Showing posts with label Modern Architecture. Show all posts
Showing posts with label Modern Architecture. Show all posts

Thursday, September 22, 2016

Architecture Note on reading "Kahn"


To design is
to plan and
to organise,
to order,
to relate, and
to control
in short it embraces
all means opposing disorder and accident.
Therefore it signifies

a human need
and qualifies man’s
thinking and doing.

 ...............................................................................Joseph Albers........................................................................




Kahn’s works presents us with two complementary yet utterly opposed principles. The first is categorically anti-progressive and asserts the presence of collective abstract architectural memory in which all valid compositional types are eternally present in their disjunctive purity. The second principle is vehemently progressive and pursues the renovation of architecture form on the basis of advanced technique. It seems that Kahn believed that this second principle, as it responded to new tasks and uses, would be able to lead, when combined with the first, to an appropriate architectural expression, resynthesizing fresh poetic and institutional values in terms of concrete form.
................................................................................................................................Kenneth Frampton on later buildings of Kahn

Knows the aesthetic implication of geometry inherent in biological structures bringing us in touch with the edge between the measurable and unmeasurable.
.......................................................................................................Kahn on Ronchamp chapel

A good building is one which the client cannot destroy by wrong uses of space.

“Thoughtful making of space”

I believe that we are speaking about order when we are speaking about design. I think design is circumstantial. I think order is what we discover the aspects of.

A library should offer a system of spaces and their consequent form as a building should originate from broad interpretation of use rather than the satisfaction of a program for a specific system of operation.

It is a duty of architect to find what is the thoughtful realm of space….


Wright gives insight to learn/that nature has no style/that nature is the greatest teacher of all/the ideas of Wright are facets of the sight thoughts.
Kahn on Wright


“Architecture is what nature cannot make”

No geometrical form more apt to fulfil this demand the circle or forms deriving from it. In such geometrical plans the geometrical pattern will appear absolute, immutable, static, and entirely lucid. Without the organic geometric equilibrium where all parts are harmonically related like the members of the body divinity cannot reveals itself.

When personal feelings transcend into religion (not a religion but the essence of religion) and Thoughts leads to philosophy, the minds opens to realizations. Realizations of what may be the existence will of, let us say, particular architectural spaces, Realizations is a merging of Thoughts and Feelings at the closest rapport of the mind with the psyche, the source of what a thing wants to be.

Form has no shape or dimension…. Form is ‘what’. Design is ‘how’. Form is impersonal. Design belongs to the designer; Design is a circumstantial act…. From has nothing to do with circumstantial conditions.

Schools began with a man under a tree….. Soon spaces were erected and the first schools became, the establishment of schools was inevitable because it was part of our desires of man. Our vast system of education, now vested in institutions, stem from these little schools but the spirit of their beginning is now forgotten. The rooms required by our institutions of learning are stereotype and uninspiring.

“Space has a power and gives mode”

A religion atmosphere
A realization that you are responsible beyond your own selfish self.
                                                                                                            

This cosmo-geographical macrocosm, whose microcosms are those of the city, the mosque, the house and the garden distils a concept of divine essence which leads us by specific ways and paths in earth-paradise ascension…. This is architecture which restores something to those who have no heritage, who find in it an image their dignity, and who-for lack of anything better-see in it vision of a different life.
....................................................................................................................Kahn on parliament, Dhaka


I don’t believe that society makes the man.
I believe that man makes the society.


Science finds what is already there
 but the artists makes that which is not there.


I didn’t want anything pretty:
 I wanted to have a clear statement of a way of life


A religious place –
a place which has no other meaning but is just good place to go.

A building that has become a ruin is again
free of the bondage of use.



The court is the meeting place of the mind, as well as the physical meeting place.

I think architects should be composers and not designers. They should be composer of elements. The elements are things that are entities in themselves.

The architects jobs in my opinion is to find the spaces where the availabilities, not yet here and those that are already here, can have better environments for their maturing into.

I believe that man’s greatest worth is in the area where he can claim no ownership. This may have his great accomplishment; not the specific shapes, which has inspired an entire generation of architects, but the idea that knew no shape and would endure.

“What will be has always been”

The threshold where silence and light meets, silence with its desire to be, and light, the giver of all presence.
Silence was the realm of ideal truth. Which has existed before the pyramids had been built- “Before the first stone was laid.” Light on the other hand, was the energy of the real; “I sense light as the giver of all presence, and material as spend light. What is made by light casts a shadow, and the shadow belongs to light. I sense a threshold; Light to silence, silence to light – an ambience of inspiration, in which the desire to be, to express crosses with the possibilities.     


A great building must, in my opinion, begin with the unmeasurable and go through the measurable in the process design, but (it) must in the end be unmeausrable.  


Structures are the maker of light, because structure releases the spaces between and that is light giving.


Architecture has little to do with solving problems. Problems are run-of-the-mill. To be able to solve a problem is almost a drudgery of architecture. Thought it is tremendously delightful, there is nothing equal to the delight of coming to realizations about architecture itself. There’s something that pulls on you as though you were reaching out of something primordial, something that existed before yourself. You realize when you are in realm of architecture that you are touching the basic feeling of man and that architecture would never have been part of humanity if it weren’t the truth to begin with.

