Showing posts with label Vallabhvidyanagar. Show all posts
Showing posts with label Vallabhvidyanagar. Show all posts

18 March 2012

A question paper for History of Architecture - Part 2

Here come the next 50questions.. Ready?

50 The Gopuram developed mainly in the __________ dynasty.


51 Name the Brahminical version of the Buddhist Chaitya hall.

52 It is a residence or a dwelling for monks with a verandah opening into a big or small central hall, with cells in the side walls for habitation and meditation. What is it called ?

53 This architecture achieved Thanjavur's and Gangaikondacholapuram's most monumental expression. This sanctuaries are surmounted by steeply rising pyramidical towers with a crowning dome like roof sculptures of exceptional quality. Name this epochal architecture.

54 This temple demonstrates a remarkable stylistic evolution in the increase of scale & elevational complexity at Pattadakal. Wall projections are flanked by pilasters. It has a square roof and the outer walls have figures of Vishnu and Shiva in different forms. The vitality of early Chalukyan art is amply displayed in these sculptures. Identify the temple.

55 The plan is oblong and its crowning glory is in the form of the oblong valuated roof. Name this structure.

56 At perhaps no other time has the tomb been more important in the consciousness of the people than in this dynasty. Delhi on account of its Imperial associations was considered the most appropriate site. Which dynasty are we talking about?

57 This place has 70 temples and is known as a small town of temples. Temples had their beginning here. Name the place.

58 A notable feature is the rich ornamental treatment of the exterior with traceried openings and fine entrance pavilions of unusual sophistication. Inside, the sanctuary facade contains five pointed archways with two slender minarets flanking the central opening, enticed with prominent aerial windows, a typical Gujarati vernacular device. Identify the structure.

59 It is famous for its ten carved, semicircular windows enclosed with exquisite tracery in the form of tree stems and branches. Those on the western wall are considered to be the finest examples of carved tracery in India. Identify the structure.

60 A remarkable feature of the this period's rock cut architecture is the fine quality of the figure sculpture which adorns the rathas. Identify the period.

61 This structure contains a congregation hall with an arched roof an apsidal end containing a Stupa cutout of the rock. What is this Buddhist structure called ?

62 Early in the second millennium, in large area of Deccan a type of architecture developed sufficiently as a separate style. This style was designed in the reign of a particular dynasty. Identify the dynasty.

63 Seven temples are grouped closely together surrounded by numerous minor shrines & plinths facing eastwards towards the Malprabha lake. Identify the place.

64 This temple initially consisted only of a cella and a mandapa each of virtually gigantic proportions. The cella measures 56 ft. in plan and rises about 140 ft. high. Name this temple.

65 This Stupa was transformed from a domical structure to an elongated one. Identify the Stupa.

66 This Stupa was discovered in 1873 in a ruined state, completely despoiled by local people who had quarried its bricks and stones for village construction. But, with the pieces of sculpture and part of the building we can safely conclude that it was similar, if not exactly alike, the Stupa of Sanchi, and was the predecessor of this great monumental style of constructing Stupas. Identify the Stupa.

67 The moulded base of a temple is called an __________ .

68 The simplest way to describe this form is as a four sided pyramid with parabolic edges. What are we talking about?

69 The three rathas at Mahabalipuram appear to be various types of Chaitya Halls. Name any one.

70 The Stupa was the origin of various structures developed in the far east. Name any one.

71 This place is an epic in stone and colour. It tells the story of Buddhist architecture, sculpture and painting. Name this place.

72 Of all the great powers that together made the history of southern India, none had a more marked effect on the architecture of this region than the earliest of all, whose productions provided the foundation of the Dravidian style. Which dynasty are we talking about ?

73 This Stupa probably erected in the first century B.C. shows ornamentation of both cultures - Greek and Buddhist. On an architectural foundation of a quasi Corinthian order, with pilasters and a moulded entablature, there may be seen such an agglomeration of motifs such as the Buddhist Chaitya arch, a Greek triangular pediment, an Achaemenid niche, and an Iranian fire altar. Identify this eclectic Stupa.

