Latest...

14:30

Summer Classes For AutoCad Drafting & Designing

Learn AutoCAD, the best computer-aided design (CAD) program used for 2-D and 3-D design and drafting. 

Eligibility : 

Architecture , Civil Engineering and Interior Design students 

Training Schedule 

Start Date : 7th May onwards 
Days : Monday, Wednesday , Friday & Saturday
Time : 10am-1pm
or
Tuesday, Thursday, Friday ( 2pm-5pm) & Saturday (10am-1pm)

Address : H Block , CR Park, New Delhi 

Batch I - For 2D AutoCad  starts on 14th/15th May and finishes on 9th June 2018.
After 2 weeks of Break classes resume for 3D AutoCad or Basic 3DS Max from July .

Batch II - 2D & 3D AutoCad and Basic 3DS Max From July onwards

Course Detail:

AutoCAD 2D 

01. Introduction AutpCAD
02. New Page Setup
03. Modifying line.
04. Line. Ray. Multiline. Polyline
05. Copy. Mirror. Offset. Array. Break.
06. Streth.Lengthen. Trim.Extend.Break.Join.
07. Chamfer. Fillet.
08. 3D Polyline.Polygon. Rectangle.ARC.
09. Move. Rotate. Scale. Measure 
10. Table.Hatch. Gradient. Boundary. Wipeout.
11. Revision cloud. Text. Xref, Xclip
12. Match properties. Change to by layer.
13. Object. Clip. Annotative object scale.

AutoCAD 3D 

01. Introduction of 3D in Autocad
02. Introduction of 3d View Ports. 
03. 3D Operations. Extrude, Loft, Revolve
04. Solid Editing. Elevation, Thickness 
05. Change Space Rotate 3D, 3D Array.
06. 3D Navitigation. Subtract, Intersect, Fillet, Chamfer, Align
07. Lights.
08. Camera Adjustment. 
09. Render Views 
10. Print Setting For (layouts) 

REACH US AT...

AutoCAD is developed and marketed by Autodesk Inc. and was one of the first CAD programs that could be executed on personal computers.

Computer-aided design (CAD) is the general term that applies to the use of computers in the design of houses, office buildings, interiors and anything else that previously required hands-on drafting. AutoCAD is a specific piece of software used by many architects and designers for commercial design purposes.


AutoCAD was initially derived from a program called Interact, which was written in a proprietary language. The first release of the software used only primitive entities such as polygons, circles, lines, arcs and text to construct complex objects. Later, it came to support custom objects through a C++ application programming interface. The modern version of the software includes a full set of tools for solid modeling and 3-D. AutoCAD also supports numerous application program interfaces for automation and customization.

DWG (drawing) is the native file format for AutoCAD and a basic standard for CAD data interoperability. The software has also provided support for Design Web Format (DWF), a format developed by Autodesk for publishing CAD data.

https://thecreativesciences.blogspot.in/2018/03/summer-coaching-classes-for-uceed-nid-nift-2019.html

https://thecreativesciences.blogspot.in/2018/01/summer-coaching-classes-for-barch-nata-jee2-2019.html

HOME PAGE

STUDENT REGISTRATION FORM
22:52

Summer Coaching Classes For UCEED, NID And NIFT Papers 2019

Coaching Options For B.Des ( UCEED, NID, NIFT etc) Entrance Examinations 2019 For Outside Delhi / Delhi Students


1. Summer Vacation Classes Only For 3-4 weeks ( Classes will commence from 14th May,2018 - 13th June,  2018)

2. Summer Vacation Classes ( Between 14th May, 2018 to 13th June , 2018) + Online Sketch Development & periodic tests ( July 2018- December 2018)

3. Summer Vacation Classes ( Between 14th May, 2018 to 13th June , 2018) + Online Sketch Development & mock tests( July 2018- December 2018) + Revision classes after boards  ( for NMIMS, Symbiosis, Nirma, MSU Baroda etc design colleges).

All the courses can be customised according to the student's needs.

We also help to create portfolios for Design Studies abroad.

For all the courses Study Material is included . 

Please visit us with an appointment on any Saturday between 10am-1pm at our institute at CR Park.

FILL THE STUDENT REGISTRATION FORM


NID, NIFT,UCEED   NID, NIFT, UCEED , NID, NIFT , UCEED, NID NIFT, UCEED
18:47

Summer Coaching Classes For NATA And JEE Paper 2019

Coaching Options For B.Arch Entrance Examinations 2019 For Outside Delhi / Delhi Students


1. Summer Vacation Classes Only For 3-4 weeks ( Classes will commence from 14th May,2018 - 13th June,  2018)

2. Summer Vacation Classes ( Between 14th May, 2018 to 13th June , 2018) + Online Sketch Development ( July 2018- December 2018)

3. Summer Vacation Claases ( Between 14th May, 2018 to 13th June , 2018) + Online Sketch Development ( July 2018- December 2018) + Revision classes after boards.

All the courses can be customised according to the student's needs.

We also help to create portfolios for Architecture Studies abroad.

For all the courses Study Material is included . For the 3rd Option 12 years JEE Previous Paper tests and 10 NATA Computerised tests are included.

