1. 18 COLUMNS on a Grid +7 WALLS on a Whim
INDIAN INSTITUTE OF ARCHITECTS - NAGPUR CENTRE
7th PROF. S A DESHPANDE STUDIO DESIGN COMPETITION
18 COLUMNS on a Grid
+7 WALLS on a Whim
On the one hand, there is the Aesthetics of Number, on the other hand, there is the Architecture of Lively Variety, on still another there is Structure and Coincidence The most influential prototype of this direction is the Two-Components-Approach.
Structuralism is a theoretical paradigm emphasizing that elements of culture must be understood in terms of their relationship to a larger, overarching system or structure.
Structuralism is the belief that phenomena of human life are not intelligible except through their interrelations. These relations constitute a structure, and behind local variations in the surface phenomena there are constant laws of abstract culture.

2. 18 COLUMNS on a Grid +7 WALLS on a Whim the grid measures
the grid scales
the grid locates
the grid sizes
the grid makes amends
the grid is a Cartesian syntax
the grid decides
the grid predicts
the grid disrupts
the grid suspects
the grid protects
the grid pre empts
the grid disposes
the grid dispossesses
the grid assures
the grid pre supposes
the grid senses
the grid formalizes
the grid structuralizes
the grid makes
the grid unmakes…….effaces…..defaces…..concocts
the grid figures
the grid firms up things….. bequeaths spaces….volumes….shapes….forms
the grid relents
the grid performs
the grid articulates
the grid intones
the grid accuses
the grid disappears
the grid appears
the grid fancies
the grid patronizes
the grid admonishes
18 COLUMNS on a Grid
+7 WALLS on a Whim

3. 18 COLUMNS on a Grid +7 WALLS on a Whim Plato’s WALL PROJECT
Plato begins by asking Glaucon to imagine a cave where people have been imprisoned from childhood. These prisoners are chained so that their legs and necks are fixed, forcing them to gaze at the wall in front of them and not look around at the cave, each other, or themselves (514a–b). Behind the prisoners is a fire, and between the fire and the prisoners is a raised walkway with a low wall, behind which people walk carrying objects or puppets "of men and other living things". The people walk behind the wall so their bodies do not cast shadows for the prisoners to see, but the objects they carry do ("just as puppet showmen have screens in front of them at which they work their puppets" . The prisoners cannot see any of this behind them and are only able to see the shadows cast upon the cave wall in front of them. The sounds of the people talking echo off the shadowed wall, and the prisoners falsely believe these sounds come from the shadows
Socrates suggests that the shadows constitute reality for the prisoners because they have never seen anything else; they do not realize that what they see are shadows of objects in front of a fire, much less that these objects are inspired by real living things outside the cave.
PROJECT
House for John Hejduk
200SQM
SITE AND SUBMISSION REQUIREMENTS
SHALL BE SPECIFIED ON
DURATION OF THE COMPETITION - 3 DAYS ( TO )

4. Teacher with a Book: John Hejduk 1929-2000
Teaching is a socio/political act
John Hejduk graduated from the Cooper Union for the Advancement of Science and Art in In 1964 he returned to the institution to teach in the School of Art and Architecture. In 1975, he became Dean of the School of Architecture, where he developed the school's renowned pedagogy for the next 25 years. In Hejduk's words:
"I believe in the social contract therefore I teach. I believe that the University is one of the last places that protects and preserves freedom, therefore teaching is also a socio/political act, among other things. I believe in books and the written word, therefore I fabricate works with the hope that they will be recorded in books. I am pragmatic and believe in keeping records. I believe to record is to bear witness. The book I wrote, Victims is to bear witness and to remember. I believe in the density of the sparse. I believe in place and the spirit of place."