74 In the ancient times the science of architecture was known by a particular name. Name it.

75 Much of the particular character this art assumed, was the result of a notable change taking place at the time in the constitution and the principles of the creed. The Gandhara compositions marked the beginning of the movement of this art. What this art called ?

76 This gate 54 mts in height is visible from a considerable distance. It was probably built to commemorate Akbar's successful Gujarat's campaign in 1573. Identify the gate.

77 To some extent the requirements of the temple can't be satisfied because it was an adaptation of another structure which was planned for secular and civic use. Identify the temple.

78 This palace is long, double storied building extending for some 360 ft. along the water front of two small lakes. Identify the palace.

79 In India different schools or regional tendencies came and went, crossed and entwined, with one rising while another was declining. After Alexander's conquest, Iran was for many centuries under Greek rule. While pre existing contents of Iran & India continued, this art that developed in North west India and Afghanistan also has the touch of Iran. Name this art.

Buland Bharat ki buland tasveer, Hamara Bajaj!

80 The huge rectangular tank for ritualistic ablutions, lies beneath the main eastern approach to the temple. A flight of steps takes one up to a torana archway resting on two graceful moulded columns. Name this famous temple.

81 This vihar differs from the hinayana vihar. It was now fulfilling the functions of both abbey and church, secondly, relic worship was supplanted by image worship. Name this important Buddhist phase.

82 The plan of all architectural forms of the Hindus including the site plan, ground plan, horizontal and vertical sections are regulated by its norms. Identify it.

83 This place was a coastal capital of the early Pallavas. Name it.

84 It was the period of the "macabre". This word is a derivation from the Arabic word for a cemetery. Name this Arabic word.

85 To achieve equable balance the upper and the lower parts of the temple, a richly sculpted barrel shaped form was projected out from the middle of the vimana to interlock as if it were the tower and the mandapas. Name this temple.

86 This place at one time was a thriving and bustling complex. A number of stupas, stambhas, toranas and viharas accumulated on this site. Name the place.

87 The shrine in Hindu temples is always dark and entered only by the single small door in front. The temples of this sect, on the contrary , have several entrances to the shrine. Which sect are we talking about?

88 Shikharas built in this style have sukanasa. Heavy solidity in the early works is maintained but is relieved in the amount and quality of sculptural ornamentation. Identify the style

89 The outer most periphery of the mandala is allocated to a certain number of Gods. What is this number ?

90 Legend has it that Lord Shiva was engaged in a mortal dual with a demon named Andhok. In this battle Shiva perspired and a drop fell on the earth. From this drop a big creature evolved and all the gods had to gather together and pin him down in a lopsided position. It is on top of this creature the Gods made their abode. From this process an important aspect of Hindu architecture has evolved. What is it known as ?

91 The main support or piers take the form of huge wooden structure resembling an inverted pyramids with its truncated apex resting on a solidly built masonry. Each pier built of layers of logs can withstand flood current below and carry a reasonable load above. Where in India was such Bridge construction technique used?

92 The city is surrounded by about 11 kms of walls except on the south were there was a lake. The numerous structures comprising this area are made from locally quarried red sandstone. Identify the city.

93 The preliminary innovation introduced into the scheme of this mausoleum was that of surrounding the building by a spacious park. The immense square garden with the tomb isolated in the centre, marked an advance both in providing seclusion and securing an appropriate setting. Which tomb are we talking about.

94 These cave temples provide the most complete illustration of early Buddhist traditions in India. Identify the site.

95 It is basically a grid of squares. What is it actually known as?

96 The Chalukyans shifted their capital from Aihole to this place located on a lake surrounded by steep rising cliffs. Name the place.

96 This region's architectural character is similar to the timber architecture of mountainous countries of Europe. Which is this region.