FILL THE STUDENT REGISTRATION FORM




'INSTITUTE OF CREATIVE SCIENCES' - AN ENTRANCE PREPARATION STUDIO FOR ARCHITECTURE , DESIGN AND ART CAREERS.  
  • B.ARCH ( NATA / JEE 2 ) COACHING
  • UCEED, IIT BOMBAY ENTRANCE COACHING
  • NID, NIFT, IIT -UCEED AND OTHER DESIGN COLLEGES 
  • CEED & NID MASTERS EXAM PREPARATION
  • PORTFOLIO FOR ARCHITECTURE AND DESIGN STUDIES ABROAD
11:56

JEE PAPERS FOR B.TECH & B.ARCH


JEE Main Structure of Papers:
JEE Main consists of 2 papers i.e. Paper 1 and Paper 2. 

Paper 1 conducted in the morning session and Paper 2 conducted in the Afternoon Session.

Exam                            
Paper 1 - (B.E or B.Tech all colleges offering Engineering studies)
& B.Arch ( IITs) Note that for B.Arch in IITs you have to pass JEE Advanced and AAT {Architecture Aptitude Test} also.     
Types of Question
Physics, Chemistry & Mathematics
Mode of exam
Objective Type     Choice of Online or Offline Mode

Paper 2 - (B.Arch or B.Plan)
Subjects
Mathematics (Class 11-12) & Aptitude Test (Architecture & Visual + Mental Aptitude) and Drawing Test       
Mode of exam
Objective Type     Offline Mode (Paper based) only
JEE Main Paper Pattern:
JEE Exam pattern shared below can give candidates an idea of how to prepare and which all topics to be prepared well.

Papers            Subjects                      Number of Questions            Maximum Marks
Paper-1           Physics                        30 Questions                           120 marks
Chemistry                    30 Questions                           120 marks
Mathematics                30 Questions                           120 marks

Paper-2          
Mathematics    30 Questions           120 marks
Aptitude Test   50 Questions           200 marks
Drawing           2 or 3 Questions     70 marks

JEE Main Paper 1
For admission to B.E. or B.Tech courses offered at various NITs, IIITs, DTU, and other central and state-funded institutions and B.Arch ( IITs only).[Note: For B.Arch in IITs you also have to pass JEE Advanced and AAT {Architecture Aptitude Test}].
Questions in paper 1 will be from Physics, Chemistry, and Mathematics.
The time duration is 3 hours.
For each correct answer, the student will be awarded 4 marks while 1 mark will be deducted in case of every wrong answer. There is no negative marking for any question not attempted.
Only one response has to be filled in, more than one response is considered as a wrong answer and marks will be deducted.
The question paper will be of 360 marks, having a total of 90 questions with 30 questions from each Physics, Chemistry, and Mathematics.
The computer based test and the pen & paper based entrance exam is held on separate dates.

JEE Main Paper 2
For admission in B.Architecture or B.Planning courses offered at NITs, DTU, and other central and state-funded institutions.
The Question Paper will have questions from Mathematics Syllabus class 11-12 based) , Aptitude Test, and Drawing Test.
The time duration is 3 hours.
Aptitude Test section consists of 50 objective type questions.
Mathematics section consists of 30 objective type questions.
Drawing test is the last part consisting of 2-3 questions. It is to check the candidates drawing perceptions, observation powers and visual abilities.
For each correct answer in Part 1 & Part 2, students will be awarded 4 marks while 1 mark will be deducted in case of every wrong answer.
There is no negative marking for Part 3.
#JEE #Paper1 #JEE #Paper2





16:37

B.DES (UCEED| NID| NIFT| MITD| SRISHTI| SYMBIOSIS ETC) Coaching Classes

Reach Us At 9818541252 For More Information

I. ENTRANCE EXAMINATION PREPARATION FOR BACHELOR OF DESIGN COURSES 


  1. UCEED(IITs) 
  2. NID, AHMEDABAD 
  3. NIFT, DELHI etc 



II. WE HELP YOU TO PREPARE FOR THE ENTRANCE EXAMS AND PORTFOLIO FOR THE FOLLOWING COLLEGES .

COURSES OFFERED :

INTERIOR DESIGN, INTERIOR ARCHITECTURE, FASHION DESIGN, FASHION COMMUNICATION, PRODUCT DESIGN AND OTHER DESIGN STREAMS


  1. SUSHANT SCHOOL OF DESIGN, GURGAON
  2. WORLD SCHOOL OF DESIGN, SONEPAT
  3. CHITKARA UNIVERSITY - DESIGN COURSE, CHANDIGARH
  4. IIAD , DELHI
  5. PEARL ACADEMY, DELHI
  6. LONDON SCHOOL OF TRENDS , DELHI
  7. SRISHTI SCHOOL OF DESIGN , BANGALORE
  8. SYMBIOSIS PUNE
  9. MSU , BARODA
  10. NIRMA UNIVERSITY , AHMEDABAD
  11. MODY UNIVERSITY, SIKAR, RAJASTHAN
  12. NPAT- NMIMS, MUMBAI
  13. MITD, PUNE
  14. THE DESIGN VILLAGE, NOIDA
  15. CEPT, AHMEDABAD


20:53

India Architecture

Referring to the architectural heritage of undivided India, Lord Curzon once commented that it was 'the greatest galaxy of monuments in the world'. 

The story of this 'greatest galaxy of monuments' goes back to the pre-historic times when early humans did their rudimentary constructions; the form developed into a full-fledged architecture towards the beginning of Christian Era and the Indian architecture reached its zenith during the early medieval times with temple architecture. With the dawn of the medieval times came the Muslim influence and the two great styles were attempted to be merged. This experiment at fusion was fully realised during the reign of the mighty Mughals in the so-called 'Mughal Architecture'. While the Mughal style was still diffusing to other parts of the country the British had also arrived in India; whatever might be the economic and political repercussions of their entry into the subcontinent, as far as architecture is concerned, they made their own contribution to the already rich Indian architecture.

