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For those who are very fond of Urban Axis…

Diluting significance of urban Axis due to land constraint and transit retrofits?? 

At times you see someone being possessive or rather poetic about linearity of city architecture and geometry of urban fabric, being very peculiar about alignment of streets and visual axis, there is fair chance that he or she is an Architect and if you see someone rather sentimental or defensive about all this affair of axis and orientation, there is strong probability that you are interacting with an Urban Designer. Of course laymen also appreciate the beauty of carefully planned urban fabric and thoughtful positioning of landmark structures and public plazas etc. knowingly or unknowingly, they even travel faraway lands to witness the glory and charm of historic cities and as well as modern metropolitan cities and certainly formulas of urban patterns and  axis have great contribution in the making of a wonderful city as proven historically.

Let’s try to understand the quantum shift in the approach of city planning and redevelopment from couple of centuries back till today not to speak of future trend and try to analyze the “still un-deviated” intellectual affection for urban geometry specially axis call it inertia or stubbornness or whatever. All this in the light of mounting pressure of traffic; growing, busy and occupied population, all this in a city which is struggling everyday just to survive functionally that very day while managing the damage and backlog of many yesterdays. In a city which is going on a path very different than what perceived originally because of its changing priorities and unperceived growth, specifically in terms of transit requirements.

When Lutyen Delhi was perceived originally no one would have imagined that this very city is going to grow so much so soon that one day it will need a mass rapid transit system (MRTS) or may be more, like integrated transport system as we call it, no one thought that it will need “flyovers”? subways?? Underground transport!! Are you kidding? Elevated tracks, No way!! PRT?? What is that?? Such would have been the response of architects, Urban Designers and Planners of that time, someone go ask them, if you will, hire a time machine may be? And hence they planned wonderful avenues, boulevards, most importantly urban Axis what started as a core of city. Of course that’s the beauty and heritage of the city one can be proud of, but as city expanded the firmness and geometry of those axis and alignments got diluted, which was due to the race, race of providing accommodation and business to the exponentially growing population but still without recognizing the latent growth potential of the city otherwise they wouldn’t have planned low and medium rise land use in South Delhi and similar spatial positions at the present intermediate ring of city which they can’t really afford to! Now the focus shifted from axis to pockets, loosely arranged urban pockets, based on affordability and all. This diluting axial or otherwise geometry is also due to retrofitting, retrofitting of transit systems and development interventions and traffic management measures, like flyovers, underpass, subways, elevated tract, underground tunnel etc.

We were discussing axis, so let’s stick to the subject for a while. That colonial urban axis emerged from the need to showcase the extravagant luxury and prove their capacity, knowledge, authority and aesthetic or otherwise, while rest of the city fabric which emerged in recent decades was driven by the necessity to handle growth, priorities were different and will be different. The colonial axis was bliss to experience, still it is, while today’s axis in other parts of city is apparently agonizing an experience for many most of the time, waiting in a traffic queue today’s urban axis gives a view of more than mile long array of crawling vehicles bumper to bumper, again and again, everyday. Array of flashy car tail lights in the mirage of heat emerging from vehicles!   You can’t associate this axis with a very pleasant experience. What about aesthetic urban experience of thousands of those commuting in tens of mile underground tunnel or organic and maneuvering elevated MRT network? They don’t really come to witness the extraordinary experience which is historically associated with planned urban fabric.

Feelings attached to traditional values and formulas of what an ideal urban fabric should be have remained same while the needs and urban technologies have moved ahead. People tend to approach and appreciate modern cities and metropolis on the historically benchmarked cities and hence this disappointment. These contemporary cities demand a totally new approach of planning for preserving and nurturing its aesthetic beauty. What we seem to have achieved very convincingly historically, since centuries and beyond seems to be a big challenge today. It’s time to shed the nostalgia and comfort of proven urban design formulas and get back to drawing sheet to create new age aesthetics for new age cities in the light of new transit, growth and lifestyle needs and in the light of emerging and unexpected urban technologies and unexplored land use strategies. Though you can’t really design or plan for some urban technology or strategy which has not been invented or explored yet, but we can always keep some margin and scope today itself for future integration and urban retrofit which seem to be inevitable a phenomenon. Only one thing which is definite here is the growth, so let’s plan for growth. At least let’s try to acknowledge inevitability of growth today itself, for a better urban future, its aesthetics and character.

