spatial Envelope g) The Color of Architectural Space 2. ARTICULATION OF THE SPATIAL ENVELOPE



a) Patterning the Dominant Boundaries b) Penetration of the Spatial Envelope c) Articulation with Subspaces d) Spatial Banding e) Curvature and Level Change 3. ROLE OF THE STRUCTURAL SYSTEM a) Prominence of Building Form 40 b) Structure Patterning the Spatial Envelope c) The Sources of Light d) Structural Synthesis for Architectural Beauty 4. MOVEMENT THROUGH SPACE a) Stimulus for Movement b) People Move Toward Light c) The Zones of Transition d) Brightness Changes as a Function of Movement.

“No space, architecturally, is a space unless it has natural light.” — Louis I. Kahn

Kahn believed that light’s purpose is to cast shadows, and these shadows are present to evoke a

certain mood. The darkness of a shadow is linked to the mystery and uncertainty of a space. With multiple purposes, shadows are there to protect from the sun on a hot day, to altogether create a new design and pattern, and to define the auras around us.

“Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light, light and shade reveal these forms.”

-Le Corbusier

Aim: To experience the space in Light Museum through articulation of natural and artificial light.

Objectives:

1. To understand the various effects of light for creating effective spaces.

2. To study the emotive properties of different building materials and its psychological impact in presence of light.

3. To explore the properties of natural light/ Artificial light to experience the space. 4.To understand the relationship between the form, openings with light. Methodology :



Stage 1: Study the key idea of light by sketches and models ((D.K Ching) Study of materials (Emotive properties)

Stage 2: To determine the relevant precedent studies. Stage 3: Form Evolution. Stage 4: To design the openings in the derived form. (Shape, Size, Orientation)



Stage 5: To study the dramatic light effect in the derived form.( use of Climatology lab, software) Studio Modalities:

15th June 2018- 10am

Topic Introduction Group Formation, Site and Mentor allotment Site Visit

15th June – 17th June 2018 Literature Study, Study of Materials, Site Analysis

18th June 2018 Review by respective teachers

Presentation by faculty 20th June 2018 1st Review by all faculties

21st June – 24th June 2018 Further working on proposal, model 25th June 2018 Final Jury by Ar. Rajiv Choudhary

Submission Requirements:

1. A2 size Sheets of literature study. 2. Design ideas should be explained only through model. 3. Architectural Detailing on sheets. 4. Final jury on power point presentation

Every group will get 7 Min for presentation and 3 min for question answer.

By making model and mapping the position and intensity of light of resulting light in general geometry and logic distilled from the case studies. It can explore how the theory that can help architect to create the desired lighting quality even under undesirable condition.

Areas

Floor Plate:- 300 - 500 Sqm



Proposed Sites

1. CP Club 2. Near Futala 3. Back side of SMMCA.

Suggested Readings: 1. Daylighting Design Planning Strategies & Best Practice Solution by Mohamad Boubekri



2. Lightbook- The practice of lighting Design by Ulrike Brandi. 3. Lighting Spaces by Roger Yee 4.Lighting design handbook by Lee Watson 5. The Lit Environment by Derek Phillips

6. Low light High Tech Building in the information Age by Klaus Daniels

7. Daylighting Natural light I architecture by Derek Phillips 8.Light Spaces( Lichtraume) by Adams Kress 9.Architectural Lighting Design by Gary Steffy 10. Museum by L I Xiaolu

11. Museum Buildings – A design Manual by Rainer Paul 12.Museums in the 21st century concepts Projects Buildings 13. Museums & Art Spaces by IMA (PUB) Volume 1

14. The Lighting Handbook by John Cullen

15. Principles of Illumination by John E Traister

16. Building Acoustics by Mare Asselineace.

17. Refer Websites

Jun-18 Jun-18

Mentor Sampada Peshwe Mentor Madhura Rathod

42 10 42 10

4th Year 30 4th Year 301 Rutuja Gawande 42 10 6 6.5 23 1 Anushree Kaloti 39 9.285714 6.5 7.5 232 Samiksha Zilpilwar 42 10 6 6.5 23 2 Aksha Gawi 39 9.285714 6.5 7.5 233 Preshita Anjankar 42 10 6 6.5 23 3 Tanisha Rao 39 9.285714 6.5 7.5 23

3rd Year 3rd Year

1 Poojitha Reddy 33 7.857 6 6.5 20 1 Isha dongre 33 7.857143 6.5 7.5 222 Waridhi Goyal 39 9.286 6 6.5 22 2 Ankita dipani 33 7.857143 6.5 7.5 223 Yuthika Utjeony 33 7.857 6 6.5 20 3 Anushree Kane 33 7.857143 6.5 7.5 224 Anushree Jadhav 36 8.571 6 6.5 21 4 Aakansha Agrawal 39 9.285714 6.5 7.5 23

2nd Year 2nd Year

1 Taruni Joshi 36 8.571 6 6.5 21 1 Rucha Abhyankar 30 7.142857 6.5 7.5 212 Samiksha Pandher 36 8.571 6 6.5 21 2 Sayali Sambare 33 7.857143 6.5 7.5 223 Anderia Marinus 36 8.571 6 6.5 21 3 Mrunmayee Tidke 36 8.571429 6.5 7.5 234 Aditi Agrawal 36 8.571 6 6.5 21 4 Rohita Gade 36 8.571429 6.5 7.5 23

Smt. Manoramabai Mundle College Of Architecture, Nagpur Smt. Manoramabai Mundle College Of Architecture, Nagpur

JOINT STUdIO : LIGHT MUSEUM JOINT STUdIO : LIGHT MUSEUM

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Jun-18 Jun-18

Mentor Mentor Tarika dagadkar

42 10 42

4th Year 30 4th Year 301 Aakansksha Rade 42 10 4.5 7 22 1 Mayuri A. 39 9.285714 5 6 202 Sejal Rathi 42 10 4.5 7 22 2 Kashyapi 39 9.285714 5 6 203 Rituparna Agrawal 42 10 4.5 7 22 3 Nikita B. 39 9.285714 5 6 20

3rd Year 3rd Year

1 Harleen Kaur Virdi 36 8.571 4.5 7 20 1 Shivani N. 39 9.285714 5 6 202 Khadija Bahrainwala 18 4.286 4.5 7 16 2 Maitreyee W. 33 7.857143 5 6 193 Janvi Mahajan 24 5.714 4.5 7 17 3 Sadaf 39 9.285714 5 6 204 Rukmini Gotmare 15 3.571 4.5 7 15 4 Shruti Gurbani 39 9.285714 5 6 20

2nd Year 2nd Year

1 Isha Wandhare 30 7.143 4.5 7 19 1 Himani Asnani 36 8.571429 5 6 202 Shreya desai 36 8.571 4.5 7 20 2 Vaishnavi Naik 39 9.285714 5 6 203 Pratiksha Jasutkar 33 7.857 4.5 7 19 3 Vanshika 36 8.571429 5 6 204 Samiksha Urade 33 7.857 4.5 7 19 4 Sakshi Taori ab 0



Priya Choudhary & Atula Patwardhan


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Jun-18 Jun-18

Mentor Nehal Maheshwari Mentor Rashmi Thakre

42 42

4th Year 30 4th Year 301 Harshleen Gulati 39 9.286 5 6.5 21 1 Harshali Pofly 42 10 4.5 6.5 212 Ishita Kapgate 30 7.143 5 6.5 19 2 Ashwini Janwe 42 10 4.5 6.5 213 Radha Zade 30 7.143 5 6.5 19 3 dhanashree Jaiswal 42 10 4.5 6.5 21

3rd Year 3rd Year

1 Aanti Zilpe 6 1.429 5 6.5 13 1 Monali Nakhale

2 Chandani Thadani 6 1.429 5 6.5 13 2 Prajakta

3 dhanashree Chapre 6 1.429 5 6.5 13 3 Manali

4 Gauri Naranje 0 0 5 6.5 12 4

2nd Year 2nd Year

1 Ayushi Satfale 39 9.286 5 6.5 21 1 Shifali Sontake 42 10 4.5 6.5 212 Sakshi udhoji 42 10 5 6.5 22 2 Ketki Motadkar 42 10 4.5 6.5 213 Shweta Karpate 39 9.286 5 6.5 21 3 Pooja Bhuibhar 36 8.571429 4.5 6.5 204 Vaidehi Nerkar 21 5 5 6.5 17 4 Kalashree Asai 36 8.571429 4.5 6.5 20



Back Side Of SMMCA Back Side Of SMMCA


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Jun-18 Jun-18

Mentor Sneha Bodhankar Mentor Isha Pawar

42 42

4th Year 30 4th Year 301 Sheetal Prajapati 42 10 5 6 21 1 Aditi darvekar 30 7.142857 5 6.5 192 Renuka Moraskar 36 8.571 5 6 20 2 Inderpreet Panesar 33 7.857143 5 6.5 193 R.Swathi 36 8.571 5 6 20 3 Ameena Syed 36 8.571429 5 6.5 20

3rd Year 3rd Year

1 Prerna W 36 8.571 5 6 20 1 Apeksha Harde 36 8.571429 5 6.5 202 Neha Adhau 33 7.857 5 6 19 2 Ananya Chilwe 33 7.857143 5 6.5 193 Shraddha S 27 6.429 5 6 17 3 Ashwini U. 33 7.857143 5 6.5 194 Shristi M 27 6.429 5 6 17 4 Sanika 39 9.285714 5 6.5 21

5 Trupti Ganvir 30 7.143 5 6 182nd Year 2nd Year

1 Mrunal P 36 8.571 5 6 20 1 Alpi Thakur 33 7.857143 5 6.5 192 Rama B 30 7.143 5 6 18 2 Manasi Tikre 39 9.285714 5 6.5 213 Aditi Kelkar 30 7.143 5 6 18 3 Falguni Kalkariya

4 Apeksha C 33 7.857 5 6 19 4 Vaishnavi Barde 39 9.285714 5 6.5 215 Saleeha Pthan 39 9.285714 5 6.5 21



University Site

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Jun-18 Jun-18

Mentor Ketki Tidke Mentor Prof. S. R. Marathe

42 42 10

4th Year 30 4th Year 301 Indrayani Shrawankar 42 10 5.5 6.5 22 1 Jivika Thete 42 10 3.5 6 202 Rina Wadsariya 36 8.571 5.5 6.5 21 2 Kalyani Nimkar 42 10 3.5 6 203 Shirisha Bijwe 36 8.571 5.5 6.5 21 3

3rd Year 3rd Year

1 Nayan Jaisawal 42 10 5.5 6.5 22 1 Manasi Thakre 42 10 3.5 6 202 Pratiksha Shinde 39 9.286 5.5 6.5 21 2 Arpita Umbre 42 10 3.5 6 203 Sharvari Thokal 42 10 5.5 6.5 22 3 Harsha Jain 42 10 3.5 6 204 4 Shrutali Kapse 42 10

2nd Year 2nd Year

1 devyanshi Sharma 36 8.571 5.5 6.5 21 1 Aditi Patel 42 10 3.5 6 202 Surbhi Bhutada 36 8.571 5.5 6.5 21 2

3 Aditi Tikhe 36 8.571 5.5 6.5 3

4 4




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Jun-18 Jun-18

Mentor Seema Burele Mentor

42 42

4th Year 30 4th Year 301 Jasreet Kaur 42 10 5 6.5 22 1 Sharvari Mahindre 42 10 7 8 252 Stuti Shrivastava 42 10 5 6.5 22 2 Shweta Pasarkar 42 10 7 8 253 Harshpreet Kaur 42 10 5 6.5 22 3 Saksh Bagani 36 8.571429 7 8 24

3rd Year 3rd Year

1 Sakshi Chandel 0 1 Raima Sinha 42 10 7 8 252 Samiksha Chawre 30 7.143 5 6.5 19 2 Krutika Meshram 36 8.571429 7 8 243 Priyanka Pachpande 36 8.571 5 6.5 20 3 Kshipra Akre 36 8.571429 7 8 244 Meghali desai 30 7.143 5 6.5 19 4 Rashmi deshmukh 36 8.571429 7 8 24

Sonam Jain 30 7.143 5 6.5 192nd Year 2nd Year

1 Tanaya Chandle 42 10 5 6.5 22 1 Shubhadini Kulkarni 42 10 7 8 252 Astha Bele 42 10 5 6.5 22 2 Vaishani dharmale 36 8.571429 7 8 243 Sanjeeta Shende 36 8.571 5 6.5 20 3 Arya Bopche 36 8.571429 7 8 244 4 Arya Kumbhre 42 10 7 8 25



dr. UjwalaChakradeo


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Jun-18 Jun-18

Mentor Mentor

42 42

4th Year 30 4th Year 301 Shriya Patil 39 5 6.5 12 1 Krutika Choudhary 39 9.285714 5 7 212 Yasmeen Shaikh 36 5 6.5 12 2 Anuja Pingle 39 9.285714 5 7 213 3 Payal Lakhani 39 9.285714 5 7 21

3rd Year 3rd Year

1 Prajakta Kulkarni 39 5 6.5 12 1 Akshata Mohadikar 36 8.571429 5 7 212 2 Vranda dulariya 36 8.571429 5 7 213 3 Soumya Gupta 39 9.285714 5 7 214 4 Shreyasi Ingale 39 9.285714 5 7 21

Sailee dangre 36 8.571429 5 7 212nd Year 2nd Year

1 Rashi Motwan 39 5 6.5 12 1 Bhumika Kashelani 30 7.142857 5 7 192 Harshita N 39 5 6.5 12 2 Pooja K 30 7.142857 5 7 193 Suraksha B 39 5 6.5 12 3 Vaishnavi d 30 7.142857 5 7 194 4 Sanjana Sarvaiya 18 4.285714 5 7 16



Roopal deshpandeBack Side of SMMCA Poornima deshpandeBack Side of SMMCA


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Jun-18 Jun-18

Mentor Anuradha Bhute Mentor Medha Pophale

42 42

4th Year 30 4th Year 301 Komal Trivedi 42 10 7 7 24 1 Sakshi Bansali 42 10 5.5 7.5 232 Paridhi Jain 36 8.571 7 7 23 2 Kinjal Parmar 42 10 5.5 7.5 233 Mayuri Joshi 36 8.571 7 7 23 3 Shreya Parmar 36 8.571429 5.5 7.5 22

3rd Year 3rd Year

1 Siddhi Thawkar 42 10 7 7 24 1 Akriti Kedia 36 8.571429 5.5 7.5 222 Sonali Sinha 36 8.571 7 7 23 2 Kriti Agrawal 30 7.142857 5.5 7.5 203 Soumya Pande 36 8.571 7 7 23 3 Mahek Sondhi 36 8.571429 5.5 7.5 224 Snehal Khekare 36 8.571 7 7 23 4 Aditi Verma 30 7.142857 5.5 7.5 20

2nd Year 2nd Year

1 Unnati 36 8.571 7 7 23 1 Simran Jaiswal 42 10 5.5 7.5 232 Nikita 36 8.571 7 7 23 2 Aishwarya Khilosiya 36 8.571429 5.5 7.5 223 Sayali 18 4.286 7 7 18 3 Fulguni 36 8.571429 5.5 7.5 224 4 Ishita Tiwari 36 8.571429 5.5 7.5 22



University Site


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Jun-18 Jun-18

Mentor Pratima dhoke Mentor Vaijayanti Yadav

42 42

4th Year 30 4th Year 301 Vaishnavi Tade 36 8.571 5 6.5 20 1 Abhilasha Bhaiya 36 8.571429 5 6.5 202 Amruta Bagga 36 8.571 5 6.5 20 2 Aayushi Mundada 36 8.571429 5 6.5 203 Apurva Khandelwal 33 7.857 5 6.5 19 3 Shubhika Chouhan 36 8.571429 5 6.5 20