Indian architecture was essentially a product of the soil, and whatever touched it in its long course of development practically grew into it giving it new form and colour in each successive phase.

Pre-historic and Proto-historic Architecture:
The earliest remains of construction in India may be traced back to pre-historic times, evidence of which are found in Baluchistan and Sind (now in Pakistan), Bhimbetaka (Madhya Pradesh), Kashmir and other parts of Indian subcontinent. The construction activities at these places is of rudimentary nature as the humans before the dawn of civilization lived in natural caves and their artistic expressions were limited to paintings on the cave walls and decorations on tools and implements.

The construction activities got a major impetus with the urbanization of the plains of the Indus and its tributary rivers. This urbanization, widely known as Indus Valley Civilization or Harappan Culture, experienced its mature phase between 2500 B.C and 2000 B.C. While the most remarkable feature of the culture was its town planning and advanced knowledge of building and construction techniques, the architects of the civilization seem to have made no large structures (barring The Great Bath at Mohenjodaro, a few store houses and some palatial buildings). The Harappans' buildings were essentially of utilitarian nature and of little aesthetic merit unlike their contemporary civilizations. In India the Harappan sites are mainly found in Gujarat, Rajasthan, Haryana and Uttar Pradesh. The prominent sites of Gujarat include Dholavira, Gola Dhoro, Lothal, Surkotada, Bhagatrav, Rangpur, etc. In Haryana the important sites are Rakhigarhi and Banawali. One of the most important sites of Harappan Civilization is found in Rajasthan at Kalibangan. The Eastern fringe of Harappan civilization included sites of Alamgirpur, Bargaon and Hulas in the state of Uttar Pradesh. The northern-most site in India was at Rupar in Punjab.

With the Harappans also collapsed the urban culture and consequently a lull set in as far the building activities are concerned. This lull continues till the dawn of the so-called 'second urbanization' in Indian history around 600 B.C. and from now onwards it is possible to trace the history of Indian architecture in an almost unbroken sequence. Though building activities started again from 6th century Before Christ; still very few buildings were made of stone as the main building materials were wood and bricks in the Gangetic plains — the centre of the civilization at the time. The evidence of building activities during the period is largely dependent on literary records and only rarely are there archaeological remains to provide corroborative evidence. However, Ashoka, the great Mauryan king, was already leaving large stone columns with finely carved capitals for all times to come. The transition from wood and bricks to stone was round the corner....

From Early India to Medieval Times:
The Mauryan rulers extended the centre of civilization to outside the Gangetic plains as far as the Tamil country in the peninsular India. The expansion of empire, the relative prosperity and stability, the rise of Buddhism, Jainism and the sectarian cults of Hinduism — all contributed to the development of a number of architectural forms. This new fervour in architecture was particularly manifested in the religious structures, such as stupas and caves temples; later free standing temples came to be 'the norm' for artistic expression in architecture. As for secular structures, though they were built but the architects devoted much of their time and energy in creating religious structures.

Stupa: The stupa began as a hemispherical earthen burial mound built over the remains of a religious teacher or holy man. The cult of stupa was taken up by Buddhism, and, Ashoka Maurya raised a large number of stupas over the relics of the Buddha all over India. During the period between the Mauryas and the Guptas as Buddhism grew and won patronage of powerful kings, the older mud mounds were greatly enlarged and sheathed with stone.

The original wooden fencing was replaced with elaborate stone railings and ornate gateways (torans). Of these early stupas three are especially noteworthy — those at Bharhut and Sanchi in Madhya Pradesh and at Amaravati in Andhra Pradesh. Of the later stupas the two most famous are those of Sarnath and Nalanda.

Cave Temples (Chaityas & Viharas):
Of the centuries before the Gupta period the chief architectural remains, other than stupas and their surrounding gateways and railings, were artificial caves. These caves were excavated for preaching monks to rest during the monsoon period; though later these were occupied throughout the year and became institutions in themselves. The caves may be divided into two parts: chaityas or prayer halls, and, attached with each hall were a number of other caves meant for the monks' lodging and were called the viharas or monasteries.

The chaitya shrine in its typical form was a long rectangular hall, apsidal at the rear end and divided into three sections by two rows of pillars along the length of the hall meeting at the back end. The rock-hewn monasteries (viharas) typically have three ranges of cells on three sides of a central hall opening out into a pillared gallery in front. Earliest of these cave temples are found in Barabar Hill in Bihar, dedicated to Ajivikas by Ashoka Maurya. Gradually the cave temples form spread to many parts of India and flourished greatly in Western Deccan.

Though the oldest of Deccan cave is at Bhaja near Pune, the cave temple form matured with the great chaitya hall at Karle (excavated around the beginning of the Christian era). This is cut 124 feet deep into the rock, and is of the same general pattern as that at Bhaja, but much developed in size and splendour. The columns are no longer plain and austere but are heavy and ornate. The simple facades of the earlier caves were developed into elaborately carved verandahs.

However, the most famous of cave groups are those of Ajanta (2nd to 7th century A.D) and Ellora (5th to 8th century A.D). Besides, there are a number of caves found at Kondane, Pitalkhora, Bedsa, Nasik, Kanheri, etc. The latest of cave temples of importance are those of Elephanta near Bombay. After these no important caves were excavated...but then great period of medieval temple building had begun.

Free Standing Temples:
Perhaps the highest achievement of Indian architecture is manifested in the free standing temples. Beginning modestly, it was through a progressive movement spread over centuries that the distinctive styles and forms of free standing temples took definite shape.