All said and done, fact remains that there is something really magical about the urban axis and it has repeatedly proven its worth and guess that quantum of our future city planning strategies and spatial arrangement will still revolve around it.          

“This post is dedicated to friend “Poppy” who really enjoy studying and analyzing urban axis across the world and has the habit to relate everything with the Axis phenomenon and seems he is having really good time deliberating about it with friend “Roomy”, only if he gets time free from study, if at all"

Sometimes you appreciate unintentional grunge architectural experience!

Even architects refrain to talk about the darker intuitive side of architectural experience.  

Looking through a dirt clad window glass pan on a rainy day at  your half a century old sparingly used ancestral house, mysteriously thrilling fog and  street light setting as viewed from the window of a motel room in no man’s land where you stayed last weekend on your way back home from a road trip,  flickering interplay of light and shadows projected on the walls and roof  of your bedroom by the light of traffic passing by on the adjacent street,  bizarre abstract patterns on the under maintained damp bathroom or subway walls,  grunge white noise of much awaited rain pouring on the garage tin shed,  looking at the engulfing silence of valley from the balcony of a remote hill resort experiencing the shear lack of artificial urban sound of which you are used to or an experience of strange inquisitive damp smell while you are getting down the basement stairs in a dimly lit surrounding, you at times experience unspoken, unperceived, un-designed and unintentional side of architecture further accentuated by the time of year and day, your mood and company or absence of other people at that particular time.   

At times you feel so tiered of popular architecture, popular formula of architecture, formula of what should be and what not and all the glorification and stubbornness around what is popular, those are kind of beautiful, but they are every were, architectural orders, theories so much overvalued so abundantly repeated, interiors so much commercialized so much in order, so much restricted, so much formalized, you are left with no choice but to live in an environment which appeal to neighbors, your housing society and society at large, even You don’t know what you really want to experience. Spoon-fed architectural experience of what is good and what is bad being taught to architects as well as future prospective clients in the school. They are taught to create wonderful architecture but no one encourages them to create wonderful personalized architectural experience no matter even if its eccentric on conventional benchmark, experience of space which you can’t really create with the popular architectural tools, styles, mass education, thumb-rules available and being used widespread today. For example if you have already decided that a particular room, should have a particular lux level of lighting, particular illumination level,  uniformly distributed across the room with slight variation here and there as prescribed in the architectural bible or bylaws or general practice or as limited by the market availability and client’s choice of fixture, you can’t create an architectural experience which is thrilling, mysterious, inquisitive and even hauntingly sticky at times even for a moment, which are human psychological needs and part of their personality to experience such environment, at least just for sake of fun. No wonder at times you cherish that moment of darkness in the rainy damp evening or moonlit night when suddenly there is power cut for a brief period, because you have just experienced the dimly lit darker side of architecture which was never intended for you to experience in its original form, but only you know that how much it means to you to experience that very silence of spatial darkness, that mysterious view of dusk from the dark corner of your room, that stillness of ambiance and lack of bright LED light, that passionate experience in the beautiful and diluting sphere of space and light created by that single candle lit on the dining table, that momentarily grey sheds of otherwise bright and warm colors of interior walls. We are talking about darker side of architectural experience which induces a momentarily feeling of introspection to the occupant through its very silence, stillness darkness and grunginess, many writers, directors, photographers, architects, and artists will be able to relate to such experience. Grunge architectural experience which in thought provoking and inspires you at times and which is innate human psychological need somewhere buried in the subconscious under the monumental load of popular architectural experience!  