4 Sanskriti Potey 36 8.571 4 Khushali Balgat 30 7.142857 5 6.5 193rd Year 3rd Year

1 Aarti Katariya 36 8.571 5 6.5 20 1 Pakhi Jain 36 8.571429 5 6.5 202 Radhika Agrawal 36 8.571 5 6.5 20 2 Shrushti Singh deo 36 8.571429 5 6.5 203 Manasvi deshmukh 36 8.571 5 6.5 20 3 Shruti Gandhi 36 8.571429 5 6.5 204 4 Nikita Gupta 36 8.571429 5 6.5 20

2nd Year 2nd Year

1 Sayali Bochre 36 8.571 5 6.5 20 1 Bhagyshree 36 8.571429 5 6.5 202 Pooja Bagga 36 8.571 5 6.5 20 2 Shalaka Yawalkar 36 8.571429 5 6.5 203 Shruti Dad 30 7.143 5 6.5 19 3 Rohini 36 8.571429 5 6.5 204 4 Aditi Khanke 36 8.571429 5 6.5 20



University Campus


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Jun-18 Jun-18

Mentor Piyusha Bhandarkar Mentor Sujata Godbole

42 42

4th Year 30 4th Year 301 Shrutika Bawankar 36 8.571 4.5 5 18 1 deepika Jamdar 36 8.571429 5 8 222 dhanashree Patil 36 8.571 4.5 5 18 2 Janvi Yelchalwar 36 8.571429 5 8 223 Purvi Banode 24 5.714 4.5 5 15 3 Mayuri Ujawone 36 8.571429 5 8 22

3rd Year 3rd Year

1 Rashi Agrawal 36 8.571 4.5 5 18 1 Gauri Pathade 36 8.571429 5 8 222 Prajakta B 30 7.143 4.5 5 17 2

3 Anusha C 36 8.571 4.5 5 18 3

4 dipali C 36 8.571 4.5 5 18 4

2nd Year 2nd Year

1 Ankita G 30 7.143 4.5 5 17 1 Shraddha Supare 36 8.571429 5 8 222 Mudita Kose 30 7.143 4.5 5 17 2 Radha durgakar 36 8.571429 5 8 223 Gauri M 36 8.571 4.5 5 18 3 Radhika Mantri 18 4.285714 5 8 174 Minal B 36 8.571 4.5 5 18 4



University Campus


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Jun-18 Jun-18

Mentor Priyanka Sambre Mentor Prof. Vishwas dikhole

42 42

4th Year 30 4th Year 301 Priyanka Khandekar 36 8.571 5 6.5 20 1 Madhuri soni 24 5.714286 6 6 182 Aayushi Tiwari 36 8.571 5 6.5 20 2 Ruchika Mankar 42 10 6 6 223 Asmita Kopenwar 36 8.571 5 6.5 20 3 Sakshi Uttarwar 42 10 6 6 22

4 Shrishti patel 36 8.571429

3rd Year 5

1 Riya Singh 36 8.571 5 6.5 20 3rd Year

2 Krutika Singal 36 8.571 5 6.5 20 1 Sakshi darda 30 7.142857 6 6 193 Shryea Nagrale 36 8.571 5 6.5 20 2 Renu Kothari 30 7.142857 6 6 194 Pradhnaya Pardhi 36 8.571 5 6.5 20 3 Khushboo 33 7.857143 6 6 20

4 Sneha 27 6.428571

2nd Year

1 Revati Pande 36 8.571 5 6.5 20 2nd Year

2 Mugdha Kale 36 8.571 5 6.5 20 1 Vanshika 42 10 6 6 223 Aayushi Nathani 36 8.571 5 6.5 20 2 Sanchita 42 10 6 6 224 Pallavi Chopra 36 8.571 5 6.5 20 3 Shrutkirti 42 10 6 6 22

4 Manasi Kriplani 42 10 6 6



C.P.Club University Site


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Jun-18 Jun-18

Mentor Mentor Prof. Vijay Munshi

48 42 10

4th Year 30 4th Year 301 Aparna Thakare 36 4.5 5.5 10 1 Amruta Gangakhedkar 39 9.285714 5 6.5 212 Rajashri Samarath 42 4.5 5.5 10 2 devashree damodare 39 9.285714 5 6.5 213 disha Bansod 18 4.5 5.5 10 3 Vaibhavi Ghate 39 9.285714 5 6.5 21

4 Krutika Bhuyar 18 4 Anushka Asai 15 3.571429 5 6.5 153rd Year 3rd Year

1 Manali Pathak 36 4.5 5.5 10 1 Amruta Khaiwale 30 7.142857 5 6.5 192 Manjiri Adhau 36 4.5 5.5 2 Sayali Kumbhare 36 8.571429 5 6.5 203 Priya Bhoyar 36 4.5 5.5 3 Komal Kulmethe 24 5.714286 5 6.5 174 Kalyani Jadhav 36 4.5 5.5 4 dimple Manthanwar 18 4.285714 5 6.5 16

2nd Year 2nd Year

1 Manali Bhakale 30 4.5 5.5 10 1 Poorva Gattani 36 8.571429 5 6.5 202 Roopal Nandurkar 42 4.5 5.5 10 2 Mansi Jain 36 8.571429 5 6.5 203 Twinkle Sangwi 36 4.5 5.5 10 3 Priyal Patoliya 36 8.571429 5 6.5 204 Angela Shehjzad 18 4 Priyali Pande 36 8.571429 5 6.5 20



Shobhana Tembhurnikar University Site C.P. Club

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Jun-18 Jun-18

Mentor Madhuri deshpande Mentor Nidhi Gandhi

42 42

4th Year 30 4th Year 301 Kanchan Agrawal 42 10 6 6.5 23 1 Khushboo Gahukar 30 7.142857 7 7 212 Pauravi Medpilwar 42 10 6 6.5 23 2 Ashlesha 36 8.571429 7 7 233 Manasvi Jain 42 10 6 6.5 23 3 Gunjan K 36 8.571429 7 7 23

3rd Year 3rd Year

1 Nidhi Sarah Joseph 42 10 6 6.5 23 1 Pranjali 36 8.571429 7 7 232 Khushali Parakh 42 10 6 6.5 23 2 Chainika 36 8.571429 7 7 233 Riya Ahuja 30 7.143 6 6.5 20 3 Mayuri 30 7.142857 7 7 214 Srishti dixit 36 8.571 6 6.5 21 4 Bhumika 30 7.142857 7 7 21

2nd Year 2nd Year

1 Shruti dao 0 1 Simarn 36 8.571429 7 7 232 Aditi diwate 42 10 6 6.5 23 2 dimpy 36 8.571429 7 7 233 Kalyani Umale 42 10 6 6.5 23 3 Prajkta 0 0 7 7 144 Purva Thakre 42 10 6 6.5 23 4 Sakshi 0 0 7 7 14



University Site C.P.Club


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Jun-18 Jun-18

Mentor Sanjivani Mohagaonkar Mentor Samruddhi Amte

42 4230

4th Year 30 4th Year

1 Sunakshi Shah 42 10 4.5 6 21 1 Ekta dharmasi 42 10 5.5 6 222 Shamli donode 36 8.571 4.5 6 19 2 Anushka Hote 30 7.142857 5.5 6 193 Vaidehi Akulwar 36 8.571 4.5 6 19 3 Gauri Thavi 42 10 5.5 6 22

Monica Fatode 42 10 4.5 6 213rd Year 3rd Year

1 Aayushi Wagh 42 10 4.5 6 21 1 Alfiya Ansari 42 10 5.5 6 222 Manjiri Gupta 42 10 4.5 6 21 2 Sakshi demla 30 7.142857 5.5 6 193 Khyati Bhojwani 42 10 4.5 6 21 3 Riddhi Shembekar 42 10 5.5 6 224 Harshala Kadukar 42 10 4.5 6 21 4 Anushka Gaulikar 42 10 5.5 6 22

2nd Year 2nd Year

1 Prathrana dongre 42 10 4.5 6 21 1 Ekta K 42 10 5.5 6 222 dolly 42 10 4.5 6 21 2 Karishma Z 27 6.428571 5.5 6 183 Aishwarya 42 10 4.5 6 21 3 Nikita Chopda 36 8.571429 5.5 6 204 Mrunal 42 10 4.5 6 21 4 Shradhha deshmukh 36 8.571429 5.5 6 20



Back Side Of SMMCA Back Side of SMMCA


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Jun-18 Jun-18

Mentor Mrinmayee Tiwari Mentor Sarika Joshi

42 42

4th Year 30 4th Year 301 Mayuri deodhar 42 10 5 8 23 1 Prachi Talmale 30 7.142857 4.5 6.5 182 Renuka Marotkar 42 10 5 8 23 2 Prachi Rughani 33 7.857143 4.5 6.5 193 Vaibhavi Kale 42 10 5 8 23 3 Alina Khan 27 6.428571 4.5 6.5 17

3rd Year 3rd Year

1 Vijaya Kale 42 10 5 8 23 1 Madhura Patle 24 5.714286 4.5 6.5 172 Sejal Bhandarkar 42 10 5 8 23 2 Trupti Ganvir 24 5.714286 4.5 6.5 173 Souravi Goswami 42 10 5 8 23 3 Aakanksha 24 5.714286 4.5 6.5 174 Shweta Samrutwar 42 10 5 8 23 4 Gunjan 24 5.714286 4.5 6.5 17

2nd Year 2nd Year

1 Ayushi Shingru 42 10 5 8 23 1 02 Pratiksha W. 42 10 5 8 23 2 03 Aditi S 42 10 5 8 23 3 04 Anshali Medhe 42 10 5 8 23 4 0


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SESSION 2017-2018 JOINT STUDIO : METRO CORRIDOR

(THIRD SEMESTER, FIFTH SEMESTER AND SEVENTH SEMESTER STUDENTS) The yearlong Silver Jubilee celebrations will commence with a Joint studio project from 15th June to 23rd June 2017. The aim of the joint studio is to inculcate moral responsibility in students in contributing towards the development of the city as an Architect with objective being to broaden students’ knowledge about urban planning, promote solutions aimed at raising the quality of public spaces within the city through precise architectural interventions, engaging the public, experts within the process. The studio aims at understanding urban issues and identifying relevant solutions to resolve the identified problems by innovative and conscious approach to architectural and urban issues and evolving an architectural design program. The other objective is to develop team work skills in them, stimulate their creativity and encourage student- student and student- teacher interaction. As we all know that the work of metro is going on at full swing with a need for a safe, reliable, efficient, affordable, commuter friendly and environmentally sustainable rapid public transport system for the Nagpur Metro Region. There are many impact of the metro corridor on the public transport, day today working as well as on urban scape. With the onset of metro Urban Development department has released special regulations for development/redevelopment of buildings falling within NMRC (Nagpur Metro Rail corridor). It has proposed revision of maximum permissible FSI in NMRC. This will change the entire urban scape of the city. The authorities are working on the impact of these regulations on the cityscape. So, the objective of the joint studio will be to study the impact of proposed building regulations of NMRC on the cityscape. Around 2.5 km patch of the metro corridor would be identified. The work will be carried out in group of ten students working on a patch of 250 mtrs.



Map showing Proposed Nagpur Metro Map Routes. The solutions of the joint studio would be exhibited as a part of exhibition which would display the works done for Nagpur city, which would be a part of the curtain raiser program of the Silver Jubilee celebrations.

Identified patch of Metro corridor is from Sita buildi to Ambazari T –point

The entire patch will be divided into number of groups; each group will be working on approximately 250 m. of the length of identified metro rail corridor.



ATTENDANCE:

AREA NO. STUDENTS YEAR TEACHERS ATTENDANCE MARKS

30 20

25 SAKSHI D 2 MP, AB 23 15 25 JANVI 23 15 25 ALIFIYAH 20 13 25 ANUSHKA G 23 15 25 EKTA D 3 23 15 25 ASMITA K 23 15 25 ADITI S 20 13 25 AAYUSHI T 23 15 25 ANUSHA B 4 23 15 25 ANJALI P 23 15 16 ANUSHREE J 2 KT, PS 21 14 16 ADITI D 21 14 16 MANASVI D 21 14 16 SAKSHI BANSALI 3 21 14 16 PRIYANKA KHANDEKAR 21 14 16 KINJAL P 21 14 16 SHREYA P 21 14 16 NIKITA M 4 21 14 16 ANKITA P 21 14 0 HARLEEN 2 SM, GK 24 16 0 ANKITA D 24 16 0 AKANKSHA A 24 16 0 ANUSHREE K 3 21 14 0 AKSHA 21 14 0 MANASVI 21 14 0 NIKITA D 4 24 16 0 SHIVANI S 24 16



22 PALAVI 2 AB, MP 26 17.5 22 NAYAN 26 17.5 22 KRUTIKA 26 17.5 22 KHYATI 26 17.5 22 HARSHALA 26 17.5 22 RUTIKA C 3 23 15.5 22 ASHLESHA 23 15.5 22 ANUJA 23 15.5 22 GARGI M 4 23 15.5 22 SANA 26 17.5 22 SAUMYA B 26 17.5 1 SOUMYA G 2 SRM, PND 23 15.5 1 SANSKRUTI P 23 15.5 1 RUKAMINI G 23 15.5 1 AKSHATA M 23 15.5 1 SHIVANI N 23 15.5 1 SAYALI D 20 13.5 1 SHREYASI I 23 15.5 1 KSHYAPI 3 23 15.5 1 NIKITA B 23 15.5 1 MAYURI A 23 15.5 1 ANUSHKA G 4 23 15.5 1 HIMANSHI 23 15.5 1 CHAITALI 23 15.5 4 RASHESHWARI 2 ST, SJ 21 14 4 RIDDHI S 21 14 4 MAITREYEE W 21 14 4 NEHA B 3 21 14 4 NATASHA K 21 14 4 KOMAL T 21 14 4 AVANI S 4 21 14 4 ISHITA B 21 14



15 AKANKSHA J 2 NL, SB 21 14 15 PURVA J 21 14 15 KHUSHBOO B 21 14 15 SAKSHI D 21 14 15 RENUKA MAORASKAR 3 21 14 15 SHEETAL P 21 14 15 AAYUSHI J 4 21 14 15 PURVA J 21 14 15 ANKITA J 21 14 15 AISHWARYA G 21 14 13 SANITA S 2 VD, RT, SA 24 16 13 ADITI VERMA 24 16 13 SHRUTI G 24 16 13 SADAF 24 16 13 KHUSHALI B 3 21 14 13 KANCHAN A 21 14 13 PAURAVI M 21 14 13 MAYURI 24 16 13 NIKITA GOLCHA 24 16 13 ANUSHKA A 4 24 16 13 NIDHI S 24 16 11 ASHWINI U 2 MR, SNB 20 13 11 ANANYA C 20 13 11 PRACHI R 3 17 11 11 PAYAL L 17 11 11 PRATIKSHA 20 13 11 KALYANI 20 13 11 JIVIKA 20 13 11 KHUSHBOO G 17 11 11 ANJALI G 4 20 13 11 PURVI 20 13 11 RASHMI THAKRE 20 13