97 Some Greek deities like Hercules, Pallas, Athena, Eros, and Bachhus are visible in the Buddhist pantheon - thinly disguised. What is this art called ?

98 By about 600 BC, republics and kingdoms had been established all over North India. They were republics formed of tribes, presided over by a chief called the Raja. He was from a particular caste. Name it.

99 Around the fifth Cent. BC, this kingdom became the most important of the Northern republics, because of the important kings Bimbisara and his son Ajatashatru. After that the most important event was the invasion of Alexander in 327 BC, which left a floating Greek populations in the Northwest, and also left a motley of Indo-Greek kings in the regions. Name this important kingdom.

100 In the very centre of the Himalayan region, lies this magnificent lake. The shores of this lake are very regularly indented, so that its shape suggests a lotus flower. Around the lake are the towering snowy peaks of the Himalayas. Towards the northwest rises Mt. Kailash, with an unmistakable pyramidal peak. Finally, the Indus, the Brahmaputra and the Ganga - all have their source in this region. Name this lake.


Itne Kapde (students) ek saath koi Machine (teacher) nahi dhow sakta!

01 March 2012

ANSWERS (01 -49).

ANSWERS (01 -49).


01 Malegitti Sivalaya, Badami.

02 Gupta Period

03 The Stupa.

04 Chalukyan kingdom.

05 The Deccan

06 Draupadi

07 Taxila/Takshashila

08 Nirandhara - Without ambulatory

Sandhara - With ambulatory.