By: Anoop Jha

Changing landscape of rural architecture

While scrolling, zooming in to google earth or something you find satellite image of villages across the world very fascinating very different from the urban settlement, it’s almost enchanting to look at their wonderful spatial patterns, their distributed uniformity, their hierarchical cohesiveness in terms of architecture, spatial arrangement and surprisingly it all evolved without any development blueprint, without an preconceived vision, without any kind of architectural bylaws at least in the case of India, but with long sustainable past, at least it was the case decades back and beyond.

Now today when you look at the same villages of India you will find usually two sets of clusters in most of the cases, one organically evolved village settlement with impression of time, with wonderful lively streets, with hierarchy of spaces, driven by family needs, scalable with demand, a symbol of community effort and cohesion, built by local materials, crafted by passionate local hands, using indigenous skills, planned by intuition, nourished by centuries of experience, in the guidance of wise old people, architecture by personal choice and collective regional aesthetics.

Though many of them are financially weak, but they usually have a place they can call home unlike urban poor.

The other distinct set of cluster you will see in the adjacent part of village, which is either a result of recently accumulated wealth by the young generation of villagers who live in metropolitan cities of India for better livelihood opportunities and who bring wealth to their village along with new architectural exposure and experiences, new construction techniques and remote aesthetics of cities when back home. It is architecture in transition from traditional to contemporary from thatch-&-mud to brick-&-mortar and may be its need of time as well, but little confusing at the same time. This new strikingly different grid iron pattern of recently developed cluster of village can also be a result of some development efforts by government, not so surprisingly way different an architecture and planning from the traditional settlement and sentiments. An imagination of planners and architects sitting thousand miles away with their own perception and impression of what an ideal village should be, while being most cost effective replicable, scalable and with speedy construction possibilities, neat and clean imported village with all the amenities. Hundreds of thousands of house arrays being constructed throughout the countries, apparently job done! Similar is the case of several villages and outskirts of cities across the world. 

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It’s good idea to provide shelter to poor rural inhabitants, but their traditional architecture and planning needs and sentiments cannot and should not be ignored. It doesn’t cost much to incorporate century old traditional planning and aesthetic of the rural settlement of different regions in the contemporary rural architecture and planning solutions which need to be tailored for specific regions, it’s just demands a little more  communication and careful investigation as well as understanding of spoken and unspoken lifestyle and perceptual needs of rural communities. 

Urban underground art : perception and mainstream absorption!

A case of graffiti culture in a city environment.  

Some say its vandalism, some find it an art, some say its irrational some say it’s cool, some see it outdated, at places it’s in vogue, reasons can be many, from fun to revolution but result is one - Graffiti. In this varying landscape of purpose and perception, there is always an apparent struggle to conclude what is right and what is wrong in an urban environment. What with graffiti? Why this perpetual struggle between city administrations and those who create such art-pieces, some anonymous, some leaving their stamp.

Graffiti is an art form standing at the edge of law. Some do it for thrill; some to put across their message, for some it’s an outlet, some do it for recognition and some to revolt against established values and norms. Even after decades of existence there has not been any consensus on the subject. City administrations are either strictly against it or will shy away from the subject saying that they have larger issues of city infrastructure, education, poverty and all at hand to deal with. Go ask a planner, what with Graffiti, what to do with it, you will find them clueless, though some of them might tell you few ways to curb this phenomenon.

Why graffiti culture exists in first place? Unless we try to understand the psychology of underground art, we can’t find a reasonable answer and solution to it. May be it’s the very imposition of rule to curb this behavior, triggers and sustain this behavior. Thrill of breaking the law, mixed with artistic skill, daring move and motivation by some cause, results in graffiti.

Isn’t it good to have wonderful artists in your city? But an artist needs to express and if you won’t give them enough opportunities and enough canvas they will express themselves in any manner, anywhere,  even if it’s a wall, and in this case public properties become soft target. Art itself has no boundaries, but we divide it in good and bad, civilized and vandalism. Piece of art by those few artists who have enough opportunity and money to display their work of art in an upscale gallery becomes a civilized and socially accepted art while the similar piece of art or poor or better if expressed on the walls of city streets and subways and any abandoned structures in form of graffiti gets a tag of vandalism. Can we do something about it?