11 ANKITA K 17 11 18 ISHA D 2 PD,VY, SG 20 13.5 18 ANUSHREE K 20 13.5 18 SOUMYA P 20 13.5 18 JASREET 17 11.5 18 VAIDAHI K 3 20 13.5 18 SHRAVYA D 20 13.5 18 BHAGYASHREE G 20 13.5 18 PALAK BANSAL 4 20 13.5 18 SHEFALI G 20 13.5 20 NIKITA GUPTA 2 RD, IP 24 16 20 SRISHTY DEO 24 16 20 PAKHI JAIN 24 16 20 AYUSHI M 3 24 16 20 AKAKNSHA 24 16 20 ALISHKA 24 16 20 SAKSHI GOLCHA 4 24 16 20 SAKSHI GANGAL 24 16 20 MUSKAN 24 16 20 ASHWINI W 24 16 24 SIDDHI T 2 MTD, PR,MT 24 16 24 SONALI S 21 14 24 SANIKA D 24 16 24 RADHA Z 3 24 16 24 ISHITA K 24 16 24 SHIVANI KANFADE 4 24 16 24 SRISHTY N 24 16 29 KRUTIKA S 2 AP, RC 21 14 29 RIYA S 21 14 29 SNEHAL K 21 14 29 RAJASHREE S 3 21 14 29 DISHA BANSOD 21 14



29 APARNA T 21 14 29 KRUTIKA BHUYAR 21 14 29 VAISHNAVI M 4 21 14 29 DIVYA T 21 14 29 ANUJA K 21 14 21 AYUSHI W 2 RD, IP 23 15 21 MANJARI G 23 15 21 DIMPLE M 23 15 21 APEKSHA H 23 15 21 PREETI K 3 23 15 21 HARSHLEEN 23 15 21 SONAKSHI S 23 15 21 TANVI O 4 23 15 21 SHRUTI K 23 15 21 SHUBHANGI B 23 15 32 MANASI T 2 VD, RT, SA 22 14.5 32 PRIYA B 22 14.5 32 MADHURA P 22 14.5 32 YASMEEN 3 19 12.5 32 VAISHNAVI TADE 22 14.5 32 PRESHITA 22 14.5 32 SHREYA PATIL 19 12.5 32 SHWETA PEDNEKAR 4 22 14.5 32 NOOPUR S 22 14.5 32 SHWETA S 22 14.5 17 PRAJAKTA K 2 MTD, PR,MT 23 15.5 17 SHREYA M 23 15.5 17 SAKSHI C 23 15.5 17 ANSHULA K 3 23 15.5 17 INDERPREET 20 13.5 17 HARSHALI 23 15.5 17 PARIDHI J 23 15.5



17 SHRUTI A 20 13.5 17 ANUSHREE H 4 23 15.5 17 ASHWINI P 23 15.5 17 ANEESHA K 23 15.5 30 Y. PUJITHA 2 SRM, PND 23 15.5 30 SHRUTALI K 23 15.5 30 PRAJAKTA B 20 13.5 30 SHARVARI T 23 15.5 30 PRATIKSHA S 23 15.5 30 ANUSHKA G 3 20 13.5 30 ANUSHKA H 20 13.5 30 SRISHTY A 4 23 15.5 30 VAISHNAVI C 23 15.5 19 SAMIKSHA C 2 NL, SB 18 12 19 RASHMI D 18 12 19 KSHIPRA A 18 12 19 SHRADHA S 18 12 19 SRUSHTI M 18 12 19 SWATI 3 18 12 19 PRUTHA 18 12 19 RINI 15 10 19 JAGRUTI 4 18 12 19 MINAL 18 12 19 KALYANI 18 12 3 PRERNA W 2 ST, SJ 20 13.5 3 PRADHNAYA 23 15.5 3 RAIMA 23 15.5 3 AMRUTA B 3 23 15.5 3 SHIRISHA 23 15.5 3 APURVA KHANDELWAL 23 15.5 3 PRANSHU 23 15.5 3 AKANKSHA C 4 23 15.5



3 ASHWINI D 23 15.5 3 SUPRIYA B 23 15.5

26 AMRUTA K 2 KT, PS 23 15 26 AVANTI Z 23 15 26 KOMAL K 20 13 26 ANUSHA C 23 15 26 DIPALI C 23 15 26 RENUKA MAROTKAR 3 23 15 26 VAIDAHI K 23 15 26 VAIBHAVI KALE 23 15 26 AMRUTA G 23 15 26 DIKSHA GUPTA 4 23 15 26 VAISHNAVI THAWKAR 23 15 12 MANJIRI A 2 VD, RT, SA 23 15.5 12 NIDHI A 23 15.5 12 SHRUTI G 23 15.5 12 SEJAL R 3 20 13.5 12 RITUPARNA 20 13.5 12 ABHILASHA B 20 13.5 12 SANZI B 4 23 15.5 12 SAKSHI VISHVANATHWAR 23 15.5 12 ANUJA S 23 15.5 14 PRIYANKA 2 MR, SNB 24 16 14 RITIKA P 24 16 14 GAURI NARINGE 24 16 14 PALAK 24 16 14 MEGHALI 24 16 14 ALINA KHAN 3 21 14 14 AAMEENA SYED 24 16 14 ASHWINI J 24 16 14 DHANASHREE J 24 16 14 ADITI D 24 16



14 SANNIDHI 4 24 16 14 RAJSHREE S 24 16 28 DHANASHREE C 2 AP, RC 20 13.5 28 HARSHA J 17 11.5 28 DHAMMADINA 20 13.5 28 CHANDANI T 20 13.5 28 MADHURA W 3 20 13.5 28 SHAMLI D 20 13.5 28 MONIKA F 20 13.5 28 MEGHA A 4 20 13.5 28 AISHWARYA M 17 11.5 28 NIKITA J 20 13.5 27 RASHI A 2 PD,VY, SG 19 12.5 27 KUNIKA K 19 12.5 27 DIKSHA L 19 12.5 27 DIVYANSHI T 19 12.5 27 SAKSHI A 19 12.5 27 SHRUTIKA B 3 19 12.5 27 DHANASHREE P 19 12.5 27 RACHANA M 19 12.5 27 PARIMAL 19 12.5 27 VAISHNAVI U 4 19 12.5 27 KALYANI Y 19 12.5 31 YUTIKA 2 SM, GK 21 14 31 VARIDHI 21 14 31 SANIKA D 21 14 31 HARSHPREET 3 21 14 31 STUTI 18 12 31 PRACHI T 18 12 31 BHAVIKA M 4 21 14 31 ANKITA C 21 14 5 MANALI 2 PD,VY, SG 19 12.5



5 RENU KOTHARI 19 12.5 5 NEHA AGARWAL 19 12.5 5 NIDHI J 19 12.5 5 SRISHTY DIXIT 19 12.5 5 KHUSHALI P 19 12.5 5 RIYA A 19 12.5 5 DEEPIKA 19 12.5 5 GUNJAN 19 12.5 5 ANAGHA 19 12.5 5 MONIKA K 4 19 12.5 5 MRUNALINI J 19 12.5 5 KAJAL R 19 12.5 5 RUTUJA A 19 12.5



SESSION 2016-2017 REVITALISATION OF PUBLIC SPACES OF NAGPUR

This session began with a combined studio project of second, third and fourth years with an ambitious and comprehensive project of revitalization of public spaces of Nagpur city. The objective was to broaden the student’s knowledge about urban planning and to promote solutions aimed at raising the quality of public spaces within the city through precise architectural interventions engaging the public, experts within the process. The project strived to seek out solutions for present-day public spaces on conceptual and theoretical levels.

The project began with a tour to the urban public spaces of Nagpur and identifying its usability and various issues of these places. The study of socio cultural, socio economic aspects of the space were graphically represented and inferences capturing essence of people and spirit of place were identified. One or two architectural design program was evolved based on this study.

Semester III, V and VII Session 2016-17

Design Co-ordinators: Vijay Munshi and Pratima Dhoke Design Team: Prof. S.R.Marathe, Dr.Priya Choudhary, Anuradha Tikkas, Vidya Singh, Roopal Deshpande, Ketki Tidke, Neeta Lambe, Sujata Godbole, Shobhana Tembhurnikar, Seema Burele, Medha Pophale, Mrinmayee Tiwari, Vaijayanti Yadav, Priyanka Sambare, Rutika Parulkar, Sneha Bodhankar, Sarika Joshi.

Hello all!

This semester begins with a combined studio project of second, third and fourth years with an ambitious and comprehensive project of revitalization of public spaces of Nagpur city. The objective of this joint studio is to understand urban area issues and identify relevant solutions to resolve the identified problems by innovative and conscious approach to architectural and urban issues and evolving an architectural design program. The other objective is also to broaden the student’s knowledge about urban planning,



promote solutions aimed at raising the quality of public spaces within the City through precise architectural interventions engaging the public, experts within the process. The other objective being to develop their team work skills, stimulate their creativity and encourage student- student and student- teacher interaction.

The project strives to seek out solutions for present-day public spaces on conceptual and theoretical levels.

The speedy population growth in urban areas due to migration of people from rural to urban and small cities to large ones are creating problems such as urban overcrowding, poor housing, and crowded transportation, lack of basic services, ill health, low educational status and high rate of joblessness. Such problems in the less developed countries may become heightened. It is necessary that studies should be undertaken on the patterns of urbanization observe the process so as to lessen its unfavorable consequences. India, the second most crowded country in the world has reached a state where urban problems have assumed to be serious. What is actually the support and function of architecture in times of growing economical and political instability and its repercussions on public space? Is architecture forced to rely on its own knowledge, its own form in these times, or, and how to include other disciplines in co-creating the public sphere? The project will begin with a tour to the urban public spaces of Nagpur and identifying its usability and various issues of these places. The study of socio cultural, socio economic aspects of the space would be graphically represented; and inferences capturing essence of people and spirit of place identified. One or two architectural design program will be evolved based on this study. The study group would be vertical grouping of 3 from II, 3 from III and 3 from IV year students.



The tentative schedule of the project will be as follows:-

Final Submission 30th June 2016.

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Stages Description Expected Output Duration

1 Stage I Regional level study Study and secondary data collection about selected area of Nagpur

Graphical study sheets, compilation of survey results

15th to 18th June 2016

2 Stage II Inferences from stage I and study of NBC, DCR. Provision of public amenities.

Deriving design program 20th to 22th June 2016

3 Stage III Model Making and Architectural Detailing

Model, Final A0 Sheets explaining the idea through innovative graphics

23rd to 30th June 2015

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1 AAKANKASHA RADE P P P P P P P P P P P P P P P P2 AAMENA SYED P P P P P P P P P P P P P P3 ABHILASHA BHAIYA P P P P P P P P P P P P P P P4 ADITI DARVEKAR P P P P P P P P P P P P P P5 ADITI SAHU P P P P P P P P P P P P P P P6 AKSHA GAWAI P P P P P P P P P P P P P P P7 ALINA KHAN P P P P P P P P P P P P P P P P8 ALISHKA ASAI P P P P P P P P P P P P P P P9 AMRITA BAGGA P P P P P P P P P P P P P P P

10 AMRUTA GANGAKHEDKAR P P P P P P P P P P P P11 ANAGHA DEGWEKAR P P P P P P P P P P P P P P P12 ANSHULA KHEDULKAR P P P P P P P P P P P P P P P13 ANUJA PINGLE P P P P P P P P P P P P P P14 ANUSHKA GYANCHANDANI P P P P P P P P P P P P P P15 ANUSHREE KALOTI P P P P P P P P P P P P P P P16 APARANA THAKRE P P P P P P P P P P P P P P P P17 APURVA KHANDELWAL P P P P P P P P P P P P P P P18 ASHLESHA PIMPALWAR P P P P P P P P P P P P P P19 ASHWINI JANWE P P P P P P P P P P P P P P20 ASMITA KORPENWAR P P P P P P P P P P P P P P P21 AYUSHI TIWARI P P P P P P P P P P P P P P22 AYUSHI MUNDHADA P P P P P P P P P P P P P P P P23 BHAGYASHREE GIRGAONKAR P P P P P P P P P P P P P P24 BHUMIKA GUPTA P P P P P P P P P P P P P P25 C. TANISHA RAO P P P P P P P P P P P P P P P26 CHAINIKA MUNOT P P P P P P P P P P P P P27 DEEPIKA JAMDAR P P P P P P P P P P P P P P P28 DEVASHREE DAMODARE P P P P P P P P P P P P P P29 DHANSHRI JAISWAL P P P P P P P P P P P P P P P P30 DISHA BANSOD P P P P P P P P P P P P P P P31 DIVYA KURANI P P P P P P P P P P P P P P32 DNYANADA KUMBHARE P P P P P P P P P P P P P P P33 GAURI PATHADE P P P P P P P P P P P P P P P P34 GUNJAN KHANDEKAR P P P P P P P P P P P P P35 HARSHALI POPHALI P P P P P P P P P P P P P P P36 HARSHLEEN KAUR GULATI P P P P P P P P P P P P P P P37 HARSHPREET KAUR CHAUHAN P P P P P P P P P P P P P P P38 INDERPREET PANESAR P P P P P P P P P P P P P P P39 INDRAYANI SHRAWANKAR P P P P P P P P P P P P P P P40 ISHITA KAPGATE P P P P P P P P P P P P P P P P41 JANVI YELCHALWAR P P P P P P P P P P P P P P P42 JASREET KAUR DADWAL P P P P P P P P P P P P P43 JIVIKA THETE P P P P P P P P P P P P P P P P44 KALYANI NIMKAR P P P P P P P P P P P P P P P45 KANCHAN AGRAWAL P P P P P P P P P P P P P46 KANCHAN KUMERIYA P P P P P P P P P P P P P P P47 KASHYAPI ASRANI P P P P P P P P P P P P P P48 KHUSHALI BHALGAT P P P P P P P P P P P P P P P49 KHUSHBOO GAHUKAR P P P P P P P P P P P P P P50 KINJAL PARMAR P P P P P P P P P P P P P P51 KOMAL TRIVEDI P P P P P P P P P P P P P P P P52 KRUTIKA CHOUDHARY P P P P P P P P P P P P P53 KRUTIKA BHUYAR P P P P P P P P P P P P P P P54 MADHURI SONI P P P P P P P P P P P P P P P55 MANASVI JAIN P P P P P P P P P P P P P P56 MAYURI UJAWANE P P P P P P P P P P P P P P57 MAYURI JOSHI P P P P P P P P P P P P P P P P58 MAYURI MOHURLE P P P P P P P P P P P P P P

Name of student


Students Activity Attendance - 2015-16Name of activity- Vertical Studio

Date- 15/06/16 - 30/06/16 Semester/s- 3rd Sem

59 MAYURI ADWANI P P P P P P P P P P P P P P P P60 MAYURI DEODHAR P P P P P P P P P P P P P P P61 MONALI NAKHALE P P P P P P P P P P P P P62 NATASHA KAPAI P P P P P P P P P P P P P P63 NEELAM AGLAWE P P P P P P P P P P P P P P64 NEHA BHALERAO P P P P P P P P P P P P P P P P65 NIKITA BHOJWANI P P P P P P P P P P P P P P66 PARIDHI JAIN P P P P P P P P P P P P P P P P67 PAURAVI MEDPILWAR P P P P P P P P P P P P P P68 PAYAL LAKHANI P P P P P P P P P P P P P P69 PRACHI RUGHANI P P P P P P P P P P P P P P70 PRACHI TALMALE P P P P P P P P P P P P P P71 PRANJALI HINGNE P P P P P P P P P P P P P P P P72 PRANSHU LONDASE P P P P P P P P P P P P P73 PRATIKSHA BHUJADE P P P P P P P P P P P P P74 PRESHITA ANJANKAR P P P P P P P P P P P P75 PRIYANKA KHANDEKAR P P P P P P P P P P P P P P P P76 PRUTHA CHOUDHARI P P P P P P P P P P P P P P P77 R. SWATHI P P P P P P P P P P P P P P P P78 RADHA ZADE P P P P P P P P P P P P P P79 RAJSHREE SAMARTH P P P P P P P P P P P P P P P P80 REENI MANWATKAR P P P P P P P P P P P P P P81 RENUKA MAROTKAR P P P P P P P P P P P P P P P P82 RENUKA MORASKAR P P P P P P P P P P P P P83 RINA WADSARIYA P P P P P P P P P P P P P P P84 RITUPARNA AGRAWAL P P P P P P P P P P P P P P P85 RUCHIKA MANKAR P P P P P P P P P P P P P P P P86 RUTUJA GAWANDE P P P P P P P P P P P P P P P87 SAKSHI BAGANI P P P P P P P P P P P P P P P P88 SAKSHI UTTARWAR P P P P P P P P P P P P P P89 SAKSHI BHANSALI P P P P P P P P P P P P P P90 SAMIKSHA ZILPILWAR P P P P P P P P P P P P P P P91 SAMPADA KUMBHE P P P P P P P P P P P P P P P P92 SANSKRUTI POTEY P P P P P P P P P P P P P P93 SAONI RUIKAR P P P P P P P P P P P P P P P P94 SEJAL RATHI P P P P P P P P P P P P P P P95 SHARVARI MAHINDRE P P P P P P P P P P P P P P P P96 SHARVARI GAOPANDE P P P P P P P P P P P P P P P97 SHEETAL PRAJAPATI P P P P P P P P P P P P P P P98 SHIRISHA BIJWE P P P P P P P P P P P P P P P99 SHRADDHA HIRWADE P P P P P P P P P P P P P P