09 Marble Stupa at Amravati.

10 Gol Gumbaz, Bijapur.

11 Palitana

12 Holy relics of Buddha.

13 Malwa buildings /or Mandu.

14 Stupa of Kunala

15 Gulbarga.

16 The Chaitya.

17 The Fire Temple at Jandial.

18 Udaygiri

19 Chaitya.

20 Jami Masjid, Gulbarga.

21 Sirkap

22 Gujarati Style.

23 Lad Khan Temple.

24 Sayyid and Lodi Dynasties.

25 The Golconda style.

26 The Panch mahal

27 Mughals

28 The Stupa

29 The Hoysala temple

30 Khajuraho

31 The Vastupurush mandala

32 Aihole.

33 Akbar.

34 Lad Khan, Aihole.

35 Khajuraho

36 Ajanta.

37 Ellora Caves.

38 Agra Fort

39 Pallava

40 Gopuram

41 The Hindu temple.

42 Brihadeshvara temple, Tanjore.

43 Sun Temple at Modhera.

44 The Qutb Minar.

45 Gopuram

46 Babur

47 Aihole.

48 Dravidian and Indo Aryan

49 Chaumukh Temple, Palitana.

23 February 2012

A question paper for History of Architecture - Part 1

I used to teach History of Architecture from '96 to 2003 in the schools of Vallabhvidyanagar (Near Anand) and the MSU Baroda as a visiting faculty member. As a student I had found the subject quite dry, boring and uninteresting. The curriculum for the second year was quite intensive as well. In the first semester they were to be lectured on the entire western history starting from the Greek and Roman civilizations up to the Baroque times. All this to be drilled inside young, agile minds hour after hour, week after week was quite an experience. To ease their predicament about notes and references, I made notes for them on my trusty old 386 computer and gave them neat, formatted notes.
This was quite a relief for them at least till I discovered their clandestine use for these same notes.
After they came out of their examination at the end of the semester, I discovered small pieces of paper lying in the corridor. These pieces of paper were actually my notes reduced on a photocopy machine and taken into the exam hall for easy reference.
This did it for me. Their next semester was Indian architectural history. I came up with a simpler method which actually was less of a headache for me.
I found fifty different topics on Indian architectural history and asked them to pick one for their one and only assignment of the semester. They gleefully picked up the topic and the icing on the cake for them was that these would be presented by them in a seminar and we would have an interactive semester. They were encouraged to explore the topic in detail and present it to the class.
After presenting it to their fellow classmates, which incidentally they enjoyed quite a bit, they were "encouraged" to submit the assignments electronically on floppy disks. Well, it was the late nineties and internet was a bit unheard off and floppies were widely used. Copy and paste from the internet was therefore a bit difficult but they had still employed a few typists to make their assignments quite thick.
Come the exam day and my pleasant surprise was announced. The exam would be an open book variety - hitherto unheard of in the history of the college, and all their assignments were their study material. To make their task "easier" there were at least 200 questions and an undisclosed number of versions of the question paper to discourage their diehard habits of sneaking a peek at their neighbour's paper. To make matters a bit light I had interspersed some advertisement one liners for fun which are in italics...
Some fifty questions are "copied and pasted" below. In the second part of this post I will post the answers to these questions so please keep revisiting my blog for them if you are interested.
Just Do it!
1.      Perched on a huge boulder to the northeast of the lower sivalaya temple at Badami, is nirandhara, with a dvitala vimana. Its gudhamandapa is entered through a Mukhacatuski, since the boulder slopes on the west, the  vimana is underpinned by a featureless Upapitha. Identify the temple.
2.      In this period the Garbhagriha appears clearly for the first time. Identify the period.
3.      This form became the major focus of Buddhist worship symbolizing the end of physical body and attainment of nirvana.  An umbrella made of wood or stone covered it.  The three elements of the umbrella represented the three jewels of Buddhism: the Buddha, the law, and the community of monks. Identify this form.
4.       In which kingdom did the temple evolve from the meeting hall?
5.      "Unlike other areas of India, a unique building style developed here, based more on the development of overseas ideas than the evaluation and adaptation of local architectural traditions to Islamic needs." Name this region.
6.       The simplest of the Rathas, it is an unpretentious version of the rural portable wooden shrine with a square base and curvilinear roof. Name the Ratha.
7.       "The City of cut stone" was situated on a great trade route. Identify this city.

Arre Huzzor Wah Taj Boliye!
8.      What are Nirandhara and Sandhara temples?
9.      In size it was the largest of all Stupas. Name it.
10.  "The conservative southern Hindu stronghold that was injected with doses of an alien and virile architectural style. The energy generated by this infusion culminated in a great building of this region. This was as triumphant and bold a structural statement, as subtle and glorious had been the exotic sculptural achievements of the Hindu builders of nearby Halebid and Belur." Name this building.
11.   Jain sadhus and sadhvis reach this place before the monsoons, as they are not allowed to travel during the monsoons. Identify the place.
12.  During this period many stupas were erected by Ashoka on the sides sacred to Buddhists.  Stupas are actually sites containing __________________.
13.  A notable characteristic of these buildings is the appearance of the long and stately flight of steps leading to the entrances, made necessary by high plinths. The lofty terraces gave an added dignity to the composition as a whole, the well-proportioned stairways elegantly wrought to make an introductory approach. Identify the place.
14.  This Stupa, in an ancient city, had a remarkable feature. The concave curvature of the plinth exaggerated the illusion instead of correcting it. Name the Stupa.
15.  "Ala-ud-din Bahman who in AD 1347, having thrown off his allegiance to Delhi, established his capital city in modern Karnataka State. Bahman Shah, an adventurer from the Persian court, had thrown off the political as well as architectural yoke of Delhi. He surrounded his city with 50 feet (15.2 m) thick fortress walls and a 90 ft (27.4 m) wide moat scraped out of living rock. At regular intervals the outer defenses were punctuated by bastions, barbettes and battlements of cyclopean order." Name the city.