There are few cities which provide long public walls at sea shores and other specified places specially for making graffiti, for those underground graffiti artists, who do not have to remain underground any more. They are making wonderful graffiti, day and night on these public canvases provided by city administrations, they don’t have to paint the subways and public structures anymore. Temporary, though they have a place for their creative outlet. We can always have some control strategies in place to check the nature and subject of graffiti to respect the feelings and sentiments of citizens.   

They say Taki or someone invented it, I think it exists before the dawn of civilization, remember those wonderful paintings from prehistoric caves? Its basic instinct of human being to express, expression in tangible forms, expressing it for good, to document, to leave it for generations to come, tools doesn’t matter, modes of expression is irrelevant and changing constantly. From prehistoric caves to modern urban wall they have expressed it and they will find out ways and means to express in future. So, it might be a good idea to start thinking of some city level policy intervention measures to provide an appropriate and recognized platform for easy and legalized creative expression, rather than negating its existence and simply trying to get rid of it.   

Planners and city administrations need to come forward and suggest strategies to integrate underground art in their city development plans and urban landscape. Making this form of art publicly acceptable and giving it mainstream recognition by taking illegality, obscenity any kind of provocation out of it. They need to propose strategies to recognize urban talent which has remained underground till now, and propose plans to nourish them by channelizing their talent in right direction and at right place. Simply creating and imposing the anti-graffiti law and trying to maintain the same is not the answer to this ever growing phenomenon, we need to channelize that creative energy in the right direction and at right places by creating favorable environment and instruments in city landscape.

                                                         

By: Anoop Jha

So that you never run out of development ideas again!

Wonderful list of vision script for urban development,

Have created a list of possible vision statements in snippet form for your quick reference, just to keep your creative thinking wheel running. 

Reshaping city, Re-harmonizing urban clusters, Recasting city silhouette, Re-energizing spirit of city, Re-establishing magnificence of old city, Revisiting the glorious past, Re-engaging population, Re-engineering city infrastructure,  Reconnect to past, Rethinking city, Repositioning city, Recreating       history, Reinventing urban mobility, Reorganizing urban growth, Rebuilding city aspirations, Reintroducing urban techniques, Redeveloping business hubs of city, Rerouting transit veins of city, Re-knitting city fabric,  Reuniting city fragments for better functioning, Urban rezoning for optimization, Reintegrating smart urban technology, Redesigning mobility grid, Re-envisioning historic city, Re-proposing mobility, Reimagining urban future, Redefining boundaries of urban innovation, Repurpose  city finance, Reorienting city growth direction,  Rebuilding city governance structure, Re-linking destinations, Rearranging development priorities, Realigning development objectives, Reprioritizing urban development avenues, Restructuring functional hierarchy of city, Re-exciting life in urban public spaces

Anything you find out in Google in 20 seconds shouldn’t be asked in interview!!

Rethinking entrance process for higher education 

University entrance interview, a day in a life of aspiring students, which is going to play an instrumental role in deciding their future course of life, on this occasion one has to be very careful to ask the right questions, and to assess the candidates holistically. Even in that short period of interview candidates should be judged not only on technical grounds but on many more qualitative parameters as well, like their tenacity to learn, adaptability to new environment, receptiveness to new thoughts, respect to righteousness, having courage to put forth their ideas in which they believe, an ever questioning and inquisitive mind etc. different institutes use different mix of these and many other parameters to identify the right minds for their institutes and universities. Good news is that today institution’s focus is already started shifting from simply technical and quantitative aspects to perceptual, analytical and other qualitative aspects of candidate’s persona in the academic interview process.