Saturday, November 22, 2014

THESIS PORTFOLIO

"lumbasumba" ethnic art centre @ Dhankuta


“A people without the knowledge of their past history, origin and culture is like a tree without roots”
Marcus Garvey

I believe in what Gary Locke States “Ethnic diversity adds richness to a society”. I love the tone of my native language that sounds musical bits from ethnic instruments. The irony is that i lack both the skills in my own ethic language and ethnic music but I am more familiar with western music and even practice western instruments. While growing up in Dhankuta i never got the opportunities to learn any form of ethnic art and i am quite certain that such opportunities still do not exist. However, i am not the only one with such experience. I grew up in Dhankuta bazaar with native Athpahariya community (one of the sub groups of Kirati community). The younger generation knows very
little about their own culture and history.
“The loss of culture of indigenous groups has been central to cultural anthropologists because it represents the irreversible loss of humanity’s heritage and diversity.” .........Wade Davis

We’re losing one of the things that count the most: our identity, the uniqueness in us, which makes us special and allows us to stand out from the crowd. They say that one has to be affiliated to some culture or else one is lost no matter how good or bad it is.

“Cultural values are, in themselves, neutral as well as universal, and so much depends on how individuals or ethnic groups use them. Values are influenced by so many factors such as geography, climate, religion, the economy and technology.”................F. Sionil Jose

Various forms of traditional tangible and intangible cultures such as festivals, language, cultural dance and music have been neglected, forgotten and in many cases even disappeared due to nationalization
and globalization. Hence, it is my hope that through the various activities in the proposed Ethnic Art Centre in Dhankuta, the unique ethnic arts and culture of this region will not only be safe guarded but
also be passed on to the next generation.



Though small landlocked country occupying 0.03 part of total land, Nepal is
exceptionally rich in cultural diversity. Population statistics of 2068 shows 125 ethnic
groups recognized all over the Nation. Among them Rai and Limbu are the major
indigenous ethnic groups who are found in eastern development region (EDR).
The evolution of civilization takes place because of generations of practice and careful
inheritance to successors who accept and continue by developing and adding skill along
with time. Each ethnic community living in different geographical location due to their
own topography, climate and available resources develops their own unique pattern of
lifestyle, culture, tradition, art and belief system. Those tangible and intangible cultural
heritages are the property of our nation which gives us an identity of who we were. These
genuine heritages are under threat and at risk of being obsolete without being
documented.
Art Centres in other countries such as Kala Kendra by designed by Charles Corea
specially aims to promote traditional art through performance hall, school and galleries
but does not include hands-on and training activities. The Indian Museum of Washington
DC share same typology goal and programs but it does not have performance hall and
training activities. There are no any exact cases in national level to present exact cases.
In our context tangible heritage are displayed in museum which are never engaging and
no specific performing art center exist which is built especially to serve ethnic art. But the
effort is not less and the programs are being conducted is each festivals and holidays. For
small scale programs venues such as local public halls are used whereas large scale
gatherings during festivals take place in Tudikhel. Till now centers to provide trainings
on various forms of ethnic art is not recognized except occasional trainings done by ethic
community at local level.



Ethnic art centre can be best defined as a centre that aims to save our traditional culture
by effort of passing it down to the younger generation for continuation. It is a complex
consisting of an ethnographic museum, facilities for cultural performance and training
centre various forms of ethnic art. Training centre here means a place to learn music and
dance of ethnic groups to prevent it from being lost in the future.
Ethnic art centre can be distinguished from an art centre and cultural centre because of
its regional representation and small scale of the project specific to ethnicity. It promotes
local and regional folk and ethnicity but not universal, classical and global art and
culture as an art centre.

The proposed Ethnic Art Center proposed in Dhankuta will have a space designed to
perform, display, involve and train various forms of cultural heritage of major ethnic
community living in the region. The public building with urban plaza will serve local
people as day out and hangout space from daily life. Visitors and tourists will learn about
ethnic art in the library, museum, galleries, and performing art/cultural shows. People
will not only see and learn but will be offered to involve directly by engaging in
workshops and hands-on activities. The restaurant in center will serve ethnic food with
authentic indigenous flavor. The shops will offer the locally made fine souvenir for token
of love.

Project will be specially benefited by local community as the center will be built, use and
sustained by them. The programs need their active participation and involvement which
not only save and promote our heritage but also help to generate income and activities in
town. Other beneficiaries are:

 Tourist and visitors can stay for long period to see and learn about regional arts
 Schools of Dhankuta bazaar can link their curriculum with the activities of Center
to educate children on ethnic art and culture so that the understanding and
appreciation for ethnic culture will grow among the younger generation.
 Downtown shops and hotels will also benefits as the activity grows and the place
could be a stop point for tourists on Koshi highway.
 Local people can use for refreshment and hang out in landscape, plaza, restaurant
and see performance


for more
http://www.slideshare.net/sumanlimbusubbayakthumbu/thesis-2014-lumbasumba-ethnic-art-centre-dhankuta-suman-limbu 

Monday, November 10, 2014

furniture along us





furniture along us
this is demonstrational furniture to represent metaphorically the end of its use by using last letter "Z" as the technology has moved beyond the hard copies and dvds to online and screeen