East or West India is the Best!
16.  The development of its style drew influence from Roman Basilica, which was evolving concurrently in Rome.  Like the Basilica it is also a long chamber divided longitudinally by two rows of columns.  In the apse the two isles meet and curve around the Stupa. Identify the structure.
17.  This edifice at Taxila is among the most significant monuments of the period of Hellenization in India. It has many affinities to the Greek temple in terms of the plan and its Ionic columns. Identify the structure.
18.  The earliest Brahminical shrine was nothing more than a cell to a house an image while other rituals were still conducted in the open. The oldest shrines, once again  a group of caves are found carved in a mountainside near ancient Sanchi. Name this place.
19.  This term is derived from a Sanskrit word. It means "the mound of ashes formed when the deceased person is cremated." Name it.
20.  "Four larger domes mark the corners of the periphery, while the sanctuary is crowned by a stately contoured stilted dome rising over a square clerestorey. The glorious white monument testifies as much to the originality of its designer's concepts as to his failure in establishing their acceptability." Name the building.
21.  The palace of this city clearly resembled the Assyrian palaces of Mesopotamia. Name this city.
22.  So vigorous and self-confident was the this style that its influence permeated way beyond the region into Rajasthan and Central India. Its most influential feature was intricate lattice work and the use of carved jali screens. Identify this style.
23.  It is the oldest building of the Aihole group. The shape is comparatively low, flat roofed building. Three of its sides are completely enclosed by walls, 2 of which are relieved by perforated stone grills, but the fourth side formed an eastern open porch. Identify the structure.
24.  A Structural alteration of some significance, the dome is composed of an inner and outer shell of masonry with a distinct space between the two. The appearance of the Double Dome. In which dynasty did it first appear?

Mera Bharat Mahaan!
25.  "The Indian builders here broke through the mass of the cube and hemisphere by providing a veranda running around the cubic half, thereby giving to some of the tombs the impression of a two-storeyed structure. The zenith of this style, however, was not the tombs but a ceremonial gateway popularly known as the Charminar of Hyderabad. Each of the four facades contains the familiar ogee arch of 36 ft (11 m) span, above the apex of which are  diminished storeys of arched and richly embellished cornices." Name this style.
26.  This structure derives its name from the five tiers, the final one consisting of a large single chattri. Identify the structure.
27.   In Persian this word is considered to be a highly pejorative term among the civilized inhabitants of Iran. Identify the term.
28.  The irregular humble mound of rubble that had been piled over by the reverent worshipers over relics and ancient treasures to make a sacred site. This was then transformed by the royal builders into a hemispherical brick paved tumulii. Identify the  structure.
29.  This typical temple structure stands on a high platform, not rectangular in shape as its sides project or recede being carried parallel to the lines and angles of the building it supports. This platform is much wider than appears necessary thus leaving a broad flat surface terrace all around the temple. But it was so ordained for a specific purpose. In none of these temples is there is an interior pradakshina path and this space provides a suitable substitute for processions and circumambulation.
30.  At one time this place was probably a bustling capital but today it is a cluster of 16 deserted temples. Name this place.
31.  Wherever a Hindu temple stands, whatever its size, body and substance and to whichever God it is dedicated to it is built in principle on the same plan. What this plan known as?
32.  It remained the capital of the Chalukya Kings till nearly 600 A.D. Name it.
33.  Under this emperor the Moghul polity and state craft reached maturity. From a petty power they were transformed to a major state. Identify the emperor.
34.  Erected as a Vishnu temple,  Nandi occupies the central bay of this temple. Identify the  temple.
35.  The shikharas of this place are architectural masterpieces. It now created a "visual drama" by ornamentation of its own shape. In semi-relief, this was applied on all four surfaces of the shikhara. The corners of the base of the tower became like a vertical chain of superimposed mini shikharas. Name this place.
36.  The subject matter of these cave paintings, as of most of the surviving examples is the various lives and incarnations of the Buddha told in the Jataka tales.   The absence of shadows suggest an unworldly light appropriate not only to the subject but also to its location, deep within the rocks. Identify the place.
37.  This site is celebrated for its three successive groups of Buddhist Hindu and Jain cave temples. The southern group comprises of 12 Buddhist excavations; these belong to the early period of Chalukya control of the Deccan in the 7th and early 8th centuries. Identify the site.
38.  In plan this great stronghold takes the form of an irregular semicircle with its chord parallel to a river. Its massive enclosure wall consists of a solid rampart under 70 ft and nearly one and a half miles in circuit. Identify the complex.
39.  The Lion as a pillar base is not an uncommon motif in the architecture of several civilizations. Here the it was combined with a tiger to make the lower portion of the column shaft and another was introduced into the capital. Identify the  period.
40.  The temples of South India developed a structure often used in the treatment of the entrance. Name this structure.
41.  This form is a spatial representation of metaphysical and spiritual conceptions of the Hindu ideology and theology. It is a set of spatial sequences expressing Hindu ideas of the supreme beings, the universe and its conceived analogy with human psyche and body representing universal structure, its governing forces and forms of energy. Which form are we talking about.?
42.  The chola king Rajaraja Chola commissioned this gigantic temple. No tower higher than 60 ft., had been attempted earlier, but this temple had a tower about 200 ft., high. The cube of the Garbhagriha was carried vertically up to a height of 50 ft. Name this temple.
43.  This temple consists of three axially aligned elements; a fine bay mulaprasadas with ambulatory and superimposed Garbhagrihas and matching attached closed hall, a detached cruciform open pavilion, and a free standing torana. Identify this temple.
44.  This tower is 72.5 mts high and tapers towards the top. Its diameter decreases from 15 mts to 3 mts at the top. Identify the structure.
45.  This structure derived its name from the "Cow gate" of ancient times. Name this structure.
46.  This emperor was particularly depressed to find in India no gardens such as he had known in his country. Identify the emperor.
47.  Here the Hindu structural temple had its beginning and its introductory form. Name the place.
48.  In the latter half of the seventh century, the temple structure in its medieval aspect, was beginning to assume a prescribed form. As in the case of Greek and Roman architecture, these buildings can be classified into two orders. Name these orders.
49.  On the throne sit four large white marble figures - each facing one of the doors of the shrine. These area large figures : They sit with their feet crossed in front, after true Buddha style. Name the temple.