Still many prominent educational institutes have apparently not been able to embrace the pleasant change which new information age is providing today. They still seem to be caught in the same old technical assessment issues when it comes to academic entrance process. Still asking basic technical and quantitative questions like it’s a quiz show running instead of an interview. For instance; questions like “Who conceptualised Garden City?” or “what are the sources of municipal finance?” or “What are the main elements/ components of so and so?” or “what do you know about such and such thing?” are wrong questions to ask today. Who designed what in which city in which year in which architectural style, how does it matter here, who cares? Asking such questions to a kid already or soon to be laced with smart-phone is irrelevant these days. Right question to ask are “How relevant you think is the garden city concept today?” (Explain the concept first, even if you have to), “What do you think can be possible innovative sources of income for a municipal body?” (no matter how bizarre is the answer, let’s face it) what are the takeaways from that architectural style (show them the images even if you have to, even if they don’t know a bit about that building or that architect), ask them about their perception, what do they think what’s so great or ugly about that design without being judgmental or biased, how relevant is that design today and so on.

When they have all the quantitative information at their fingertips through internet, social and professional networking and all, they can’t afford to memorize encyclopedia of architecture or planning to get admission in architecture or planning institute, there is no need to do that. These new breed of candidates should be rather judged on their aptitude to analytically infer and logically translate the available information for a better world. They should be judged on their apparent intensity and inclination to learn rather than memorizing capability. After all they will be here in institute for few months or years, so they can always be taught those technical aspects they don’t know yet, but these technical and factual questions are no ground to judge their capabilities, no ground to accept or to reject them at this point of time.  

By Anoop Jha    

    

It’s Art if you can prove it…

Beauty lies in the description of subject not in the eyes of beholder!

We all have seen those classical photorealistic portraits, landscapes and still-life paintings, those precisely chiseled anatomical sculptures as well as those scientifically calculated complex structural building forms and the moment we see it we unanimously conclude that it’s a piece of art. We visualize, appreciate and interpret those art subjects as it is. Here we are talking about something different.

Let’s talk about art in the context of contemporary abstract and modern art, symbolic sculptures, concept based product designs, landscape and urban design installations and to some extent architecture. Let’s face the biting truth of contemporary art and design, i.e. “Abstractness” in art and design and other creative fields has become an easy escape for majority of artists, designers and likeminded people in the contemporary world due to its low-labor-low-skill-fast-production nature and high perceived intellectual and monetary value. Though there is psychological interpretation and justifications of “abstract art” as well but let’s focus here on the whole gimmick of art and commercialization surrounding art and design industry in the name of abstractness.

  

Let’s see how it works. Let’s be clear in the beginning that it’s not “Art” which is being sold, it the “Story” which they are buying, story of struggle of that artist and designer, story of making of that art and design work, story behind that abstractness. More the abstractness more the flexibility to weave a convincing story around that art, more the vagueness more they are capable to defending their artwork. So it’s not the art but the descriptive and convincing power of the artists and designers which all matters.

If you are not convinced yet let’s see few examples, suppose you see a particular piece of modern abstract contemporary art or installation which is beyond your perception, and your first reaction is “what’s the point”!! Then someone comes and tells you that this is a master-work of some renowned artist or sculptor or designer and then you unsuccessfully try to derive some meaning out of that art which was greek and meaningless for you a moment back, because you don’t want to challenge the authority of that renowned someone, because you know he or she will tell you a very convincing story to prove the meaning of their art. And they can do it very well, they are expert story tellers. That piece of art might be a genuine feeling and true expression of that artist or designer but there is an equal probability that it might be a story fabricated by that artist or designer or sculptor or others, around that art work to manipulate and convince you of its greatness and one can do that very easily if needed. And why not, if people are willing to spend fortunes to buy stories, let’s tell them stories, that’s what they are doing.