100 SHRAVYA DURGE P P P P P P P P P P P P P P P101 SHREYA PARMAR P P P P P P P P P P P P P P102 SHRIYA PATIL P P P P P P P P P P P P P P P103 SHRUSTI PATEL P P P P P P P P P P P P P P104 SHRUTI ABHYANKAR P P P P P P P P P P P P P P105 SHUBHIKA CHOUHAN P P P P P P P P P P P P P P P106 SHWETA PASARKAR P P P P P P P P P P P P P P P P107 SHWETA SOMKUWAR P P P P P P P P P P P P P108 SRUSHTI SAKHARE P P P P P P P P P P P P P P109 STUTI SRIVASTAVA P P P P P P P P P P P P P P P P110 SUMEDHA KARANDIKAR P P P P P P P P P P P P P P111 TRUPTI GANVIR P P P P P P P P P P P P P P P112 UJWALA SHENDE P P P P P P P P P P P P P P P P113 VAIBHAVI GHATE P P P P P P P P P P P P P P114 VAIBHAVI KALE P P P P P P P P P P P P115 VAIDEHI KOTHEKAR P P P P P P P P P P P P P P P116 VAISHNAVI DHARAMSHAHARE P P P P P P P P P P P P P P117 VAISHNAVI TADE P P P P P P P P P P P P P P P118 YASMEEN SHAIKH P P P P P P P P P P P P P P

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1 AISHWARYA GADHIKAR P P P P P P P P P P P P P P P2 AISHWARYA MESHRAM P P P P P P P P P P P P P3 AAKANKSHA CHOURASIA P P P P P P P P P P P P P P P P4 ALAIFIYAH JAMEEL P P P P P P P P P P P P P P P5 ANAGHA DESHPANDE P P P P P P P P P P P P P P6 ANISHA KARAMBELKAR P P P P P P P P P P P P P P7 ANJALI GURBANI P P P P P P P P P P P P P P P8 ANJALI PODUTWAR P P P P P P P P P P P P P P9 ANKITA CHIKHALE P P P P P P P P P P P P P P P

10 ANKITA PATIL P P P P P P P P P P P P P11 ANKITA KOTHARI P P P P P P P P P P P P P P P12 ANKITA JAMBHULKAR P P P P P P P P P P P P P P P P13 ANUJA KALE P P P P P P P P P P P P P14 ANUJA SARDA P P P P P P P P P P P P P P15 ANUSHA BATRA P P P P P P P P P P P P P P16 ANUSHKA ARORA P P P P P P P P P P P P P P P17 ANUSHREE HARDE P P P P P P P P P P P P P18 ASHWINI PALIWAL P P P P P P P P P P P P P P19 ASHWINI DESAI P P P P P P P P P P P P P P20 ASHWINI WASNIK P P P P P P P P P P P P P P P21 AVANI SATHE P P P P P P P P P P P P P22 BHAVIKA MAHAKALKAR P P P P P P P P P P P P P P P P23 CHAITALI ASUTKAR P P P P P P P P P P P P P P24 DIKSHA GUPTA P P P P P P P P P P P P P P P25 DIVYA TADAS P P P P P P P P P P P P P P26 GARGI MADHIKAR P P P P P P P P P P P P P P27 HARITIMA BAJPAI P P P P P P P P P P P P P28 HIMANSHI NIKHARE P P P P P P P P P P P P P29 ISHITA BARALIYA P P P P P P P P P P P P P P P30 JAGRUTI BANSOD P P P P P P P P P P P P P31 JEHAL PATEL P P P P P P P P P P P P P32 KAJAL RAOO P P P P P P P P P P P P P P P33 KALYANI BISEN P P P P P P P P P P P P P P P34 KALYANI YERAWAR P P P P P P P P P P P P P35 KASTURI GOKHALE P P P P P P P P P P P P P P36 MANASWI BOTHLIKAR P P P P P P P P P P P P P P37 MEGHA AGRAWAL P P P P P P P P P P P P P P38 MINAL KASAT P P P P P P P P P P P P P P39 MONIKA KAPGATE P P P P P P P P P P P P P P P40 MRUNALINI JAGTAP P P P P P P P P P P P P P P P P41 MUSKAN AGRAWAL P P P P P P P P P P P P P P P P42 NIDHI SELUKAR P P P P P P P P P P P P43 NIKITA GOLCHA P P P P P P P P P P P P P P P P44 NIKITA MAHURKAR P P P P P P P P P P P P P P45 NIKITA BIRE P P P P P P P P P P P P P P46 NIKITA DATE P P P P P P P P P P P P P P P P47 NIKITA JAIN P P P P P P P P P P P P48 NOOPUR SEN P P P P P P P P P P P P P P P49 PALAK BANSAL P P P P P P P P P P P P P P P50 PARIMAL WANDILE P P P P P P P P P P P P P51 PARIDHI JAIN P P P P P P P P P P P P P P P52 PRANJALI MAHISBADWE P P P P P P P P P P P P P P P53 PURVI BANODE P P P P P P P P P P P P P P54 RAJASHRI SAKARIA P P P P P P P P P P P P P P P55 RASHMI THAKRE P P P P P P P P P P P P P P P56 RITIKA RAJ P P P P P P P P P P P P P P57 RUTUJA ADHAU P P P P P P P P P P P P P P P58 SAKINA JOSH P P P P P P P P P P P P P P

Name of student



Date- 15/06/16 - 30/06/16 Semester/s- 5th Sem

59 SAKSHI VISHWANATHWAR P P P P P P P P P P P P P P P60 SAKSHI GOLCHA P P P P P P P P P P P P P P P61 SAKSHI GANGAL P P P P P P P P P P P P P P P62 SALONI AGRAWAL P P P P P P P P P P P P P P63 SANA NAAZ JAMEEL P P P P P P P P P P P P P P P64 SANNIDHI PANSE P P P P P P P P P P P P P P65 SANZI BAJAJ P P P P P P P P P P P P P P P66 SHEFALI GABADA P P P P P P P P P P P P P P67 SHILPA KUKREJA P P P P P P P P P P P P P68 SHIVALIKA ARORA P P P P P P P P P P P P P P P69 SHIVANI KANFADE P P P P P P P P P P P P70 SHIVANI SONI P P P P P P P P P P P P P P P71 SHIVANI SHARMA P P P P P P P P P P P P P P P P72 SHRUSHTI NIGHOT P P P P P P P P P P P P P P P73 SRISHTI AGRAWAL P P P P P P P P P P P P74 SHRUTI KHANDELWAL P P P P P P P P P P P P P P P P75 SHUBHANGI BHAJIPALE P P P P P P P P P P P P P P P76 SWETA PEDNEKAR P P P P P P P P P P P P P P77 SOMYA BOHRA P P P P P P P P P P P P P P P P78 SONALI HINGAWE P P P P P P P P P P P P P P79 SOUMYA NAKHAT P P P P P P P P P P P P P P P P80 SUPRIYA BAWISKAR P P P P P P P P P P P P P P P81 SWETHA SAJEE P P P P P P P P P P P P P P P P82 TANVI OKE P P P P P P P P P P P P P P83 TAVLEEN BHATIA P P P P P P P P P P P P P P P84 VAIDEHI AKULWAR P P P P P P P P P P P P P P P85 VAISHNAVI CHARDE P P P P P P P P P P P P P P P86 VAISHNAVI MAYEE P P P P P P P P P P P P P P P87 VAISHNAVI UPGANLAWAR P P P P P P P P P P P P P P P P88 VAISHNAVI THAWKAR P P P P P P P P P P P P P P P89 VAISHNAVI BHUTADA P P P P P P P P P P P P P P P90 VAISHNAVI KHARATE P P P P P P P P P P P P P P P

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1 AATEKA SHAKIR P P P P P P P P P P P P P P P2 AISHWARYA THAKUR P P P P P P P P P P P P P P3 AKANKSHA AGRAWAL P P P P P P P P P P P P P P P P4 AKSA KONDOOR P P P P P P P P P P P P P P P5 AKSHITA RATHI P P P P P P P P P P P P P P P6 AMRUTA PATHAK P P P P P P P P P P P P P P P7 ANKITA JAMDAR P P P P P P P P P P P P P P P P8 ANKITA SHARMA P P P P P P P P P P P P P P9 ANKITA KHAMBALKAR P P P P P P P P P P P P P P P P

10 ANSHIKA GUPTA P P P P P P P P P P P P P P11 APURWA PANDE P P P P P P P P P P P P P P P12 ARPITA GANGWAL P P P P P P P P P P P P P P P P13 ASHMIKA KELAPURE P P P P P P P P P P P P P P P P14 ASHWINI RAGIT P P P P P P P P P P P P P15 AVANTIKA MANKAR P P P P P P P P P P P P P P P16 AYUSHI GATAGAT P P P P P P P P P P P P P P17 AYUSHI GOSAVI P P P P P P P P P P P P P P18 AYUSHI THAWARE P P P P P P P P P P P P P P P19 AZMEEN KHAN P P P P P P P P P P P P P P P20 BHUMIKA CHANDWANI P P P P P P P P P P P P P P P21 BHAKTI PADIA P P P P P P P P P P P P P P22 CHAITALI PALKRITWAR P P P P P P P P P P P P P P P23 CHITROTPALA SINGH P P P P P P P P P P P P P P24 DHWANI PATEL P P P P P P P P P P P P P P25 DISHA KHETAN P P P P P P P P P P P P P P26 DIVYA CHANDAK P P P P P P P P P P P P P P P27 DRISHTI BATRA P P P P P P P P P P P P P P P P28 FALEKUL RAHIM P P P P P P P P P P P P P P P P29 GAURI GADHAVE P P P P P P P P P P P P P P P P30 HARSHITA BAWANKAR P P P P P P P P P P P P P P P P31 HIMASHREE BARCHAMUA P P P P P P P P P P P P P P P32 HIMALI HARDAS P P P P P P P P P P P P P P P P33 HIMANI MADAME P P P P P P P P P P P P34 INDRANI UMREDKAR P P P P P P P P P P P P P P P P35 ISHA MISHRA P P P P P P P P P P P P P P36 KALYANI KOLHE P P P P P P P P P P P P P P37 KAMALAJA TAMBOLI P P P P P P P P P P P P P P P38 KASTURI BHANDAKKAR P P P P P P P P P P P P P P39 KOMAL TIPATRE P P P P P P P P P P P P P P P P40 KRISHNA RATHI P P P P P P P P P P P P P P41 KRUTIKA ADMANE P P P P P P P P P P P P P P P42 LAXMI GADGE P P P P P P P P P P P P P P43 MAIRANG LAIMADEVI P P P P P P P P P P P P P P P P44 MAITREYEE JOSHI P P P P P P P P P P P P P45 MAITREYI PARKHI P P P P P P P P P P P P P P46 MANASI SHARMA P P P P P P P P P P P P P P P47 MANASI BANNATWALA P P P P P P P P P P P P P48 MONALI DHOK P P P P P P P P P P P P P P49 MRINAL BANKAR P P P P P P P P P P P P P50 NEHA ZUNKE P P P P P P P P P P P P P P P51 NEHA VIGHNE P P P P P P P P P P P P P P P52 NEHA SHARMA P P P P P P P P P P P P P P P53 OJASWINI SADHU P P P P P P P P P P P P P P54 OINDRILA GUHA P P P P P P P P P P P P P P55 POOJA MEHERE P P P P P P P P P P P P P P56 POOJA PATARE P P P P P P P P P P P P P P57 POOJA DHABALE P P P P P P P P P P P P P P P P58 POONAM KALKAR P P P P P P P P P P P P P P

Name of activity- Vertical StudioDate- 15/06/16 - 30/06/16 Semester/s- 7th Sem

Name of student


Students Activity Attendance - 2015-16

59 PRACHI ADMANE P P P P P P P P P P P P P P60 PRAGYA HOTWANI P P P P P P P P P P P P P P P61 PRAGYA JAIN P P P P P P P P P P P P P P P62 PRANJAL MORE P P P P P P P P P P P P P P P63 PRANJALI NAMPALLIWAR P P P P P P P P P P P P P P P64 PRERNA NAGPURKAR P P P P P P P P P P P P P P65 PRIYALI RAPOSO P P P P P P P P P P P P P P P66 PRIYANKA JOSHI P P P P P P P P P P P P P P P P67 PRIYANKA RAJGIRE P P P P P P P P P P P P P P P P68 PRIYANKA AMBULKAR P P P P P P P P P P P P P P P69 PRUTHA TADAS P P P P P P P P P P P P P70 RADHIKA PURANIK P P P P P P P P P P P P P P P P71 RASHMI GIRHE P P P P P P P P P P P P P P72 RASIKA SINNARKAR P P P P P P P P P P P P P P P P73 RENUKA BONDE P P P P P P P P P P P P P P74 RENUKA GOUR P P P P P P P P P P P P P75 RENUKA JOSHI P P P P P P P P P P P P P P P P76 RENUKA TAPPE P P P P P P P P P P P P P P77 RIDDHI KOCHAR P P P P P P P P P P P P P P78 RIDDHI SARDA P P P P P P P P P P P P P P P79 RIYA SHAHANE P P P P P P P P P P P P P P P80 RUTIKA HEGE P P P P P P P P P P P P P P81 RUCHI NINAWE P P P P P P P P P P P P P P P82 SAKSHI KANKARIYA P P P P P P P P P P P P P P P P83 SAKSHI PANDYA P P P P P P P P P P P P P P P84 SALONI GANVIR P P P P P P P P P P P P P P P85 SALWA MIRZA P P P P P P P P P P P P P86 SAMRUDDHI WANKHADE P P P P P P P P P P P P P P P87 SAMRUDDHI DESHMUKH P P P P P P P P P P P P P P P88 SANCHITA MULEY P P P P P P P P P P P P P P89 SANJANA BHANGADIA P P P P P P P P P P P P P P90 SAYALI PITALE P P P P P P P P P P P P P P P91 SHARAYU LOKHANDE P P P P P P P P P P P P P92 SHATAKSHI AMBULKAR P P P P P P P P P P P P P P P P93 SHIKHA ROTELE P P P P P P P P P P P P P P P94 SHIVANI DESHPANDE P P P P P P P P P P P P P P P P95 SHREEYA WAGHMARE P P P P P P P P P P P P P P96 SHREYA DHAMGAYE P P P P P P P P P P P P P P P P97 SHREYA JAIN P P P P P P P P P P P P P P98 SHRIYA LUNAWAT P P P P P P P P P P P P P P P P99 SHRUTI CHOUDHARY P P P P P P P P P P P P P P P

100 SHUBHITA JAIN P P P P P P P P P P P P P101 SNEHA URKUDE P P P P P P P P P P P P P P102 SNEHAL KAPSE P P P P P P P P P P P P P P P103 SNEHAL NARKHEDE P P P P P P P P P P P P P P P104 SOMYA DESHRAJ P P P P P P P P P P P P P P P P105 SONALI METE P P P P P P P P P P P P P P106 SONAM KUMAR P P P P P P P P P P P P P P P107 SURABHI BAIS P P P P P P P P P P P P P P P108 SHWETA SHARMA P P P P P P P P P P P P P P P109 C. TANYA RAO P P P P P P P P P P P P P P P P110 TASNEEM ATHER P P P P P P P P P P P P P111 URUSA - P P P P P P P P P P P P P P P P112 VAIDEHI DESHMUKH P P P P P P P P P P P P P P113 VAISHNAVI GOKHALE P P P P P P P P P P P P P P P P114 VAISHNAVI KHONDE P P P P P P P P P P P P P P P115 VALLARI FADNAIK P P P P P P P P P P P P P P P P116 VINAYA ADHAU P P P P P P P P P P P P P P117 VISHAKHA YENDE P P P P P P P P P P P P P P P P118 YASHSHREE KARANDIKAR P P P P P P P P P P P P P P P P



JOINT STUDIO

With the initiative of Prof. Vijay Munshi joint studio is conducted every year with an aim to make the students socially responsible, to make them understand urban area issues and propose relevant solutions to resolve the identified problems by innovative and conscious approach to architectural and urban issues evolving an architectural design program.