Have a break Have a KitKat!


16 June 2011

Quotes from an Interview with Suryakant Patel

While I was teaching History of Modern Architecture to students between 1995 - 1998 at the APIED, then just known as IED, Suryakant Patel became aware of some of the articles written by me in the Indian Architect & Builder and we got talking on numerous issues. I had the good sense to document all of these at that time. The possibility of a book was also mentioned and we had several discussions along those lines..
Below are some of the quotes I had documented in numerous discussions with Suryakant Patel between 1996 and 1998
On his early jobs and works.
In my early days of practice I had to leave jobs because of certain standards that I had decided to maintain in my practice. I feel it is very much akin to our Hindi films. If your first role is of a comedian then you are typecast for life. The first job will  establish your image. You should have the clarity and dedication towards your work.
While studying in Bombay, I saw that architects could induce respect from everybody. One of the contractors told me, "I hate you architects because you know little and try to dictate terms. Practical aspects are not foremost in your mind. All the same  I respect you because your insistence is infectious and you manage to get things done your way. To say the least most of you are honest people."
Today the scenario is quite different. I feel that the image of Architects is at its nadir. One of the reasons could be the unbelievably low fees that some architects charge and cannot render proper services. The professionalism is missing.
I feel at an early stage in one's career it is better to execute smaller jobs efficiently. One lacks the requisite experience to give adequate justice to a large project. These smaller projects, when published will demonstrate your abilities and people will learn about the work you are doing. This way clients will know your ideas and the kind of work to expect before they come to you. You have to achieve a particular level and maturity before you start getting larger projects.
I have never gone out of the way to solicit clients and canvass for work. It is possible that by canvassing, I will get more work but then I will not be able to maintain the quality of resolution that I expect from my architecture.
In the late fifties, I began my practice in Baroda. Along with it I also taught at the Department of Architecture at the MSU. Then  my mode of transport was a humble cycle. Progress in my career was slow but steady and as time went  I learnt many things. I believe a slower but steadier rise in a career is better than ups and downs. My education from England fostered this confidence in me. Being in England, knowing the people  and their attitudes, working and living with them made me appreciate my Indianness more. Education does something and it did something to me - probably to be more Indian than most Indians