Still not convinced? Do it yourself then. Take a large white canvas or paper and few bottles of acrylic colors; put the canvas horizontally on ground and pour those colors randomly here and there on the canvas, use your creativity, instinct and any or some of the tools at your disposal, your hand, your old toothbrush or comb, kitchen utensils etc., just anything to roughly spread and partially mix those color on the canvas. Your painting is ready, now let’s weave an interesting story behind the painting subject, whatever comes to your mind first just go for it. 10 minutes and you are ready with an abstract masterpiece; rest up to your descriptive skill, now “if you can prove, it’s an Art, if not it’s a crap”. Best part is that you don’t have to be an artist or designer to do that, if you want to do a reality check, put this just emerged master art work in your living room, let people come and describe it for you or alternatively describe a different theme to different guests, just for fun. You will be surprised to see the positive responses; someone might offer you a good price for that as well!!

By- Anoop Jha

“Sun Sign architecture” - Going beyond Vastu and Feng Shui

Where architecture and astrology comes together!!

Is it possible to provide tailor-made architecture for individuals? Each member of a family has a particular trait, temperament, preferences and choices, when it comes to architecture and interior design some have strict preferences, some have vague idea of what they are looking for, some doesn’t even know what they want, so when an architect asks client about their aspirations, design, functionality and aesthetic choices for their new dream home, client’s responses are either based on recent impression of their architectural quest through architecture and design magazines, neighborhood villas, exploration during travel etc., while integrating little bit of their own needs with a cap of tentative budget.

Now an architect has few choices to make. One is to give client exactly what client want and keep them satisfied in terms of their design aspirations- client is happy, you get your money, job done! Another choice is to take this project as an opportunity to fulfill your own long awaited dream as an architect- you have got a wealthy client willing to invest, you got an architectural playfield to release your creative juices, go ahead and make some masterpiece, you can always justify your work through some convincing design theory or philosophy.  Third choice which is apparently more transparent and holistic in nature is to delve deep into the client’s mind and personality and dig out their dormant design aspirations and help them express their feelings. How can we do that? Clients might be shy, might be dominant, might be receptive, might be stubborn, no matter what, it’s the job of architect to thoroughly understand the client’s need while deliberating possible alternatives and provide them the best tailor-made solution possible. A sensible architect strikes a balance between his or her own architectural inclination and client’s precise needs.  

A basic understanding of astrological elements like sun signs, its characteristics, traits and corresponding effects on the individual’s personality, nature and behavior, aspirations, moods, aesthetic demands in terms of preferred colors, materials, etc. belonging to a particular suns sign, might help a lot to understand the clients unexpressed needs. Most of us will accept that knowingly or unknowingly we tend to choose a particular design element type and objects over another, we also tend to appreciate a particular surrounding ambiance type over another, so knowing the sun sign of client and considering their physical, psychological and aesthetic effects and traits on client’s choices while designing might give an extra edge to final architectural product including interior design. Imagine designing a unique house for a family with a unique blend of colors, material, warmth spaces etc. chosen based on their individual sun sign, amalgamating into each other catering to unspoken traits and temperament of inhabitants.

Architects and interior designers might understand the significance of basic astrology in architecture (and we are Not talking about Vastu and all here) but they won’t prefer to use it for the benefit of client, because no one asked them to do this, neither it was part of their education nor its part of their scope of work, while it adds a little challenge and thrill to their work demanding extra time which they don’t seem to have. Given a second thought you might find it a good idea and a valid reason to incorporate a little bit of sun-sign in every architecture which is private in nature, tailor-made to individuals. 

By- Anoop Jha

Let me Complicate it for you!!

Human mind needs complexity to appreciate design and aesthetics

If it’s too obvious it’s boring. If we have seen it earlier or something similar, it’s boring anyway. We always look forward to see and appreciate a piece of design or work of art or architecture which is refreshingly new, but still with a stubbornness  of design expectations since we also love the nostalgia attached to the familiarity of object or subject.