From literary evidence we gather that deva-grahas (houses of gods) existed as early as 2nd century B.C. That these temples were built of perishable materials is reflected in the fact that archaeological remains of the period are in fragmentary state. It was from the Gupta period that the practice of building with lasting materials ushered in. Typically, the Gupta temples were small, most had flat roofs and the masonry was held together without mortar. The finest Gupta temple, that of Deogarh near Jhansi, probably of the 6th century, marks a great advance. Here iron dowels were used to hold the masonry together, and a small tower rose above the sanctum. The portal veranda was continued all round the building, making a covered walk. Though still in the formative stage and structures were rather simple and unpretentious, the Gupta temple styles had tremendous bearing upon later development of free standing temples.

With the breakdown of the Gupta Empire, the smaller kingdoms acquired the principles of temple constructions and made their own peculiar additions to form their local variations of the original style. And, thus developed the great Indian temples architecture throughout the country and new temples sprang up everywhere and kings and chiefs vied with one another in their foundation. Considering the size of the land, this Indian temple architecture is remarkably uniform, but scholars distinguish two chief styles — Northern or Nagara style and Southern or Dravidian style.

The Nagara style is best illustrated by three schools — those of Orissa, Bundelkhand and Rajasthan-Gujarat. Though each of these sub schools follows the basic principles of Nagara styles, they also made their own alternations to the main style.

The Orissan School flourished from the 8th to the 13th centuries, and its chief monuments lie in and around the towns of Bhubaneshwar and Puri. The finest Orissan temple is the Lingaraja at Bubaneshwar. Like most Orissan temples, it is built as a series of four halls — a hall of offerings, a dancing hall, an assembly hall and a sanctuary. The sanctuary is crowned by the great tower, but the other three elements of the temple, leading one by one to the shrine, are also roofed with characteristic towers of smaller size. The Lingaraja Temple also shows the North Indian shikhara in its final form — a tower which begins to curve inwards at about one third of its height, with rounded top crowned by a flat stone disc (amalaka) and a kalasa. Among the other important Orissan temples are the Temple of Jagannath at Puri and the Temple of Black Pagoda of Konark. The Orissan architects were lavish with their exterior decoration, and their sculptors produced works of great merit, but the interiors of their temples were unadorned.

Under the Chandela kings of Bundelkhand a great school of architecture flourished in the 10th and 11th centuries, the chief work of which is a beautiful group of temples at Khajuraho. The standard type of Khajuraho temple contains a shrine-room, an assembly hall and an entrance portico. Whereas in Orissan temple these elements were conceived rather as separate entities, the Khajuraho architects treated them as a whole. In contrast to Orissa, the temples at Khajuraho were adorned with sculpture both outside and inside.

The Western school of Gujarat and Rajasthan reached its zenith under the patronage of the Solanki rulers of Gujarat (11th to 13th centuries). The most famous buildings of this school are the lovely Jain shrines of Dilwara at Mount Abu. The temples were built on high platforms and usually consisted of a shrine and hall only, without an entrance portico. The shikhara, over the shrine, like those of Khajuraho, was adorned with a large number of miniature towers, and the ceilings were in the form of corbelled domes. Perhaps these ceilings were carved so as to give the impression of a true dome which was gradually being introduced by the Muslims in India. The shrines of Mount Abu are covered with the most delicate and ornate carving, especially in the interiors. Among the many temples in Gujarat and Rajasthan, another noteworthy representation is the impressive ruins of the Sun temple at Modhera.

In South India, temple building gained much from the patronage of the Pallava and Chalukya kings from the 6th to 8th centuries. Important early temples of the former dynasty are to be found at Mamallapuram and Kanchipuram, while the Chalukyas left temple remains at their capital Badami and at the nearby site of Aihole. The style of the Pallavas was developed further under the Chola dynasty (10-12th centuries); their finest products are the temples at Tanjore and Gangai-konda-chola-puram. The former was probably the largest temple built in India up to that time; the comparatively modest tower of the Pallava style was replaced by a great pyramid, rising from a tall upright base and crowned with a domed filial. This set the style of the Dravidian sikhara, which has continued with some variation down to the present day. Both these temples contain elaborate pillared halls and beautiful decoration.

In the next phase of Dravidian architecture the emphasis shifted from the tower above the chief shrine to the entrance gateway of the surrounding wall — perhaps it was done in imitation of the palaces of kings, with which the temples had much in common. From the 12th century onwards it became usual to fortify the temple with gates on the four sides. The gates were surmounted by watch-towers, and these developed into soaring towers (gopurams), generally much taller than the modest shikhara over the central shrine. The new style is often called Pandyan, after the name of the dynasty which supplanted the Cholas in the Tamil country. The culmination of this Pandyan style is to be seen in the mighty temples of Madurai, Srirangam and other places.

While these developments were taking place in the Tamil country, other styles developed in the Deccan, under the Chalukyas, Rashtrakutas and Hoyasalas. The earliest Chalukyan temples closely resemble the Guptan. The later Chalukyas and Hoyasalas (11-14th centuries) developed a more elaborate style. Their temples were no longer constructed on a rectangular plan, but were polygonal, raised on tall solid platforms of the same shape as the buildings. The largest and most famous temples of this styles are at Belur and Halebid.