On clients
In my long practice I have found that clients are ready to pay  fees which are reasonable. Any discrepancies in the fees between you and other architects have to be explained because this breeds mistrust in the client. If some architect quotes a lesser amount,  it becomes the standard. This  way everybody loses out to unhealthy competition. The architect works more for less, and the client is not able to judge the discrepancy in the varying amounts. 
While dealing with the client, his requirements should become the basis for a design. His way of life, his behaviour etc. also become important clues and offer valuable insight into the type of a person he is. Above all, he is not totally ignorant and as architects we should try to explain and involve him in the project. This will prevent problems at the later stages and he will not say, "I did not tell you this." or "Oh, this is something different, I never expected this." It will also ensure his trust in you as an architect. If he comes back to you with another job then you are doing good work for your client. I respect my clients' aspirations. I believe Creativity does not always lie in the creation of something exotic, new and strange. Man has taken ages to change the pattern of his daily life. Then why should his form and shelter be so completely and arbitrarily changed by an architect
If clients insist on something that is not in your architectural vocabulary then you may have to leave the work. It is not necessary to take all the work that comes your way. Being selective about clients and the type of work you want to do certainly goes a long way in establishing your image as an architect.
I have found that people do understand if you talk to them nicely and convincingly. Let me give you an example. If somebody is playing music you cannot dictate the way he should play a piece because you like it that way. An architect is also equally creative and this also has to be explained to the client.

On Architecture
Architecture falls in the realm of art where it can be identified as a "useful" art. It has the element of function that the user defines. The architect's and the client's expression  should be interwoven.

Managing construction.
In India we have followed the British system. The concept of Master builder that made the Architect a completely in charge of construction, management and Design is extinct. Now the construction, purchase of materials etc. are done by different parties having little knowledge of each other's work.

Detailing
Detailing should always depend on the material you use, the climate and the purpose you want this detail to serve. In European climates, you want to keep out the cold and damp, and want more sunlight inside. So the windows will have double grooves, and minor detailing so water and cold drafts will not penetrate. The wood used is soft and treated which does not expand. So finer detailing is possible.
Because of this rich experience, they have produced books that we use in our schools and to teach students to follow these details. This process has its disadvantages because in India. Here, good seasoned wood is not available easily. You have to use secondary woods often which may expand. Then you have to check the detailing, the size of wood. In India, breezes in living spaces are more than welcome so the detailing would change. The windows instead of coming in the forefront, will be set back, and you don't have to worry about the weather. These are the problems that we  face even today, because we  blindly follow  details given to us by the West. I have always designed and developed my own details.

Materials
In my opinion, absolutely anything you want to construct and design must follow the relevant constructional technology to the material. The level of construction technology available from place to place in India differs greatly. If you are designing in a village and expect the exposed concrete of the metros, you may be disappointed.
I have always relied on locally available material. I do not mind using deformed bricks in my designs. In a farmhouse, for instance, they add to the character and act as a part of the landscape.

On designer sensibilities
What  I  believe is that a sensitive designer can  design  almost anything. He has the sensitivity and creativity in him to design,  evolve  and  create  new things provided  he  knows  the technology involved.
I  believe that the technology and the scale are the only  variables  that differ, but the sensitivity remains a constant.  Sensitivity in any person can come with the awareness and indulgence of all the five senses. I mean that a human being is highly developed and creative when all five senses are highly developed. I would  call such  a person an artist in the true sense of the word.

On Sketching
Sketching for me is an intense pleasure which brings me complete understanding of spatial relationships and their organizations. Our country abounds in its wealth of vast and beautiful complexes, and each time I sketch, it makes me richer in my understanding of the fabric of our architecture.