The other objective of the joint studio is also to develop team work skills, stimulate their creativity and encourage student- student and student- teacher interaction. The students of all the semesters are divided in vertical groups of 10 students in each group and teacher mentors are allotted for guidance.

SESSION 2015-2016 REDEVELOPMENT OF RESIDENTIAL LAYOUTS

The speedy population growth in urban areas due to migration of people from rural to urban and small cities to large ones are creating problems such as urban overcrowding, poor housing, and crowded transportation, lack of basic services, ill health, low educational status and high rate of joblessness. Such problems in the less developed countries may become heightened. It was felt necessary that studies should be undertaken on the patterns of urbanization, observe the process so as to lessen its unfavorable consequences. India, the second most crowded country in the world has reached a state where urban problems have assumed to be serious. What is actually the support and function of architecture in times of growing economic and political instability and its repercussions on housing? Is architecture forced to rely on its own knowledge, its own form in these times, or, and how to include other disciplines in co-creating the living standards? The project began with a tour to the identified residential areas of Nagpur with identification of issues of these places. The study of socio cultural, socio economic aspects and other issues were identified with interaction with the residents which was graphically represented and proposals were given. One or two architectural design program was evolved based on this study.

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1 AISHWARYA GADHIKAR P P P P P P P P P2 AISHWARYA MESHRAM P P P P P P P3 AAKANKSHA CHOURASIA P P P P P P P P P4 ALAIFIYAH JAMEEL P P P P P P P P5 ANAGHA DESHPANDE P P P P P P P P6 ANISHA KARAMBELKAR P P P P P P P P P7 ANJALI GURBANI P P P P P P P P P8 ANJALI PODUTWAR P P P P P P P P9 ANKITA CHIKHALE P P P P P P P P P

10 ANKITA PATIL P P P P P P P11 ANKITA KOTHARI P P P P P P P P12 ANKITA JAMBHULKAR P P P P P P P P P13 ANUJA KALE P P P P P P P P14 ANUJA SARDA P P P P P P P15 ANUSHA BATRA P P P P P P P P16 ANUSHKA HOTE P P P P P P P P P17 ANUSHKA ARORA P P P P P P P P18 ANUSHREE HARDE P P P P P P P P19 ARYA DIKHOLE P P P P P P P P20 ASHVITA PARATE P P P P P P P P P21 ASHWINI PALIWAL P P P P P P P22 ASHWINI DESAI P P P P P P P P P23 ASHWINI WASNIK P P P P P P P P24 AVANI SATHE P P P P P P P P25 BHAVIKA MAHAKALKAR P P P P P P P P P26 CHAITALI ASUTKAR P P P P P P P27 DHANASHREE PATIL P P P P P P P P P28 DIKSHA GUPTA P P P P P P P P29 DIVYA NOTANI P P P P P P P P P30 DIVYA TADAS P P P P P P P P P31 EKTA DHARAMSI P P P P P P P P32 GARGI MADHIKAR P P P P P P P P33 HARITIMA BAJPAI P P P P P P P P P34 HIMANSHI NIKHARE P P P P P P P P P35 INA JAIN P P P P P P P P P36 ISHITA BARALIYA P P P P P P P P P37 JAGRUTI BANSOD P P P P P P P P38 JEHAL PATEL P P P P P P P P39 KAJAL RAOO P P P P P P P P P40 KAJAL SANGANI P P P P P P P P P41 KALYANI BISEN P P P P P P P P P42 KALYANI YERAWAR P P P P P P P43 KARTIKA BIJWAR P P P P P P P P P44 KASTURI GOKHALE P P P P P P P P45 LAVANYA SAINI P P P P P P P46 MANASWI BOTHLIKAR P P P P P P P P P47 MEGHA AGRAWAL P P P P P P P48 MINAL KASAT P P P P P P P P49 MONICA FATODE P P P P P P P P50 MONIKA KAPGATE P P P P P P P P51 MRUNALINI JAGTAP P P P P P P P P P52 MUSKAN AGRAWAL P P P P P P P P53 NEELAM AGLAWE P P P P P P P P P


Name of student

Date- 15/06/15 - 23/06/15 Semester/s- 3rd Sem


54 NIDHI SELUKAR P P P P P P P P55 NIKITA MEHTA P P P P P P P P56 NIKITA GOLCHA P P P P P P P57 NIKITA MAHURKAR P P P P P P P P P58 NIKITA BIRE P P P P P P P59 NIKITA DATE P P P P P P P P P60 NIKITA JAIN P P P P P P P P61 NOOPUR SEN P P P P P P P P62 PALAK BANSAL P P P P P P P63 PARIMAL WANDILE P P P P P P P P64 PARIDHI JAIN P P P P P P P P P65 PRANJALI MAHISBADWE P P P P P P P P66 PREETI KEDAR P P P P P P P P67 PURVI BANODE P P P P P P P68 RACHANA MARJIVE P P P P P P P P69 RADHIKA VARMA P P P P P P P70 RAJASHRI SAKARIA P P P P P P P P71 RASHMI THAKRE P P P P P P P P P72 REEMA KAPSE P P P P P P P P P73 RITIKA RAJ P P P P P P74 RUTUJA ADHAU P P P P P P P P P75 SAKINA JOSH P P P P P P P P P76 SAKSHI VISHWANATHWAR P P P P P P P P77 SAKSHI GOLCHA P P P P P P P P P78 SAKSHI GANGAL P P P P P P P79 SALONI AGRAWAL P P P P P P P P P80 SANA NAAZ JAMEEL P P P P P P P P81 SANNIDHI PANSE P P P P P P P P P82 SANZI BAJAJ P P P P P P P P83 SHAMLI DONODE P P P P P P P P P84 SHEFALI GABADA P P P P P P P P85 SHILPA KUKREJA P P P P P P P P P86 SHIVALIKA ARORA P P P P P P P P87 SHIVANI KANFADE P P P P P P P P P88 SHIVANI SONI P P P P P P P P89 SHREYA MOHTA P P P P P P P P P90 SHRUSHTI NIGHOT P P P P P P P P91 SRISHTI AGRAWAL P P P P P P P P P92 SHRUTI KHANDELWAL P P P P P P P P93 SHRUTIKA BAWANKAR P P P P P P P P P94 SHUBHANGI BHAJIPALE P P P P P P P P95 SWETA PEDNEKAR P P P P P P P P P96 SOMYA BOHRA P P P P P P P P P97 SUNAKSHI SHAH P P P P P P P P P98 SONALI HINGAWE P P P P P P P P99 SOUMYA NAKHAT P P P P P P P P

100 SUPRIYA BAWISKAR P P P P P P P P101 SWETHA SAJEE P P P P P P P P P102 TANVI OKE P P P P P P P P P103 TAVLEEN BHATIA P P P P P P P104 VAIDEHI AKULWAR P P P P P P P P105 VAISHNAVI CHARDE P P P P P P P P106 VAISHNAVI MAYEE P P P P P P P P P107 VAISHNAVI BONDRE P P P P P P P P P108 VAISHNAVI UPGANLAWAR P P P P P P P109 VAISHNAVI THAWKAR P P P P P P P P P110 VAISHNAVI SHINDE P P P P P P P

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1 AATEKA SHAKIR P P P P P P P P P2 AISHWARYA THAKUR P P P P P P P3 AISHWARYA KANDGE P P P P P P P P4 AKANKSHA AGRAWAL P P P P P P P P P5 AKSA KONDOOR P P P P P P P6 AKSHITA RATHI P P P P P P P P P7 AMRUTA PATHAK P P P P P P P P P8 ANKITA JAMDAR P P P P P P P P9 ANKITA SHARMA P P P P P P P P P

10 ANKITA KHAMBALKAR P P P P P P P P11 ANSHIKA GUPTA P P P P P P P12 ANUSHKA GOYAL P P P P P P P P13 ANUPRITA MANDADE P P P P P P P P14 APURVA JAKKULWAR P P P P P P P P P15 APURWA PANDE P P P P P P P16 ARPITA GANGWAL P P P P P P P P P17 ASMITA CHAVAN P P P P P P P P18 ASHMIKA KELAPURE P P P P P P P P19 ASHWINI RAGIT P P P P P P P P P20 AVANTIKA MANKAR P P P P P P P P21 AYUSHI GATAGAT P P P P P P P P P22 AYUSHI GOSAVI P P P P P P P23 AYUSHI JAIN P P P P P P P P P24 BHUMIKA CHANDWANI P P P P P P P25 BHAKTI PADIA P P P P P P P P26 CHAITALI PALKRITWAR P P P P P P P P P27 DHANASHREE BOKARE P P P P P P P P P28 DHWANI PATEL P P P P P P29 DISHA KHETAN P P P P P P P P P30 DIVYA CHANDAK P P P P P P P P P31 DRISHTI BATRA P P P P P P P P32 GAURI GADHAVE P P P P P P P P P33 HARSHITA BAWANKAR P P P P P P P P34 HIMASHREE BARCHAMUA P P P P P P P P P35 HIMALI HARDAS P P P P P P P P36 HIMANI MADAME P P P P P P P P37 INDRANI UMREDKAR P P P P P P P P P38 ISHA MISHRA P P P P P P P P39 KALYANI KOLHE P P P P P P P P40 KALYANI BADHIYE P P P P P P P P P41 KAMALAJA TAMBOLI P P P P P P P42 KASTURI BHANDAKKAR P P P P P P P P P43 KOMAL TIPATRE P P P P P P P44 KRISHNA RATHI P P P P P P P P P45 KRUTIKA ADMANE P P P P P P P46 LAXMI GADGE P P P P P P P P P47 MAIRANG LAIMADEVI P P P P P P P P P48 MAITREYEE JOSHI P P P P P P P P49 MAITREYI PARKHI P P P P P P P P50 MAMTA KANJWANI P P P P P P P P P51 MANASI SHARMA P P P P P P P52 MANASI BANNATWALA P P P P P P P P P53 MONALI DHOK P P P P P P P P54 NEHA ZUNKE P P P P P P P P55 NEHA VIGHNE P P P P P P P P56 NEHA SHARMA P P P P P P P P P57 OJASWINI SADHU P P P P P P P P58 OINDRILA GUHA P P P P P P P P P

Name of student



Date- 15/06/15 - 23/06/15 Semester/s- 5th

59 POOJA MEHERE P P P P P P P P P60 POOJA PATARE P P P P P P P P P61 PRACHI ADMANE P P P P P P P P62 PRAGYA HOTWANI P P P P P P P P63 PRAGYA JAIN P P P P P P P P P64 PRANAL DAHAT P P P P P P P65 PRANJAL MORE P P P P P P P P P66 PRANJALI NAMPALLIWAR P P P P P P P P P67 PRERNA NAGPURKAR P P P P P P P68 PRIYALI RAPOSO P P P P P P P69 PRIYANKA JOSHI P P P P P P P P P70 PRIYANKA RAJGIRE P P P P P P P P P71 PRIYANKA AMBULKAR P P P P P P P72 PRUTHA TADAS P P P P P P P P73 RADHIKA PURANIK P P P P P P P P P74 RASHMI GIRHE P P P P P P P75 RASIKA SINNARKAR P P P P P P P P P76 RENUKA BONDE P P P P P P P P P77 RENUKA GOUR P P P P P P P P78 RENUKA JOSHI P P P P P P P79 RENUKA TAPPE P P P P P P P P P80 RIDDHI KOCHAR P P P P P P P P81 RIDDHI SARDA P P P P P P P82 RIYA SHAHANE P P P P P P P P83 RUTIKA HEGE P P P P P P P P P84 RUCHI NINAWE P P P P P P P P85 SAKSHI KANKARIYA P P P P P P P P86 SAKSHI PANDYA P P P P P P P P P87 SALONI GANVIR P P P P P P P P P88 SAMRUDDHI WANKHADE P P P P P P P89 SANCHITA MULEY P P P P P P P P P90 SANJANA BHANGADIA P P P P P P P91 SAYALI PITALE P P P P P P P P P92 SHARAYU LOKHANDE P P P P P P P P P93 SHATAKSHI AMBULKAR P P P P P P P P94 SHIKHA ROTELE P P P P P P P P P95 SHIVANI AGRAWAL P P P P P P P96 SHIVANI DESHPANDE P P P P P P P P P97 SHREEYA WAGHMARE P P P P P P P98 SHREYA DHAMGAYE P P P P P P P P P99 SHREYA JAIN P P P P P P P

100 SHRIYA LUNAWAT P P P P P P P P P101 SHRUTI MOON P P P P P P P P102 SHRUTI AGRAWAL P P P P P P P P P103 SHRUTI CHOUDHARY P P P P P P P P P104 SHUBHITA JAIN P P P P P P P P P105 SNEHA URKUDE P P P P P P106 SNEHAL KAPSE P P P P P P P107 SNEHAL NARKHEDE P P P P P P P P P108 SOMYA DESHRAJ P P P P P P P P109 SONALI METE P P P P P P110 SONAM KUMAR P P P P P P P P P111 SURABHI BAIS P P P P P P P P P112 SHWETA SHARMA P P P P P P P P113 C. TANYA RAO P P P P P P P P114 TASNEEM ATHER P P P P P P P115 URUSA KHAN P P P P P P P P P116 VAIDEHI DESHMUKH P P P P P P P P117 VAISHNAVI GOKHALE P P P P P P P P P118 VINAYA ADHAU P P P P P P P P P119 VISHAKHA YENDE P P P P P P P P120 YASHSHREE KARANDIKAR P P P P P P P P121 ZOYA P P P P P P P

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5

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/201

5

1 AARTI MANGALMURTI P P P P P P2 AAYUSHI DUBEY P P P P P P P P P3 ABHAYA VARGHESE P P P P P P P P4 ADITI SHIVHARE P P P P P P P5 ADITI DWIVEDI P P P P P P P P6 AISHWARYA KUNDLEY P P P P P P P7 AKANKSHA JAISWAL P P P P P P P P8 AKANKSHA WADIBHASME P P P P P P P P9 AKSHATA LONARE P P P P P P P