The school which flourished under the Vijayanagara Empire and reached its apogee in the 16th century shows both Pandyan and Hoyasala features. The florid carving of the Hoyasalas was developed with even greater exuberance, and new elements appeared in the temple complex. As well as the main shrine, in every important temple in South India the amman, the god's chief wife, was provided with a shrine which was nearly as large as the main shrine itself, and a marriage-hall (kalyanamandapam), wherein the icons of god and goddess were ceremonially united on festival days. Another feature of the Vijayanagar style is the profusion carving which adorns the pillared halls. The finest production of Vijayanagara style is the Vitthala Temple of Hampi.

The Sultanate and Mughal Period:
A rich variety of buildings and monuments came to be constructed in India through the patronage of Turkish, Mughal and other Muslim rulers between 12th and 18th century. These cannot strictly be described as specimens of Muslim architecture as they are as much the work of India's hereditary craftsmen as of the alien artisans who came with the invaders. It will, therefore, be appropriate to regard this phase of building as a development of Indian architecture under Muslim influence.

The Turko-Afghan rulers and generals began their campaigns into India towards the end of the 12th century and had set up Sultanate by the beginning of the 13th. These kings who followed one another in quick succession, erected splendid victory-towers, impregnable forts, luxurious palaces, mosques and mausoleums — both at Delhi and at the provincial capitals.

While still in the process of consolidating their power, from 1200 to 1246 A.D., they simply converted the existing religious structures into improvised mosques. They only had to remove the existing structures in the middle and erect a new wall on the west, adorned with mihrabs pointing the way to Mecca. The Quwwat-ul-Islam mosque in Delhi and the Arhai-din-ka-Jhonpra at Ajmer were built mainly out of the old Jain and Hindu temples. The next monument in this hierarchy is the Qutab Minar — a giant minaret of 73.76 m. The tomb of Iltutmish is a fine example of Indian work under Islamic patronage. In the same vicinity, Alauddin Khalji had a structure built, which shows that, by this time, Indian craftsmen had mastered the alien styles of decoration. Also, the 'true arch' form is introduced here.

The rugged simplicity of the Turks re-asserted itself later in the Tughlaqabad Fort, constructed by Ghiyasuddin Tughlaq in 1321 A.D. There was great building activity under Firuz Tughlaq; but in the Firuz Shah Kotla and the mausoleum at Hauz Khas, there is simplicity due to a not-too-rich treasury. The Lodi tombs are more bare than even the Tughlaq mausoleums. This was due to the fact the kingdom was quite unstable from A.D. 1414 to 1526 and money was scarce. Sher Shah's tomb is the last of the series of Turkish burial places. It is more elaborate than the Tughlaq or Lodi memorials, but is still quite rugged.

The ruggedness of the Turko-Afghan architecture was mellowed in the Muslim provincial kingdoms through the more intimate contact which the Sultans established with local traditions. The earliest mosque at Jaunpur is distinguished by a number of carved pillars, which were obviously taken from a temple. The Lal Darwaza mosque and the lovely Atala Masjid owe much more to the Indian styles. In Gujarat, Sultan Ahmad adorned Ahmedabad with most splendid buildings which, in style and detail, are counterparts of the temples of the neighbourings areas. In the city of Mandu a great mosque was built by Hoshang. The techniques of Hindu, Jain and Muslims styles are again mixed in the structure, but there is superimposed on the whole a reflection of the power of the Sultans. Similarly, in the architecture of Gaur, the old capital of the Muslims in Bengal, the main cue came from local styles.

In the Southern kingdoms of the Muslims too, a large number of monuments were built. The large mosque of Gulbarga, erected in the 14th century, is a unique piece of architecture. This is the only mosque in India which is wholly covered over, the light being admitted through the side-walls which are pierced with great arches. During the reign of the Adil Shahi Sultans of Bijapur, building activity received a major impetus.

Notable among the constructions in Bijapur is the Jami Masjid, created out of the remains of Hindu structures, but never completed. Ibrahim Adil Shah took care that his tomb was finished in his lifetime; the entire Quran was engraved on its walls and the skill of South Indian craftsmen was ably used in its construction and ornamentation.

There is very little difference between the styles which matured under the Turko-Afghan kings and the Sultans who ruled in various parts of India and the later styles perfected in Mughal times, except the Mughal architecture is more elaborate and the synthesis of Hindu and Muslim elements in it is complete. The tomb of Humayun, for instance, is almost a final development of the style which had begun with the Qutab group of buildings and passed through the rough Lodi monuments and Sher Shah mausoleum. The Persian artisans, whom Humayun brought to India, contributed frescoes of their own, bringing in finesse in construction. The material also became finer between A.D. 1540 and 1685.

If Humayun's tomb is still slightly eclectic, the genius of Akbar, the Great Mughal, combined the foreign and indigenous elements completely. This is evident in Fatehpur Sikri's buildings and Akbar's own mausoleum at Sikandara. Akbar's son Jahangir carried on his father's tradition, building two mosques at Lahore and his own mausoleum near Lahore. The most glorious building of his reign is the tomb of Itimad-ud-Daulah at Agra. Built entirely of white marble and covered throughout with mosaic, it marks the beginning of what has been called the Indo-Islamic 'baroque' style.

Shah Jahan, as governor of Gujarat, probably acquired his love of fine buildings from the gems of architecture created by Sultan Ahmad. Those early impressions mingled with his own delicate and sensuous imagination. He brought the same delicacy and love of marble to the Taj Mahal which was built in the memory of his consort, Mumtaz Mahal. The Moti Masjid at Agra is another elegant construction typical of Shah Jahan's concept. The Jami Masjid in Delhi outshines all other buildings of its kind. The Red Fort at Delhi — also a replica of the fort at Agra — also reveals Shah Jahan's sensibility.