Possibly the reason abstract and modern art emerged is because people were fed up of realistic and photo-realistic portraits and other painting subjects and demanded something new something avant-garde to appreciate. Though there were complexity of techniques and process involved in those elaborately detailed classical or miniature paintings but abstractness of modern art gave viewers infinite possibilities to perceive, interpret and appreciate the artworks.  Though the artwork and style was new, people were still able to relate to it because of carefully chosen subjects of contemporary importance of that era or region. Similarly with architecture, possibly the abstract and minimalistic  architecture emerged because people were tiered of those architectural details and geometrical orders, people later demanded purity of geometry not the order of geometry, they demanded thematic abstractness of elements not the sensory overload of detailing and Minimalistic architecture provided them all they wanted.

We have reached a time in the human evolution where we seem to have cracked the base code of aesthetics, analysing the rich history of art and architecture and documented enough in course of time for generations to come, while accelerating fast towards future. Now when we have tested basic design flavor and aesthetics of almost every kind how will we satisfy the design and aesthetic urge of humanity which is always looking out for something new to appreciate.

History shows, we have and we will find out new ways to provide the world with new design aesthetics which they will enjoy and appreciate. Fortunately there are ways to do that. Apparently there are two fronts on which we can innovate. One is technology; other is complexity of design itself. Technology will provide us materials, techniques etc. to innovate on design front and complexity of design will give us opportunity to challenge and satisfy the demanding aesthetic urge of curious human mind in field of art, design, architecture etc. What is complexity in this context? Complexity is to give them a piece of work , art or design or architecture which is difficult to grasp in one go like a puzzle, but quite familiar, contextual and easy once decoded, something which challenges the mind. Complexity provided by emerging materials, techniques and tools as well as complexity of forms, and abstractness.

By- Anoop Jha

Data Visualization as a planning tool

When Statistics marry Graphics, it creates immense possibilities.

Data is lifeblood of planning and holds massive information potential, need is to decode the pattern it holds, pattern of importance, patterns which are vital and patterns which help understand the previously unexplored recesses of statistics. Now we have datamining tools to extract and visualize data, sources which were previously nonexistent, data from social media, data from online resources etc..

These charts have been created from number series (Fibonacci number), just to represent clear, informative and convincing patterns which can be derived from numbers. Numbers tell stories!!   

“Smell Architecture”!! We have to accept non-tangible design elements as part of architecture and Urban Design!!

Walking down the buzzing food streets of the world is a thrilling experience for most of us, it’s a play field of light and shadow, sound and noise, colors, textures and smell. Smell of street, smell of variety of foods being baked, grilled, processed, and served with love from generations, aroma of spices in the air, that raw fragrances of freshly chopped vegetables, occasional breeze with hint of what is being cooked inside, looking at the faces of crowd apparently engulfed and hypnotized by the tempting aroma of food, all this combined together with the built architecture of street gives an experience which is complete and memorable.



Now take a few steps back and rewind the tour without “Smell” part of the whole experience, and you will realize how important these intangible elements like smell, sound etc. play in making architecture and urban design a complete experience.  Though Light is also an intangible element but it has been given an undue advantage in architecture since centuries, contrary  to its counterparts like smell,sound etc. Unfortunately they don’t teach this in architecture and planning school as well, probably they themselves have unable to understand the significance of such non-tangible elements of architecture. Unfortunately there focus has remained on mass-producing architects, designers and technical hands through proven formulas and they have confined themselves in the predefined boundaries of architecture like, form,  function, space, texture, colors, at most interplay of light and shadow. What about smell, noise, feelings and state of mind of users, experiencing and validating the existence of the architecture and urban design in the first place?

It’s not a hypothetical assumption but a fact that you can’t create a good architecture without a great user experience which involves variety of non-tangible elements, those elements which can’t be quantified in form of project specification items into a spreadsheet.  It’s high time that architects and urban designers should shift focus towards the ambient environment and users experience since they have already mastered the art of form and space through accumulative knowledge of centuries. It’s time to move on.

By - Anoop Jha

Walking down the memory lane of city

Walking down the memory lane, may be way different an experience now than actually walking down the old neighborhood lane you used to live decades back, while you were studying in that town, while you were on a social visit to your aunts place or on a vacation to that place, or the narrow street you use to travel to and fro from the school in childhood days.