10 AMISHA SETHI P P P P P P P P11 ANIE TEENA VARGHESE P P P P P P12 ANKITA CHAUHAN P P P P P P P P P13 ANKITA KABRA P P P P P P P14 ANKITA GOLCHHA P P P P P P P P P15 APURVA CHITRAKAR P P P P P P P P16 APURVA MANAPURE P P P P P P P P P17 ARCHI PARAKH P P P P P P P P18 ASHWINI NAIR P P P P P P P P P19 AVANTI KOTHALKAR P P P P P P20 BHAGYASHREE KASHYAP P P P P P P P P P21 BHAGYASHREE THAKRE P P P P P P P P22 BIDISHA BORAH P P P P P P P23 DAMINI BONDREKAR P P P P P P P P24 DARSHANA GUPTA P P P P P P P25 DIPANVITA CHAUDHARI P P P P P P P P P26 ESHVARYA JUNGHARE P P P P P P P P27 FATEMA IZZY P P P P P P P28 FATEMA SABIR P P P P P P P P P29 GLORY NICHOLAS P P P P P P P P P30 ISHA CHOUKSEY P P P P P P P P P31 KAJARI KOTHARI P P P P P P32 KALYANI GANDHI P P P P P P P P P33 KALYANI MULAR P P P P P P P P P34 KAMINI MANAPURE P P P P P P P P P35 KANIKA JAIN P P P P P P36 KETKI DAULATKAR P P P P P P P P P37 KRUTTIKA MOHITE P P P P P P P P P38 MADIHA PATEL P P P P P P P P39 MAHIMA MAHESHWARI P P P P P P P40 MAITREYEE FADNAVIS P P P P P P P P P41 MANPREET KAUR P P P P P P P P P42 MEGHA SAHU P P P P P P P P P43 MINAL LONARE P P P P P P P P P44 MOLSIRIE NANDANWAR P P P P P P P P P45 NANCY PATEL P P P P P P P46 NEHA SHARMA P P P P P P P P47 NEHA CHOUDHARY P P P P P P P P P48 NEHARIKA KOTHARI P P P P P P P P P49 NIKITA NIWAL P P P P P P P P50 NIKITA SAHU P P P P P P P P

Name of student



Date- 15/06/15 - 23/06/15 Semester/s- 7th Sem

51 NIKITA DEWANI P P P P P P P P52 NIKITA BOTHRA P P P P P P P53 PALAK HIRAWAT P P P P P P P54 PAWANI VAIDYA P P P P P P P P P55 PINAL SAVALIYA P P P P P P P P56 POOJA PANDYA P P P P P P P P P57 POOJA BURAD P P P P P P P P P58 PRACHI GOYAL P P P P P P P59 PRAGYA GUPTA P P P P P P P60 PRAKRATI JAIN P P P P P P P P P61 PRERNA CHAURASIA P P P P P P P P P62 PRIYANKA KHANORKAR P P P P P63 PURVA MUDLIAR P P P P P P P P P64 PURVA GANDHI P P P P P P P P P65 RACHEL JOSEPH P P P P P P P P66 RAJASHREE DHATRAK P P P P P P P P67 RITUJA LAMBE P P P P P P P P68 RUPALI NANDY P P P P P P P P P69 SAMEERA SHAW P P P P P P P P70 SHALAKA GUPTA P P P P P71 SHEETAL KASWA P P P P P P P P72 SHIKHA AGRAWAL P P P P P P P73 SHREYA RAI P P P P P P P74 SHRIYA DHARASKAR P P P P P P P75 SHRIYA KHANDELWAL P P P P P P P P P76 SIDDHI CHOUDHARI P P P P P P P77 SNEHA DAS P P P P P P P P78 SNEHAL MATEY P P P P P P P P P79 SOMYA AGRAWAL P P P P P P P80 SONALI SHARMA P P P P P P P P P81 SURABHI AGRAWAL P P P P P P P82 SURABHI MOHTA P P P P P P P P P83 SWATI CHUTE P P P P P P P P84 TRUPTI AGRAWAL P P P P P P P P85 VAISHALI GUPTA P P P P P P P P86 VAISHNAVI WAGHMARE P P P P P P P P87 VEDAHI MALL P P P P P P P P88 VEDANTI MHATRE P P P P P P P P P89 VISHAKHA KHAPEKAR P P P P P P P P90 VRIDHI RAWANI P P P P P P P P P91 VRUSHALI DHAKE P P P P P P P92 YAMINI GULRANDHE P P P P P P P P

OFFICE OF COLLECTOR-NAGPUR

&

HERITAGE COMMITTEE NAGPUR

Ideas Generating Open Competition

For

Kasturchand Park Ground, Nagpur

Introduction

Kasturchand Park is a ___acre prime central open space situated in the heart of city which is bounded

by public roads on all sides. It is an established happening place for multiple activities all around the

year. The place shall soon have connectivity with the Metro Rail.

The Office of Collector, Nagpur & Heritage Committee, Nagpur, announces an open design idea to

find a special solution for this open space which is a Grade I heritage in open category. The purpose is

to provide for landscape & environmental design, streamline the activities in an organized way,

providing essential public amenities, better control & maintenance management, etc, to make the

place livelier for public purposes.

Brief history of Kasturchand Park Ground

This large triangular piece of land is situated in the heart of the city opposite Reserve Bank of India

building. In 1908 AD, the ground was the venue of the Industrial Fair. Seth KasturchandDaga, who

pioneered the cotton trade in Vidarbha, donated Rs. 25,000/- for erecting a sandstone pavilion as a

permanent exhibit in the ground. The ground was named after him. Being the only large open space

with social, historical and architectural significance, the Kasturchand Park Ground is now owned by

State Government and is Grade I heritage of open space category. Architecturally significantCentral

Pavilion, Chhatri designed in Indo-Saracenic style is also a Grade I heritage structure. The pavilion is

square in shape with chamfered projected corners. It has 48 pillars with foliated arches. This two stage

pavilion has flat roof with sloping projections and small chhatris at four corners. The central higher

chhatri completes the composition. There is a bandstand near the pavilion, where the police band used

to play every evening during the British rule.

Social significance

Kasturchand Park Ground forms the key feature of city’s social, political and cultural life. All major

events from political rallies to Ravandahan on Vijayadashami take place on the ground. Throughout a

year, various events are being organised at large scale on ground like National exhibitions,

expositions, fairs, awareness programs and sports related events etc. Every large scale social activity

is witnessed by the ground. No one can deny its role as an integral part of Nagpur’s life.

Need to rejuvenate the present status

Fondly known as KP ground, the area is considered as an urban open space which has lot of potential

which is not yet explored. In spite of its central location, easy accessibility and large area, it is not

utilised innovatively and remained merely as multifunctional space. Such an important open spaceis

losing its role as an active urban open space at city as well as regional level. Now, with so much of

development happening in Nagpur, it’s time to rejuvenate this valuable piece of land to make it the

landmark & happening place of the city.

Call for ideas /concepts

The Office of Collector, Nagpur & Heritage Committee, Nagpur, invites innovative ideas, concepts

and schemes to utilize the KasturchandPark Ground without hampering its heritage status.

This is an opportunity for Architects,Designers,Students, NGO’s & Citizen of Nagpur to participate in

this unique ground breaking venture to submit proposal for the preserve& design up gradation of our

“Heritage open space”

The proposal should incorporate the following basics:-

1. Children’s play area

2. Playground.

3. Public meetings/Cultural events

4. Public Toilets/Amenities.

5. Walking track.

6. Parking.

7. Architectural lighting.

The ideas and concepts should address to the issuesof Maintenance, Security, Self-supporting revenue

generation, Allowable Commercial activities, management policy, etc. The thrust should be that the

Heritage Status of open space should be enhanced as example to be emulated.

The ideas, concepts and schemes can be in the form of an essay (not more than 3000 words), views

and sketches, drawing, power point presentation (not more than 10 slides) and models.

Awards:-

First Prize: Citation & Cash Prize of Rs_____________

Second Prize: Citation & Cash Prize of Rs_____________

Commendation Prize: Citation

The Jury-

Hon Collector, Nagpur

Municipal Commissioner, Nagpur

Architect P.K.Das, Mumbai

Architect Ashok Mokha

Prof UjjwalChakradeo,Principal, Smt. M.M College of Architecture.

(Alternate Jury member if required shall be nominated by the Collector, Nagpur)

Schedule for the competition

1. Publication of the competition notice:_________________

2. Deadline for submission:__________________

3. Assessment of submission:_______________

4. Publication of results:_______________________

‘Public notice draft’

OFFICE OF COLLECTOR & HERITAGE COMMITTEE

NAGPUR

KASTRUCHAND PARK HERITAGE OPEN SPACE GRADE I

IDEA GENERATING OPEN COMPTETITON

The Office of Collector, Nagpur & Heritage Committee, Nagpur, invites innovative ideas, concepts

and schemes to utilize the Kasturchand Park Ground without hampering its heritage status.

This is an opportunity for Architects, Designers, Students, NGO’s & Citizen of Nagpur to participate

in this unique ground breaking venture to submit proposal for the preserve & design up gradation of

our “Heritage open space”

The proposal should incorporate the following basics:-

1. Children’s play area

2. Playground.

3. Public meetings/Cultural events

4. Public Toilets/Amenities.

5. Walking track.

6. Parking.

7. Architectural lighting.

The ideas and concepts should address to the issues of Maintenance, Security, Self-supporting

revenue generation, Allowable Commercial activities, management policy, etc. The thrust should be

that the Heritage Status of open space should be enhanced as example to be emulated.

The ideas, concepts and schemes can be in the form of an essay (not more than 3000 words), views

and sketches, drawing, power point presentation (not more than 10 slides) and models.

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Women's Education Society,s

SMT. MANORAMABAI MUNDLE GOLLEGE OF ARCHITEGTURE,SEMINARY HILLS, NAGPUR

MELGHAT TIGER TECH AWARD'Melghat riger Tech 2018' an architectural design competition was organised by Tiger foundation

,Melghat riger Reserve, conceptualised as a platform where youths from various technical courses allacross the country propose projects and prototypes based as on a given set of challenges.

students of 3RD year B'Arch from wES society's sMMCA,seminary Hills Nagpur had parlcipatedand proposed a prototype Forest camp with maximum ventilation and indigenously designed, usingnon conventional energy and making use of echo friendly materiars in the reserved forest area.

Aksa Kundroo from finar year had proposed for water retention tanks

student's secured second position at the national level competition, the participants wereBhagyashree Girgaonkar, Anshula,Harshleen and Ameena ih"y *"r" guided by prof. shobhanaTembhurnikar the final presentation of the said competition *ri t,uto on 25th March 2018 at VNlrCampus.

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Workplace Architecture: The Local Universe Dr. Harimohan Pillai

Historically all over the world since humans took to agriculture, the main ‘Workplace’ for humans were the open field. The secondary workplaces were the crafts person’s spaces, such as carpenter, blacksmith, stone sculptors, brick makers, and all kind of artisans. Industrial revolution and mass production of goods created the new workplace called the factory. This new built form had little scope for aesthetic embellishment by crafts people hence they became the testing fields for creating new types of structural systems and large span and volume spaces for a process oriented planning of industries and related services.

The information revolution and the era of internet and software industry brought about a paradigm shift in design of workplace. Workplaces became creature comfort zones with related facilities for food, recreation and landscaped environment. Enclosed in glass and similar translucent materials the spaces acquired a globally uniform appearance in design, including dress codes as humans worked in energy guzzling conditioned environment.

As a team of architects working in a particular local environment what kind of corporate office environment do you think you would like to have for yourself, if you were the team leader and chief of the firm with twenty employees, with in house architectural, structural, MEP experts working together doing all kinds of projects from housing to institutional in a particular climatic and cultural zone.

How will you create for your own corporate architects’ office, a connection of the craftsman to the craft, materials and medium, and connection of the building to the context. This relationship is external. It also has a connection between its constituent parts internal. Craft thus has a physical, psychological, religious, geographical, geological relation? How will your office building/space represented local stories?

Architecture was always local, it was never global. It never aimed to be global. What’s local for architecture? How will the art and the craft fit with respect to architecture? Try to design your own corporate architects’ office to answer these questions.

First you are required to identify a region along with the local craft there. You have to study, document the art, folk, architecture, culture, traditions, customs, crafts etc. of the selected region. Further, you will investigate the applicability of that craft to the selected typology of an architects’ office.

The architects’ workplace will have all contemporary and futuristic facilities but will have an ethos in design which will connect the visitor to art, craft and architectural ethos of the region.

This calls for ‘Using space as a starting point of innovation’ as explained lucidly by Ar. Parthajeet Sarma in his recent publication. All students are required to get a copy of the same and read…

Workplace Architecture: The Local Universe Dr. Harimohan Pillai

Humans are wired to follow the path of least resistance. If one doesn’t have to do something, he or she will not do it. Technology has enabled humans to work from coffee shops and from home, reducing the need to go to work. The very meaning of work has changed for modern day workers where the workplace is no more a physical space. The new workplace is a blended space of the physical and the digital. The subconscious mind is like cruise control for humans and shapes behavior. The environment that one is in conditions the mind. At work, the workplace environment conditions quality of thinking. For organizations in a collaboration economy today, productivity depends on the quality of thinking, and not so much on efficiency. The blended workplace is the starting point of innovation for organizations that believe in innovation. Parthajeet Sarma delves into psychology, human evolution and science to draw connections with greatly changed expectations from work. In his third book, Parthajeet espouses the need for management to get out of codified theories. This facilitates a macro view, leading to a radical new meaning of work, workers and workplaces that is aligned with the organization’s vision for the future.

Date Mode Of Submission

10:00 To 11:00

10:00 To 11:00

PPT/ Photographs, Sketches,

interviews, Videos Etc.

B)Questionnaries to be worked out for all Jointly.

C)Working on Common Formats to document Study

2-Aug-18 11:30-12:30

7-Aug-18 Submit/Save at 1 place

8-Aug-18Suitable and desired formats

should be filled up

Identify 5 Questions per craft

which can be a part of

University Preparations of

Design Processes in ailled arts

14-Aug-18 If required revisit, Formulation of Design Program

Justification of Typology

15-Aug-18

16-Aug-18

21-Aug-18 Sheets, PPT, Models, Views

22-Aug-18

23-Aug-18

28-Aug-18

29-Aug-18

Compilation and showcase of Raw Data also discuss the ways

and possibilities of presenting Ar. Darshita

Guest Lecture: Dr. Yogesh Deshpande ,VNIT

Week 2

Architecture: The Local Universe

M.Arch : Sem III: July- Nov :2018

Week 1

31-Jul-18

Lecture by Dr. Guha: Project Managament

Co-ordinatorExpected Work

1-Aug-18

Online Submission

A)Presentations of Those who have visited the identified areas

: Followed by Discussion

Ar. Mahesh Mokha

Lecture by Dr. Sampada: Craft to Product Design

B)Your Response to the Idea of about the Local Universe. (Part

A+ Part B, roughly to be about 300-400 Words)

C)Design Brief for the II Year Students. (

200 Words)

A)Written Report about identified area of study, reasonS for

why the particular craft,Objectives, methodology, identified

reading material, references. (No images to be added)

Analysis Ar. Akansha

Working on AnalysisAr. Muktai, Ar.

Monika9-Aug-18

Lecture by Tarika Dagadkar on Sustainable Value of Craft

Week 3

Reasons of Eliminations and inclusions of information about

craft

Ar. Mahesh Mokha, Ar.