After Shah Jahan, the buildings ordered by members of the Mughal dynasty, are mostly in a minor key. Though the Mughal nobility took the Mughal style to their provinces but they could not match the work of the great Mughals and the Indo-Muslim architectural tradition as developed during the mighty Mughals was clearly in decadence.

Modern Times (The Contribution Of The British):
Though by the beginning of the 19th century the British had occupied a great part of the country, the architectural contribution of the British began after the 'great mutiny' of 1857 when their political power was firmly established. It took the form mostly of country-houses, travellers' bungalows, churches, office buildings, etc which stand all over the country. Their style represents a mixture of the ideas evolved by the British military engineers and civil architects. The architectural styles of these structures include the Greco-Roman, Scottish, Gothic, etc. combined with Indian styles.

In December 1911, King George-V proclaimed the transfer of the capital of India from Calcutta to Delhi. In 1912, Lord Hardinge deputed Sir E. Lutyens to select a site for the central buildings. The team recommended the Raisina Hill, a slight elevation south of Delhi, as the ideal site. In 1913, Sir Herbert Baker joined Lutyens as collaborator and was made responsible for the Legislative Council building and the Secretariat, while Lutyens concentrated on the Viceroy's house.

The founding of New Delhi was a measure of imperial policy towards the ideal of establishing a monumental architectural expression of British imperial might. There was much extravagance and some sacrifice of comfort to outward grandeur, some pretentious borrowings of Islamic pavilions and Buddhist railings, some imitation of Hindu ornaments and brackets. Yet it must be said that Lutyens added the refinement of ancient Indian architecture to the ostentation and magnificence expressive of the imperial majesty and power.

The Central Secretariat complex, extending from the Viceregal Lodge (now Rashtrapati Bhawan), is even today one of the best examples of large scale urban design for boldness of conception as well as actual realisation. The architectural integrity of the whole complex, besides its harmony in scale and composition, is a tribute to its great architect, Sir E. Lutyens. The Viceregal Lodge presents the peculiar English splendour, expressing, perhaps for the last time, the "spirit of aristocracy in the language of a dwelling".

The outstanding examples of late baroque-style Christian churches in Goa deserve special mention besides the Cathedral at Shimla, many old churches in Madras and the St. Paul's Cathedral at Calcutta built by Bishop Wilson at his own expense. Victoria Memorial, the noblest monument in Calcutta, is built of white Jodhpur marble.



18:45

Adaptive Reuse of Historic Buildings

India Needs To Look Into This Aspect Of Building Reuse In A Serious Way..

In an age when energy conservation and climate change are the new buzz words for policy makers and occupy a fair share of the mindspace of world leaders and at discussion panels, we seem to constantly talk of recycling water, waste and natural resources. However, recycling of buildings is something not so often discussed.

Adaptive reuse, a process of retrofitting old buildings for new uses, allows structures to retain their historic integrity while meeting the needs of modern occupants. From historic power plants to breweries to schoolhouses, the adaptive reuse potential of old buildings is seemingly limitless.
It's important to understand that adaptive reuse is different from restoration or preservation. While a restoration or preservation project involves restoring a building to its original state, adaptive reuse actually changes the intent of a structure to meet the modern user's needs.

It's inevitable that structures will age and outgrow their original functions. With changes in technology and lifestyle, construction and design are constantly updated to meet modern demands, and older structures are left in the wake of change. Those sensitive to history may prefer to restore older structures to their former glory; however, costs often make this plan unrealistic. An alternate concept is "adaptive reuse" - a process of retrofitting old buildings for new uses, which allows structures to retain their historic integrity while providing for occupants' modern needs.

In the pursuit of sustainable development, communities have much to gain from adapting and reusing buildings. Bypassing the wasteful process of demolition and reconstruction alone makes adaptive reuse attractive. Environmental benefits, combined with energy savings and the social advantage of repurposing a place with valued heritage, make adaptive reuse an essential component of sustainable development.

Historic buildings provide a glimpse of our past while lending character and serving a new practical purpose in our modern communities. An old factory may become an apartment complex, a rundown church may find new life as a condominium, or an old office building may be transformed into a vibrant retail facility. In many ways, an adaptive-reuse project can invigorate a community by meeting the changing needs of the population.

Some adaptive-reuse projects do include restoration of the building's façade or parts of the interior to look as it did in times past. Older buildings often showcase aesthetics that modern buildings simply cannot afford. Built when skilled labour was cheap, these structures often boast a higher attention to detail than those built today. Adaptive reuse of such buildings allows a building to retain much of its character and aesthetics by incorporating these elements into the new framework.

Although examples of successful adaptive-reuse projects include industrial facilities, factories, strip malls, schools, churches, offices, hotels, condominiums, grocery stores, big-box retailers, theaters, and other facilities, not all structures are ideal for reuse. What determines if a project is a fit? While there is no checklist of what makes an ideal candidate, the majority will agree that the most important factor is clearly starting with the overall project goal. Is the goal simply to reuse the space because it appears to be a cheaper solution, or is the hope to capture the building's character and transform it for a new purpose? There is no right answer, but the answer does guide the decision-making process. It's crucial to understand the net result after the modifications and be sure it matches the project goals.