City changes its form, experience; attitude like a person changes his appearance, philosophy and approach In course of time. Impression and impact of time can be seen on the city as we see in the human life. City reinvents itself and reflects contemporary life. Comparing present and past impression and memories of city is an emotional affair. Hence extra care needs to be taken in revitalizing and redeveloping cities because millions of memories and hopes are attached to these. 

Where have we reached in evolution of Interior Design?

Analogy of Sculpture and Interior Design

Evolutionary comparison of sculpture and interior design can throw some light on the state of interior design in which it is at present and may pave the future direction for it. If you analyze the evolution of Sculpture, it has evolved from a “symbolic gesture of kingdom and state authority” historically to the “liberalized expression of rebellious creative individuals” in past century to an “interactive public art” at present. When it comes to interior design it has evolved from “utilitarian design driven by necessity” to “lifestyle symbol with expression of wealth” to “uniqueness with technological integration”. The crucial missing point in the evolution of interior design is that it has still to reach a point where a user can interact and relate to it rather than simply appreciating its beauty and ambiance while waiting on a comfortable couch in a lobby or from a workstation of an office.

While the focus of sculpture, individually or as part of landscape architecture or in public domain has shifted from a decorative element to an interactive and engaging public element, the efforts of interior design has remained focused mostly in the aesthetic domain with attention to space efficiency, economic execution and operation even at present. Since all the efforts are concentrated on the aesthetics, ambiance and efficiency part of interior design, majority of architects and designers are caught in to the vicious cycle of making it more and more efficient. It’s high time that architects and designers should break this cycle and create an indoor environment which is not only appreciated by the users but where division of user and space gets blurred, a space where occupant is constantly interacting with its ambient indoor environment in tangible manner, where user have been kept engaged not only by its aesthetics but in terms of physical and mental activities, an informative, interactive indoor ambiance like the case of modern public sculptures.

By Anoop Jha

How we assess and respond to architecture

Need of assessment without prejudice and unconditioned response.

Architecture and design is awfully judgmental and philosophical stream, its aesthetic and functional perception varies from person to person and it holds different meanings for users of different socio-economic and educational background.  For the evolution of architecture it is necessary to assess it from a radically different perspective, questioning every established values and prevalent formulas and benchmarks of good architecture.

Just getting overwhelmed by the magnificent interior of a high-end hotel lobby or much hyped restaurant interior or luxuriously decorated living room of an ultra-rich individual is not a real justice to the architecture and interior design in term of its design assessment and criticism. When someone come across to such wonderful places associated with big names, their immediate response of pleasant surprise in the moment they enter the building makes their design assessment biased with a touch of prejudice. Their analytical mind which is responsible for aesthetic and functional judgment, immediately surrenders to the mesmerizing ambiance of interior. Getting mesmerized by something amazing is a natural response of the human mind, but little more is expected from the architects  and designers in terms of their response to immediate environment, surrounding ambiance, assessment in terms of functionality and desired balance between aesthetics and  functionality. In that state of amazement they tend to forget the actual purpose of design, and start judging it on its face value.

Lavishness and expensiveness of architectural treatment can be enough to move an average audience or user hence one should be cautious not to get deviated or mesmerized by the shear ambiance of the environment while assessing the functionality and aesthetics of the said design. One has all the right to question the validity and contextuality of design elements and functionality of design even if it is created by established and much celebrated architects and designers. Often people seem to have been caught in the articulated concepts and animated design language while assessing and experiencing architectural spaces and design elements. Their experiences are colored by the aura of authority of established and much hyped architects and designers. Experiences are more or less fabricated and predefined in most of the cases.

One feels that there should be freedom of assessment. There is a need, not only to challenge and break free of established design values but to perceive the design from a clear vision which is beyond the past experiences, which is neither opaque by any prejudice nor conditioned by any socio-economic or regional background of the observer. An assessment based on complete firsthand experience might be a better and sensible way to judge the design.

By Anoop Jha