Harpreet

Ar. Priyanka

Review by Dr.Harimohan Pillai

Week 4

Design Ar.Vikrant

Week 5

Architecture: The Local Universe Dr. Harimohan Pillai

Human body is the center of the ‘Local Universe’. Wherever the body moves, it carries the entire universe around it, and brain learns from experiences gathered with the five senses. The first peripheral enclosure that humans create for themselves for the body, is clothing, suited to the climate of the region…if not, survival of the body in a healthy condition is not assured. Clothing in many ways controls body language, behavior, activities and customs born out of them, suitably nurtured by religious beliefs, which over a period of time gets the identity as ‘culture’ of the place. Clothing design is guided by comfort and two ‘orientations’ or ‘elevations’– front and rear, that define aesthetics of clothing. Clothing is the first shelter of the ‘local universe’ that protects the body. The second shelter is architecture. Architecture is rooted to a place, with place adaptive qualities enhanced by humans through art, craft, use of local materials and indigenously created structural systems. It has a logically fixed orientation, following the cardinal directions for appropriate light and ventilation to perform activities related to living, season after season. Thus the four elevations that contain the spatial universe for safe and comfortable circulation and activities of the bodies determine the aesthetics of the built ‘form’, suitably embellished with art and craft skills by humans who make them. To understand Architecture as The Local Universe of a culture, it is imperative that the following aspects be studied and documented in detail: ART, CRAFT, STRUCTURE, SPACE, LIGHT, VENTILATION, ACTIVITY, HUMAN SCALE AND PROPORTION

To understand the ‘Local Universe’ of humans in a particular culture it is important to first document all of the above aspects related to architecture of the place. In my opinion modernism, which came from the West, completely negated these aspects and like an addiction spread into all cultures of the world giving rise to several ‘isms’ of architecture.

The search of this studio should be to see if there could be an evolutionary localized ‘modernism’ in any culture…and design for the same…

Evolution of the City of NAGPUR

Submitted byAnuja Fattepuria Megha ChaudhariMonika Satpute Saba AzmiSatish Joshi Shraddha LokhandeShweta Kalamkar Yatin Moghe

W.E.S.Smt. Manoramabai Mundle College of Architecture

Seminary Hills, Nagpur

Guided byDr. Ujwala Chakradeo

Ar. Sanjeevani MohgaonkarAr. Renuka Chutke - Chakradeo

We express our sincere thanks to our respected Principal Dr. UjwalaChakradeo, Ar. Sanjeevani Mohgaonkar and last but not the least our

Studio III coordinator Ar. Renuka Chutke, whose constant help and guidance motivated us to study the evolution of the city of Nagpur.

We would also like to acknowledge Mr. S K. Chitale , Mr. Khushalrao Girheand Mr. Chandrashekhar Gupt, Dr. Neeta Lambe, Dr. Roopal Deshpande,

Dr. Madhura Rathod for their valuable inputs and suggestions which helped us in the preparation of this document.

Acknowledgement

Architecture and buildings are inseparable parts of a city. It is difficult to imagine a city without its building and architecture. City Architecture is itself a cultural ingredient.

Earlier the city was made familiarized to its inhabitants by stories, myths, folks, local festivals etc. As, the cities grew and acculturation happened, changed lifestyles , loosened this thread.

Plausible conjecture is one of the interesting means to study a city and to understand the manifestation of local history in context of all theories, manifestos, statements, geography, geology, social, historical and political scenario and in continuity..

Why study any city?

http://123rf.com

Introduction Architecture and building are inseparable parts of a city. It is difficult to imagine a city without its building and architecture. City Architecture is itself a cultural ingredient. We tried to understand the manifestation of local

history in context of all theories, manifestos, Statements, geography, geology, social, historical and political scenario.

By studying the architectural and social characteristics of Nagpur City in historical periods we tried to decipher and decode the evolution of the city.

EMPHASISThe study focuses mainly on the architectural

landmarks and major typologies evolved in Nagpur during the Bhonsale period and which are

reflections of the last phase of Maratha Architecture (also termed as Peshwa Style

Architecture.)

OBJECTIVEDeciphering the Evolution of Nagpur which dates back to about 7000 years with a glimpse into the pre-history, proto history and history of Nagpur from the period its presence finds mention, its reference in literature ,and immergence as a capital city with the help of written evidences,

folklores , local narratives, archaeological excavations, existing monuments and ruins.

LIMITATIONSThe decoding is limited to the evolution which spans from pre-historic period to the18th century A.D. which marks the

British takeover. The eventual colonization, is looked upon as modern history and hence not included in our

scope of work.

SCOPEThe emphasis is on available literature

and architectural landmarks which leave up to the day, which provide information

, cues , clues about the Gond’s, the Bhonsale’s, and the overlapping of their

historic timeline with associated architectural timeline ,marking the

important stages of development in the period from 17th Century to the early

phase of 19th Century

Introduction

Pre-HISTORIC

HISTORIC

GOND

BHONSALE

PLAUSIBLE CONJECTURE

Content

001400

Harrappan Civilization (3300-300 BC)

Satvahan Empire

1500 10001300 1200 9001100 800 600 500 400 300 200 100700

Mahajanpadas

322

Ramayan ?Mahabharat

MauryanEmpire

Vedic Civilization (3300-300 BC)

300100 400200

Kushan Empire

Ram,Sita and laxman in dandakaranya DANKARARANYA

Vidarbha was part of Chedi

kingdom one of the 16

mahajanapadas Vidarbh was part of mauryan kingdom Vidarbh was part of

satvahan kingdom

‘Rukmini’ wife of Lord Krishna, ‘Damayanti’ wife of king ‘Nal’, were from Vidarbh

HISTORICAL AND ARCHITECTURAL TIMELINE

500400 900600 700 1000800 1100 1300 1400 15001200

Vakatak Empire

ChalukyaEmpire

RashtrakutaEmpire

ShilaharasYadavs of Devgiri

Babar/Humayun/Ak-bar/ Jahangir/ ShahaJahan

Harshaw-ardhan

982

1317

Muslim Invasions

Gond Dynasty(1663-1738)

Bhonsales of Nagpur

1600

1630

1702

1640

1738

1808

Maratha Kingdom under Bristish Rule

• Fortification Wall (Parkot) with Gates

• Forts• Stepwell • Gond King Palaces • 4 Maruti Temple on four identical Direction

• Hemadpanti Temples• Water Bodies

Battl

e of

Si

tabu

ldi

Battl

e of

A

ssay

e

Vidarbh was part of Vakatak kingdom mention of

Nandi vardhan

Rajapur Barsa

Gawali Dynasty

Nagpur

Rajapur Barsa

• Chhaoni (Cantonment)

• Development of Fortification Wall

• Gates/Darwaja • Palaces, Wada's• Temples• Bagh • Waterbodies• Peth • Pura • Oli • Bawali• Samadhi

CP

and

Berra

r

Railw

ay Li

ne

1854

1870

HISTORICAL TIMELINE

Seetabuldi Hill

ARCHITECTURAL TIMELINE

Pre-Historic

Ramayana

MAHABHARATA

Janapad

Mahajanpad

Vidarbha during Ramayana period Vidarbha during Mahabharata period http://www.dharmsansar.com/2011/09/ancient-india-map.html

VIDARBHA DURING PREHISTORIC PERIOD

NAGPUR…HISTORIC REFERENCESThe first reference of Nagpur is found inscribed in copper plate discovered at Devali in neighboring Wardha district.

The Vakataka king shifted his capital to Nagardhan located 28 km away form Nagpur.

After Vakataka Kingdom,Nagpurfinds mention in Rashtrakutakingdom.

Villages adjoining to today’s Nagpur, like Ramtek, Nandivardhan, Pavnar, Adasa, Bhadravati, Kuhi, Mandhal, Ambhora, Pauni also finds mention.

Nagardhan

Why Vidarbha ?VI - DARBHA

‘Vi’ means to remove‘Darbha’ means a typical kind of grass,which has sharp edges on both sides

The settlement was on the ‘Varada tat’ (tat means bank of a water body)

Darbha www.d-maps.com

The river Varada divided the region into two equal parts.

Vidarbha may also seem to have got its name from a king named Vidarbha.

INDIA

MAHARSHTRA

NAGPUR

VIDA

RBHA

https://www.pinterest.com/pin/602286150140729725/

https://en.wikipedia.org/wiki/Vidarbha

https://www.apmcnagpur.com/

RULERS OF NAGPUR

GAWALIS(1640)- (SHEETALPRASAD AND

BADRIPRASAD)

GOND (1692)- BAKHT BULAND SHAH

(1738) – CHAND SULTAN (SON OF BAKHT BULAND SHAH)

BHONSALE (MARATHA)

(1730-1755) RAGHUJI I(1727- 1790) RAGHUJI II(1818-1853) RAGHUJI III

FIRST INHABITANTS OF NAGPUR

RAJAPUR BARSA

From ancient times all the settlements were located near water bodies, here also Nag river is the main source of water and hence the settlement of Rajapur Barsawas situated horizontally along the flow of Nag River.

Futala

Gadge

Lendhra

Seetabaldi

Mahal

Bhankheda

Hivari

Sakkardara

Harpur

Wathoda

Nag River

Raipur

Futala talav

Jumma talav

Ambazari talav

GOND•Historical background

•Architectural Development

1663 - 1738

•The origin of Gond Dynasty was in Deogarh,(M.P.)

•They shifted their capital from Deogarh to Nagpur to form a society in 1702.

• Gonds ruled for 75 years in Nagpur.

• There were 8 descendent and the last king was Vallishah who was defeated by Raghuji .

•Bakht Buland Shah (First Gond ruler of Nagpur) selected Nagpur as a Capital.

•8 Rulers of Gond-Jatba-Koksha-Bakht Buland shah-Chand Sultan-Mir Bahadur-Akbarshah-Burhanshah-Walishah

Bakht Buland Shah Chand Sultan(1709-1735)

(Most of the Architectural development happened under these two Gond rulers )

(1686-1709)

HISTORICAL BACKGROUND

(Ref - Deogarh che Gond Raje- Dr. B. R. Andhare)

BOUNDARY OF NAGPUR CITY UNDER GONDS

Seetabaldi HillsParkot

Nag River

PARKOT• The wall which was built for protection

and security of settlement is termed as PARKOT.

• The wall was rectangular mud wall about 3 Miles along, 12 ft broad and 12-15 ft high enclosed about 850 acres of leveled ground.

Protection of Settlement by Gond King

Portion of Parkot in present day

ARCHITECTURAL SIGNIFICANCE

ARCHITECTURAL DEVELOPMENT

Jumma Darwaja

Aditwar Darwaja

Budhwar Darwaja

Bhandar Darwaja

UmrerDarwaja

Bhutiya Darwaja

Pachgaon UmrerTulsibag

Jumma Darwaja :-Situated in west side.It gives the linked to the walled town with the 16th century Jamuna Talao and the fields on the bank and the sitabuldimilitary camp.Also gives contact with western suburb.

Bhutiya Darwaza:-Situated in south east.Outlet to Nag stream Passage connecting the trade route the southern Highway at Ajni village.Current state:- only plinth is remaning

The Umred Darwaja:-Situated in the east Provided the contact with flourishing lower wyneganga valley ( Umrer & chanda).Current state:- it is fully demolished but the location traced is in kapthan wada.

Bhandar Darwaza:-Situated in NortheastOpening to keep contact with fertile rice producing plains of Mahanadi river.(Chattisgarh)Current state:- it is fully demolished but the location traced is behind the .

Budhwar & Aditwar Darwaza:-Situated in Northcontact with 15th century Jagnath Budhwaritemple and trade route Great NorthenHighway

Portion Of The Old Gond Fort, Nagpur

Gateway of Gond Palace Nagpur

Entrance Gate of Gond Palace in Nagpur (1973)

(Ref - Deogarh che Gond Raje- Dr. B. R. Andhare)

Palace Of Gond King (Present day)



Palace of Gond king (present day)

Step Well in the palace of Gond king

Gateway of Gond Palace Gateway of Gond Palace (present day)


MARATHA EMPIRE IN INDIA

BHONSALE•Historical background

•Architectural Development•Socio Cultural Background

1738- 1808

BHONSALE PERIODIn 1738, Parsoji Bhonsale was appointed as a governor of Nagpur by Maratha King Rajaram, the descendent of Shivaji.

He overtook the entire Gond Kingdom.

1765 - 1867Mahal area was developed under Bhonsales.Most of the architectural development happened under Raghuji II

Bhonsales extended and modified the settlements.

Bhonsales also built fort outside city town, known as Seetabaldi Fort overlooking the main city.

Raghuji II

BOUNDARY OF NAGPUR CITY UNDER BHONSALE RULE

OLI’S IN NAGPURThe typology of streets (Oli) were derivative of the occupations being practiced there traditionally. Sonar oli, Chitar oli, Kirana oli, Loha oli, Dal oli, Resham oli, Kasar oli , Sarafa Oli etc are amongst few of them.

OLI’S IN NAGPUR

CHITAR OLI: • Chitar Lane’ is one of such traditional Streets that was established during Bhonsale regime

some 250 years back, essentially to render craftsmen support system to the Nagpur town.• Famous painters and sculptors use to stay here.• Chitar word is derived from “chitarne” which in Marathi means to draw. • Since the painters and sculptors used to stay here the street got its name as Chitar oli.• Over the period of time, the street experienced and sustained various socio-economic and

political changes. • With decline of Bhonsale regime, the royal patronage to the street was withdrawn.

Sarafa oliChitar oliLoha oli

PURAPura defines the lifestyle and employment of the community which live in that area. As mentioned in the history there were in all 26 purain Bhonsale Period.

1.Gosavipura2.Gosaipura3.Nurapura4.Kumbharpura5.Baraipura6.Telipura 7.Tumripura8. Telangipura9.Sataranjipura10.Jurapura11.Tubikpura12.Mokaripura13.Pattharpura

The place where people from KUMBHAR community had there houses was known as KUMBHARPURA

14.Bhaldarpura15.Joharipura16.Kalupura17.Kachipura18.Belpura19.Gondhalipura20.Chambharpura21.Brahminpura22.Chitanavispura23.Pujaripura 24.Guravpura25.Gharpurepura26.Fadnivispura

CURRENT BOUNDARY OF NAGPUR

PURAS IN NAGPUR

1.Mominpura 2.Hansapura3.Satranjipura 4.Kumbharpura5.Chitnavispura 6.Mokaripura7.Tubikpura 8.Bhaldarpura9.Fadnavispura

CITY BOUNDARY UNDER BHOSLE RULE

PETHPeth defines weekly bazar. There were 14 peths in Nagpur during Bhonsale Period. A peth in Marathi language, means a locality or an area, a component of the evolving organic city pattern developed under the peshwa architecture phase.

Peth as an urban fabric originated in Pune which was once known as the “City of Peths”

1. Adithwarpeth2. Chimabaipeth3. Ganeshpeth4. Tarkipeth5. Zumkipeth6. Siraspeth7. Dharampeth8. Vakilpeth9. Kanojipeth10.Parsolipeth11.Appasahebpeth12.Shukrawaripeth13.Mangalwaripeth14.Tandapeth

https://www.shutterstock.com/

PETHS IN NAGPUR

CURRENT CTY BOUNDARY

CITY BOUNDARY UNDER BHONSALE RULE

1.Simabaipeth2.Ganeshpeth3.Zumkipeth4.Dharampeth 5. Vakilpeth6.Siraspeth

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BAGHS IN NAGPURAs Nagpur has composite climate, so to deal hot winds and cut down the heat , the Baghswere developed on the sides of the Nag river.