RESTORATION OF TIJARA FORT-PALACE, RAJASTHAN INDIA 

'INSTITUTE OF CREATIVE SCIENCES' - AN ENTRANCE PREPARATION STUDIO FOR ARCHITECTURE , DESIGN AND ART CAREERS IN DELHI.  
  • B.ARCH ( NATA / JEE ) COACHING 
  • UCEED, IIT BOMBAY ENTRANCE COACHING 
  • NID ENTRANCE EXAM COACHING 
  • NIFT ENTRANCE EXAM COACHING 
  • CEED & NID MASTERS EXAM PREPARATION 
  • PORTFOLIO FOR ARCHITECTURE AND DESIGN STUDIES ABROAD
  • DIPLOMA IN CAD DRAFTING AND DESIGNING
  • INTERIOR STYLING AND FASHION STYLING CLASSES

16:52

REACH US AT...

CONTACT US ...

Institute Of Creative Sciences At:

1.

Institute Of Creative Sciences ( Click For Google Map)


H 1482, 1st Floor, Chittaranjan Park, New Delhi
Classes on Saturday Mornings only from 9am-12pm





2.

Institute Of Creative Sciences ( Click For Google Map)

At London School Of Trends
Opposite Kailash Colony Metro Station,
Above Chroma Store(Side Entry)
E 11A, East Of Kailash,
New Delhi





Classes are customised according to students needs.

We also help you to prepare your portfolio for B.Arch Studies abroad (USA | UK | Canada etc)
Call us at 9818541252 to fix an appointment for counselling session.




ENQUIRY FORM ( Click here to send a query)

15:00

Our Students Studying B.Arch Abroad



ARCHITECTURE , DESIGN AND ART PORTFOLIOS

We offer workshops and regular classes for Portfolio preparation, which helps students to prepare a unique portfoliowhich potrays the students skills and creative abilities.
Portfolios are prepared for admissions into Architecture ,Design  and Art schools for Undergraduate and Postgraduate programs abroad. Some of the features of the workshop/ classes are as follows:

  • Print Making
  • Graphic Design
  • Story Boarding
  • Creative Writing
  • 2D 3D Design
  • Product Design
  • Transportation Design
  • Original Thinking
  • Illustrations (using pencil, pen , colours etc.)
  • Computer Aided Designs
  • Introduction to mind mapping & assessing ones personal attributes etc.
  • Theoretical knowledge on subjects like introduction to portfolio, elements of design, colour theory.
  • Practical workshop on poster making, basic drawing, sketching & colouring, photography & 3D product development
  • Portfolio presentation techniques.
UNIQUE FEATURES
  • One to one hands-on guidance by our expert faculties to each student .
  • Unique portfolio for each student as per his/her unique abilities. 

15:08

DECOREX DESIGN SHOW

A vibrant selection of inspired trends will be showcased at KwaZulu-Natal’s premier décor, design and lifestyle exhibition, Decorex Durban 2018 co-sponsored by Plascon and Caesarstone, taking place at the Durban Exhibition Centre from 21 to 25 March 2018.

Echoing the province’s serene lifestyle, the four-day expo encourages a tranquil, calm living space which provides a comforting retreat away from the fast-paced world. Themed “Make your space your living dream”, visitors will have access to a variety of globally influenced designs and trends which have been localised to suit the South African home.

Decorex, the UK’s leading destination for interior design, took place this September on the historic grounds of Syon Park, as the opening destination of the London Design Festival. Featuring more than 400 of the most recognised and emerging exhibitor’s world-wide, including rising numbers of new participants, this esteemed event is the only one of its kind for the high-end interiors market. The show’s 2017 edition  included a number of notable feature spaces and will see the return of Future Heritage: the acclaimed display of work by some of the leading emerging names in British craft. Curated by renowned design and applied arts critic, Corinne Julius, Future Heritage will feature new work exclusively commissioned for the show. This year makers will include designers Helen Carnac, David Gates, Simon Hassan, Merel Karhof and Marc Trotereau, and Naomi McIntosh. A packed programme of insightful talks featuring the industry’s influencers will cover all aspects of design, including craft, lighting, hotels, global projects and for the younger designers, a session on how to grow your own business. Some exciting new formats wasalso featured this year.


Read more....

20:26

Patterns In Nature

Natural Design Patterns

Patterns in nature are visible regularities of form found in the natural world. These patterns recur in different contexts and can sometimes be modelled mathematically. Natural patterns include symmetries, trees, spirals, meanders, waves, foams, tessellations, cracks and stripes. Early Greek philosophers studied pattern, with Plato, Pythagoras and Empedocles attempting to explain order in nature. The modern understanding of visible patterns developed gradually over time.

Mathematics, physics and chemistry can explain patterns in nature at different levels. Patterns in living things are explained by the biological processes of natural selection and sexual selection. Studies of pattern formation make use of computer models to simulate a wide range of patterns.

(Source Wikipedia)

Examples Of Patterns In Nature

Institute of Creative Sciences NID CEED Coaching In Delhi















'INSTITUTE OF CREATIVE SCIENCES' - AN ENTRANCE PREPARATION STUDIO FOR ARCHITECTURE , DESIGN AND ART CAREERS IN DELHI.  
  • B.ARCH ( NATA / JEE ) COACHING CLASSES 
  • UCEED, IIT BOMBAY ENTRANCE COACHING CLASSES
  • NID ENTRANCE EXAM COACHING CLASSES
  • NIFT ENTRANCE EXAM COACHING CLASSES
  • CEED & NID MASTERS EXAM PREPARATION 
  • PORTFOLIO FOR ARCHITECTURE AND DESIGN STUDIES ABROAD
  • DIPLOMA IN CAD DRAFTING AND DESIGNING
  • INTERIOR STYLING AND FASHION STYLING CLASSES
15:12

Some Important Dance Forms Of India

Dance is an ancient and celebrated cultural tradition in India. Folk dances abound all across the country, and huge crowds of people can be found dancing at festivals and weddings. Dance and song features heavily in Indian cinema (so-called “Bollywood” films), too. But where does Indian dance draw its roots from? Here are six of the most important classical dance forms of India.