1. Gandhi Bagh2. Maharaj Bagh3. Karnal Bagh4. Tulsi Bagh5. Reshim Bagh6. Mehndi Bagh7. Kadam Bagh8. Moti Bagh9. Lashkari Bagh10.Ram Bagh11.Nazar Bagh12.Keli Bagh

13.LalBagh14.Telangkhedi Bagh15. Sakkardara Bagh16.Azam shah Bagh17. Ganesh Bagh18. Chitnisacha Bagh19.Chandan Bagh20.Pidadi Bagh21.Khadag Bharaticha Bagh22.Ramaji tatayacha Bagh23.Khushalpuricha Bagh24. Taj bagh

BAGHS OF NAGPUR

BHONSALE PALACES The construction of old palaces of Bhonsales at Nagpur was

started in 1784 A.D. and completed in 1790A.D, precisely in the time of Raja Mudhoji, son of Raja Parsoji Bhonsale.

The polished black stones were used for construction of these palaces as they were locally available. The superstructure of these palaces were built with baked bricks.

Raja Mudhoji also constructed small wadas in the palace precinct.

The old residential palace of Bhonsales met with an accidental fire on 24.1.1864 and after a complete devastation, the site was abandoned and later on, the present corporation hall and municipal kacheri were constructed in its place.

PALACE OF BHONSALES

Bhonsale Palace

City limit during Bhonsale period

• Raja RaghujiBhonsale III constructed a palace designated as a senior palacebetween 1830 and 1840.

BHONSALE PALACES

Images of palace

WADAS IN NAGPUR

1. Fadnavis Wada2. Bhimrao Digheche Wada3. Mohite Wada4. Jamdar Wada5. Bakabai Wada6. Deshmukh Wada7. Munshi Wada8. Hajari Wada

& munje Wada9.Hedgewar Wada10.Kaptan Wada11.Chitnavis Wada

City limit during Bhonsale period

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3.4.

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- Bhonsale palace

Wadas were built around the Bhonsale palace during Bhonsale period.

The Wadas ( traditional houses of Nagpur region) were developed during the Bhonsale period (1746-1853) and followed a typical pattern of house building and courtyard.

Dalan

WADA’S IN NAGPUR

Inner chowk Outer chowk

Osari(verandah)

Basic floor plan of typical wada Sadreacha sopa ( formal verandah)

Dewadi

Rear entry

Majghar(middle room)

Swayampakghar(kitchen)

Entrance

http://www.narendradengle.in/images/Publications/

http://www.narendradengle.in/images/Publications/

• Bakabai was wife of Raghoji Bhonsle II.

•The construction of Rajwada was started by Mudhoji and completed by Raghuji II.

• Bakabai who was the Regent, spent her entire life in this wada

Ground floor plan

BAKABAI WADA

Source – Architecture of Bhonsales of Nagpur by Dr. K.M.Girhe

•The owner of Deshmukh wada was TrimbakraoDeshmukh of Umred.

•This wada still exists and blends seamlessly with modern life around it

Chitnavis wada Deshmukh wada Ahhirao wada

•Nana Ahhirrao was the owner of Ahiirao wada

•This wada has been demolished now.

•Babasaheb Chitnaviswas the owner of Chitnavis wada

•This wada has been restored in the most beautiful way possible, without ruining its old-world charm.

List of Wadas List of Wadaskaptan Wada Fadnavis WadaMohite Wada Subedar Wada

Salphekar Wada kukade Wada

Deshmukh Wada Ramaji PatelchaWada

Bakabaicha Wada Rajaba Risaldar WadaHedgewar Wada Panditji Wada

Ahhirao Wada Gokhale Wada

Itkelwar Wada Pande Wada

Chitnavis Wada Amrutrao Wada

Gaikwad Wada Mahipatrao WadaDenge patil Wada Gujar WadaDeshpande Wada Chandanbaicha

WadaMahajan Wada Jachak WadaGadge Wada Khalatkar Wada

List of Wadas List of Wadas

Munshi Wada ChandajiBhosalanch Wada

Munje Wada Ranoji Naik Wada

Hajari Wada Bakshi Wada

Walekar Wada Bhutacha Wada

Shenwai Wada Petkar Wada

Gharpure Wada Bhimrao Dada Digheche Wada

Arabacha Wada Salubai MohiteWada

Jamdar Wada Namdar KalikarWada

Ramchandra WaghWada

Halade Wada

Kamathi BandhuWada

Waikar Wada

LIST OF WADAS

List of Wadas

MehtabaichaWada

Kalikar Wada

Umadamiya Wada

Gajabai ShirkeWada

Uppadhya Wada

Antobai Wada

Dajiba PatiachaWada

Bagal Wada

Shambu MahanteWada

Gandela Wada

TEMPLES IN NAGPURVitthal-Rukmini Temple :

• Situated on the South east side of Nagpur, on the banks of Sakkardara Talao.

• Dedicated to lord Vishnu, built by Raja Raghuji II in the year 1790.

• It had the idols of Lord Vishnu, goddesses Laxmi and that of the Garuda; each of one-meter height.

• Temple complex consists of Garbhagriha, antaralya ,Gudamandapa and Sabhamandap.

• There are two sub shrines on the sides of Gudamandapa without any deities.

• Besides the main entrance on the east, the temple can also be entered from North through side gate.

Method of construction• The temple is built in black basalt stone.• No mortar was used for the construction.• Large stone slabs were bound together by a

technique known as socket method (groove cutting).

• This temple is built in Hemadpanti style; and is based on the Kandhariya Mahadev Temple of Khajuraho.

• The temple of Garudeshwar/ Garuda is built opposite of the Sabhamandap.

• The one-meter high statue is in the standing form; with folded hands, with lotus flower in them.

• A Snake form is carved both at the crown and on the arms of the statue.

TEMPLES IN NAGPURKalyaneshwar Shiv Temple at Telangkhedi: • Situated in the western part of the city• Dedicated to Lord Shiva, built by rani Chimabai wife

of Mudhoji, mother of Raghuji II in 1794. • This temple has an impact of the Central Indian

architecture. • Temple complex consists of Garbhagriha, antaralya ,

and Sabhamandap.• There are two sub shrines on the sides of

Gudamandapa without any deities.• It has two gates; one at the north and the other at

the south. • The sanctum-sanctorum has ventilators on all the

four sides for light and ventilation and niches on three of the four sides.

• A well fortified structure has an arched entrance.

Ayachit mandir, lakdi pul, Sakkardara : • The famous Ayachit Mandir in Mahal is located on the

banks of a small stream that joins Nag river.• It was built in 1785. • Entrance gateway is of sandstone with cusped arches.

TEMPLES OF NAGPURSangameshwar Mahadev Temple:

• This temple was also built by queen Chimabai wife of Mudhoji in 1799 on the confluence of Nag River and a rivulet at Sitabuldi.

• Its plinth was about 1.5 m. high and had a 7.5 m. podium all round and the temple rises about 9.0 m. above it.

Laxminarayan Temple

Shiv Temple at Ganesh peth: • Built by Raghoji II in the year 1794, on the

southern side of Shukravar Talav.

• Built in red stone, it has octagonal dome over the sanctum- sanctorum.

• Both the idol of the lord and the Nandi (bull) is made of Marble.

• There are sculptures all around this temple.

WATER BODIES IN NAGPUR

Shukarwari Talav Ambazari Talav Futala Talav Sonegaon Talav

1. Shukarwari Talav2. Ambazari Talav3. Futala Talav4. Sonegaon Talav5. Big Lendi Talav6. Small Lendi Talav7. Naik Talav8. Gorewada Talav

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WATER BODIES IN NAGPUR

• It was identified as a source of water supply by Chand Sultan, the then ruler of Nagpur

• The talav supplied considerable portion of city water in1870.

• Ambazari Talav was constructed in the catchment area at the origin of Nag river.

• The Talav catered to the needs of royal family of Raja Raghuji in Mahal

• The Sonegaon Talavwas constructed by Raja Raghuji III

• Sonegaon was one of the Military camp of Bhonsale period.

• The water from the Talav was supplied to irrigate the land under cultivation in that area as well as to the residential quarters of Bhonsale army.

• Futala Talav was built by the Bhonsale kings of Nagpur.• This old Talav still exist and is one of the tourist attraction of Nagpur .•Lendi Talav and Naik Talav were turned into sewage tanks by the civic body.

Motibagh

Pardi

Sonegaon

Telangkhadi

CHAONNIChhaoni defines cantonment area during Bhonsale Period.

There were 4 Chaonnisduring the Bhonsale Period1. Sonegaon2. Telangkhadi3. Motibagh4. Pardi

Socio Cultural backround under Bhonsale Rule

MARBAT FESTIVALA continuous anger against evil…..Conducted on the next day of “Pola is a unique festival of Nagpur having atradition of over 139 years expressing the anger against the British rule.

MARBAT FESTIVALThis festival constitutes mainly a procession of three huge effigies –kali Marbat,(1881),Pili marbat(1885)being the main characters joined in by a cameo role by “Badagya”These effigies are believed to absorb the negativity and social evils when they are takenthrough the streets of the Itwari market and finally smoked into air and immersed in water.

Kali marbat represents theBhonsale queen Bankabai,who supported the Britishin the revolt of 1857, ratherthan restoringindependence to Nagpur.

Pili –yellow was the colourof those days whichrepresented the faircomplexion (“Gore” –thewhites i.e the British)

The “Badagya” who isinto the role playsymbolizing theperceived evil acts ofcurrent politicians andleaders .

THE PROCESSION PATH

The individual processions start from different locationswithin the Mahal area,The Kali starts from the temple at Nehru Putala , the Pilifrom Jagannath budhwari which then passes through thePanchpaoleshwar Shankar mandir- Golibar square- Bharatmata square -Maskasaath –

---NEHRU PUTALA – where both the Kali and Pili meet.

The meeting of these effigies at the Nehru Putala is the real point of celebration ,where the entire city throngs at the junction to dance on the music beat and throw petals at the effigies.

–from Nehru Putala, the joint procession passes through Marwadi square-Mirchi bazaar-Amardeep Cinema-Shahid chowk-Gandhi putala-Badkas chowk-Mahal kotwali-Gandhi gate-Agresar chowk-Ganjakhet square-,Golibar square-Bharatmata square-Pivli marbat chowk and finally terminate at Tandapeth Naik talav.

TAJUDDIN BABA

Tajuddin Baba•Hajarat Baba Tajuddin Aulia of Nagpur born on the 21st of January 1861 at a place called Kamptee, has been one of the most important mystics of his time. •He was most loved and worshiped by both the Hindus and Muslims for his highly amazing spiritual powers.•Later Maharaja Bahadur Shrimant Raghoji Rao Bhonsle, the Maharaja of Nagpur became a disciple of Hazrat Tajuddin Baba

BATTLE OF SEETABALDI

Entry from Main Road Main Entrance to the Fort

Mahathma Gandhi in his freedom movement was arrested and spent his term of sentence in this fort prison.

The mosque of Kadhar Ali Nawab the grandson of Mysore King TipuSultan

The Battle of SeetabaldiHistorical Significance

• The Battle of Seetabaldiwas fought on 26 and 27th

of November 1817 on these hillocks between the forces of Appa Saheb Bhonsale and the Britishers.

• The seetabaldi fort was built by Mudhoji II Bhosle,also known asAppasaheb Bhosle.

• It was the declining times of the Maratha Empire. The British too desired to put an end to these local clans and bring the entire Maharashtra into BEIC.

BOUNDARY OF NAGPUR CITY UNDER BRITISH RULE

OLI PETH PURAmeaning/ definition/ origin

Oli in colloquial terms means "traditional(urban) street" which was a component of the Organic city development of nagpur (a contribution of Peshwa architecture style) during the peak period of Maratha Regime

A peth, in Marathi language, means a locality or an area, a component of the evolving Organic city pattern developed under the Peshwa Architecture phase. Peths as an urban fabric originated in Pune which was and once known as the “City of Peths”.

Pura defines the lifestyle and employment of the community which live in that area.

Structure The functioning structure of the system was compatible to the sociocultural and economic scenario over the pace and time

To set up a peth, the ruler would issue a permission to an individual Officer-delegating rights and duties, such as building roads, dividing plots, inviting settlers and initiating economic activity. Although there was an overall planning, pethsgrew organically and the building of houses was free and improvised. The leftover spaces between them became lanes and by-lanes -termed as "Oli's" and community spaces were created according to the settlers’ will.

Study confirms that there were in all around 40 pura at nagpur during the Bhonsale period.

strong economical interdependence has been reflected between the community which strengthened the sociocultural bond between the inhabitants.

Even though each peth had its own composition and identity, the way they were organized created an unified town fabric. There was also a reasonable amount of heterogeneity in their demographic composition, with a mixture of different castes, classes and professions.

PLAUSIBLE CONJUCTURE

Architecture and Planning

The innovative solution for infrastructure included designing the housing with locally available materials and techniques. Energy efficiency was achieved with a design of courtyards, thermal insulation of local materials and techniques. The architectural vocabulary was reinvented with amalgamating contemporary technology with historic style.

The shops and lanes were organized according to what they were selling.On the ground floor there were offices and shops, and above the shops there were residences. Important bankers, traders and well-known families had their homes

along with similarity of occupations,the streets were booming with different activities throughout the year.example example exampleChitarOli-(originally named Chorgadhi)street for "Chitrakars"established during Bhosale regime-250 years agoarchitectural character reflects a strong traditional urban framein the historic setup of the inner-city Mahal,architectural vocabulary is the use ofornatewood components in structure like Jharokas, Jalies, entrances, Stambhas etc. out of local craftsmanship of Bhosla time.approximately 3000 to 3500 craftsmen during peak period occupation:Idol making-mainly Ganapati and Sharadacommunities mostly Maratha’s and Kunbi’s

BHONSALE BRITISH GOND

PALACES

BHONSALE PALACE1830

PORTION OF GOND PALACE1704

QUEEN VICTORIA PALACE1905


ENTRANCE GATE

GANDHI / JUMMA GATE ENTRANCE GATE

ENTRANCE GATE OF RAILWAY STATION


CITY BOUNDARY

17881697 1804

BHOSALE BRITISH GOND

PECULARITY IN STRUCTURES

EVOLUTION OF THE BOUNDARY OFNAGPUR CITY

REFERENCES

1. ‘Sanshodhanajali’ by Mr. Devidas Govind Landge (First Edition 1960).2. ‘Nagpur cha Itihas’ A paper published by Mr. Shripad Keshav Chitale3. ‘Nagpurkar Bhosalyancha Itihas’ by Mr. Yadav Madhav Kale

(Second Edition) 1979.4. ‘Prachin Itihasachya Arshat Nagpur-Vidarbha’ Shripad Keshav Chitale 2014; 5. ‘Akhercha Senasahebsubha’ Tisare Raghuji Bhonsale (1818-1853)6. ‘Adhunik Nagpur’ (1854-2002) Dr. B.R. Andhare & Dr. Shrikant Sontakke; 7. ‘Vidarbha ka Sanskrutik Itihas’ Dr. Natthulal Gupta 19798. ‘Nagpurcha Sanskrutik Itihas’ by Mr. Devidas Govind Landge (First Edition

1954)9. Thesis Report on ‘Planning of Inner City of Nagpur’ by Dr. Parag Date10.Thesis Report on ‘Derivation of logical framework using shape grammar for

contextual design’ by Dr. Neeta Lambe11.Thesis Report on ‘conservation plan for Nagpur’ by Dr. Alpana Dongare12. ‘Nagpur Metropolitan Area development Plan’ 2012-2032 13.Special sessions arranged with Mr. Girhe14. thesis report on ‘ Investigating privacy in traditional and modern houses

through spatial analysis , case study Nagpur’ by Dr. Roopal Deshpande

Smt. Manoramabai Mundle College of Architecture, Nagpur

Documents

Transcript of Smt. Manoramabai Mundle College of Architecture, Nagpur