Bharatanatyam

Bharatanatyam is a dance of Tamil Nadu in southern India. It traces its origins back to the Natyashastra, an ancient treatise on theatre written by the mythic priest Bharata. Originally a temple dance for women, bharatanatyam often is used to express Hindu religious stories and devotions. It was not commonly seen on the public stage until the 20th century. The dance movements are characterized by bent legs, while feet keep rhythm. Hands may be used in a series of mudras, or symbolic hand gestures, to tell a story.

Kathakali

Kathakali comes from southwestern India, around the state of Kerala. Like bharatanatyam, kathakali is a religious dance. It draws inspiration from the Ramayana and stories from Shaiva traditions. Kathakali is traditionally performed by boys and men, even for female roles. The costumes and makeup are especially elaborate, with faces made to look like painted masks and enormous headdresses.

Kathak

A dance of northern India, Kathak is often a dance of love. It is performed by both men and women. The movements include intricate footwork accented by bells worn around the ankles and stylized gestures adapted from normal body language. It was originated by Kathakas, professional storytellers who used a mixture of dance, song, and drama. Like other Indian dances it began as a temple dance, but soon moved into the courts of ruling houses.

Manipuri

Manipuri comes from Manipur in northeastern India. It has its roots in that state’s folk traditions and rituals, and often depicts scenes from the life of the god Krishna. Unlike some of the other, more rhythmic dances, Manipuri is characterized by smooth and graceful movements. Female roles are especially fluid in the arms and hands, while male roles tend to have more forceful movements. The dance may be accompanied by narrative chanting and choral singing.

Kuchipudi

Unlike the other styles mentioned, kuchipudi requires talent in both dancing and singing. This dance, from the state of Andhra Pradesh in southeastern India, is highly ritualized, with a formalized song-and-dance introduction, sprinkling of holy water, and burning of incense, along with invocations of goddesses. Traditionally the dance was performed by men, even the female roles, although now it is predominantly performed by women.

Odissi

Odissi is indigenous to Orissa in eastern India. It is predominantly a dance for women, with postures that replicate those found in temple sculptures. Based on archaeological findings, odissi is belived to be the oldest of the surviving Indian classical dances. Odissi is a very complex and expressive dance, with over fifty mudras (symbolic hand gestures) commonly used.




10:51

B.Arch & B.Des Coaching In South Delhi

'INSTITUTE OF CREATIVE SCIENCES' - AN ENTRANCE PREPARATION STUDIO FOR ARCHITECTURE , DESIGN AND ART CAREERS IN SOUTH DELHI  
  • B.ARCH ( NATA / JEE ) COACHING
  • UCEED, IIT BOMBAY ENTRANCE COACHING
  • NID, NIFT, IIT -UCEED AND OTHER DESIGN COLLEGES 
  • CEED & NID MASTERS EXAM PREPARATION
  • PORTFOLIO FOR ARCHITECTURE AND DESIGN STUDIES ABROAD
  • DIPLOMA IN CAD DRAFTING AND DESIGNING
OPTIONS FOR  REGULAR ONE YEAR OR TWO YEAR COACHING FOR B.Arch & B.Des ( NATA | JEE 2 | NID |UCEED | NIFT)


  1. 90 CLASSES OF 3 HOURS EACH START FROM CLASS XI ; CUSTOMISED AS PER STUDENTS REQUIREMENT
  2.  70 CLASSES OF 3 HOURS EACH START FROM CLASS XII ; CUSTOMISED AS PER STUDENTS REQUIREMENT
  3. CUSTOMISED CLASSES FOR LATE JOINERS OF CLASS XII TO BE CONTINUED AFTER BOARDS TOO.
  4. FAST TRACK  COURSES FOR NATA & JEE 2  2019 EXAM AVAILABLE
  5. FAST TRACK CLASSES FOR ENTRANCE EXAM PREPARATION FOR MIT, PUNE, SYMBIOSIS, SRISHTI, FDDI, IIAD , LST AND OTHER DESIGN COLLEGES AFTER BOARD EXAMS.

NATA 2018 BROCHURE (CLICK LINK- http://www.nata.in/NATA2018-Brochure.pdf)
Click the Link Below For Easy Information:
NATA, 2018 Examination Pattern
The examination pattern is the most crucial part of the admission process as the score decides whether a candidate will get the admission in the institute or not. Here are all the key details about the examination pattern:
Mode of Exam: The exam will be held through ONLINE mode for the MCQ parts. Drawing Exam (Part B will be Paper Based)
Duration: The duration of the exam will be three hours (10:30 AM to 1:30 PM).
Type of Question: The question of Mathematics & General Aptitude will be multiple choice questions and Part B will be answered on A4 size drawing sheets.
No. of Questions: Total 60 questions will be asked in the examination.
Total Marks: The question paper will be of 200 marks.
NATA and JEE B.Arch Coaching Classes

https://thecreativesciences.blogspot.in/p/nata-exam.html

Institute Of Creative Sciences 
1. At London School Of Trends,
E 11-A, 1st Floor, East Of Kailash, New Delhi

(Above Croma Store, 1st Floor
2 mins walk from Kailash Colony Metro Station)

(Walk-in for a visit )


2. H Block, CR Park, New Delhi 19

( Near CR Park Market 2 ,
Nearest Metro is Nehru Place or Govindpuri )



[Visit by appointment please (9818541252 )]