As an architect, in the starting of my professional career, I used to wonder about the limits of designing. What an architect should be able to design and what he must (or can) not?
One day, the principal of my office asked me to describe 'Design' in not more that five sentences. That day I realized that more than architecture, its design that matters! Designing is architecture. Architecture is designing. Its been around half a decade and I have tried my hand on architecture, graphic designing, cooking, marketing and.. I see design everywhere. In a knife to a billboard.. in a chair to a movie or a song. I see it everywhere and thus, now I have started studying everything to understand design in order to complete my quest.
What has inspired me the most till date is Massimo Vignelli's quote where he says that if you can design one thing, you can design everything! Vignelli, himself being an architect by degree, is celebrated as a graphic designer, a product designer and what not. The more I read or watch about him and his wife, the more I get inspired to try out new things. Lately, as I started working on some graphic design projects, Vignelli's idea of Design is One started making more and more sense to me.
He and his wife, work and design together, and have penned a wonderful guide for people out there in the field of Graphic design - THE VIGNELLI CANON - a guide or a handbook, this is a must for all those who are studying or practicing in the field of graphics. The best part it is available for all and can be downloaded here.
As the couple themselves have been working on this philosophy for long, I would and cannot describe it anyway. Having said that, what I extract from it is the motivation and confidence of experimenting in design. 'Design' is a process and it is just that the 'thing' you are going to design is what makes the whole difference. The process remains same, every time.
Here is the sneak peek to the documentary Design is One
From the beginning of the graduation course to joining an architectural firm or further in one's own practice, Plan is one of the most used and terms. A plan is basically a graphic representation, a drawing or a diagram to showcase how something will be arranged. Of course, there is one other definition of the word Plan - i.e. to create a proposal of how things are going to be done - like a holiday plan. But, in this particular post, I am going to stick to the first definition.
If we talk about the conventional approach towards designing among colleges, we find that students are given a site for a semester and if the kids are taught well, they would begin with drafting a 'plan' keeping the site constraints in mind. One good way of charting out a plan is to work on GRID. That helps you to understand the 'scale' (of whatever you are proposing) in a better way. One of my batchmates was one step ahead. She used to work on plans with free hand and make the grid herself - with exact spacing and size - which I believe was a remarkable skill for a college student. On the other hand, some people, like me, preferred working with free hand only - without using the grid - which, I discovered a bit later, was the wrong technique. I would make the plans (free hand) and think that the product would be good. But as soon as I transferred those plans to 3D, I realized the huge difference between what was built and what I was imagining. Then I realized the power of grids.
But working on the plan first altogether seems to be a less apt (if not wrong) approach now. During my last years in college, I was deeply under the influence of the works by Christopher Alexander, an Architect, a mathematician and a design theorist. I saw few of his lectures online and read extensively about his 'process' of designing. What I discovered was something which I was 'casually' told by my faculty years ago - prepare models! Yes. A whole 'new' approach towards designing. Where plans are made at a later stage and the structure is built first (on a smaller scale). In one of the videos where his architecture has been discussed, Alexander says, "Life can not be produced by drawings. Life can only be produced from a process." Here is the video where you can look into his career in depth -
Whatever be your design problem, preparing and working out on models right from the conceptual stage would change the way you see things. A 3m long wall is just a line in a plan but the same wall is also 3m high when u work with a model. A room might seem to be a 2D square in plan but it has a volume in a model. A model lets you 'experience' space well before it is even conceived.
No doubt, great architects work only on a plan. But they became great after working on models first. This practice, if followed religiously, will teach you the relationship between a line and space.
There is a new category or genre of music available on media these days - it's called 'Mash-up'. Well, actually the genre is old but the name given to it is rather new suiting the needs and attitude of the new generation - fast paced. Earlier the same thing was there and was sold under the name of 'melody' - a song that has different songs clubbed together in such a way that the listener gets the feel of every song in one. A similar 'feel' is created in a 'remix'. DJs around the world pick up many songs and create a wonderful melody or mash-up out of them by adding music and elements we fall for. I was reintroduced to this form of art recently when I visited the college. Few of my juniors gave a complimentary jam session and sang few melodies.
Later one day, Sahil - my partner in crime - randomly came up with a lyrical mix of songs. Lyrics of different songs stitched together on the common words. The transition from one song to another was so seamless that, on one go, it seemed to me 'one'.
What makes melody a successful design? What keeps us attached to the melody even when there are several songs combined in one? The Seamless Transitions, probably, is the answer! Places or notes or spaces where one can shift gear easily without creating chaos. In songs, particular notes which can stitch those two songs together - musicians will be able to put a better light on those technicalities.
Such seamless transitions, if given perfectly in architecture, can allow us to create multiple spaces in one space. Different microclimates under one common roof. The same has been attempted and achieved at several places. The best example I have visited is Jawahar Kala Kendra, designed by Correa Sir. The building complex in itself is a series of different experiences. Experiences which are totally different from each other. Another good example is the Indian Habitat Center in Delhi by Joseph Allen Stein.
These buildings or complexes allow you to have a series of experiences stitched together under one roof! So, learning about providing details is one thing... keeping those details together is another skill.
Thus keeping the value of such transitions in design could be an achievement in itself.
Clean Lines Open spaces is a remarkable documentary on the mid-century modern architecture. Apart from narrating the details of Modern architecture the most striking feature of the movie was the showcasing of buildings with such remarkable precision and perfection. Of course, if you are shooting a documentary, having a focus on details would be the first criteria in mind so as to connect with the viewers. But the way they have shot it, is appreciable, as they have managed to connect wonderfully. The documentary is such, that I would like to write a whole new post to describe it and thus, I am leaving it here as it is.
But, the documentary reminded me of Helene Binet. In 2013, in 361 Degree Conference (happens every year organized by IA&B) as the speaker list was too long in the three-day event, I was clueless of what she does and what she was supposed to speak on. An Architectural photographer, I eventually discovered about her as she spoke. Her portfolio majorly concentrated on Zaha Hadid and thus she spoke about the beauty of Zaha's building structures.
As a student, it was an amazing experience to witness how different people have different perceptions towards the architectural structure. For Helene, it was the beauty of those building curves that mattered the most, leaving aside the function of the same. (That reminds me of an article of critical appreciation in architecture - it dealt with the perceptions you could keep in mind while studying a building. But will discuss it some other time.)
As an enthusiast photographer myself, I always felt that an image/photo must convey the story of the subject it focuses on. I always try to, somehow, capture the 'spatial' qualities of a building in a 2D photograph, which is as impossible as it sounds. But in order to do that, I always struggled with the dilemma of including or excluding people while shooting architecture. With this confusion in mind, while listening to her lecture, I was wondering if she could give her insights on such an issue. Somewhat, she did. She mentioned that the purpose of capturing a particular frame actually defines a photograph. She mentioned about different themes on which here images are based, Light & Shade, Space, Materiality, Texture, Function, etc. it could be anything that you want to capture in a photograph. This, to some extent, was the answer to my quest. If you want to showcase the function of a particular building, take your shots including people. On the other hand, if you want to showcase the beauty and play of architecture, exclude everything.
This lecture, Composing Space, has the same Title as of the one I attended. This particular one held at Harvard GSD and would provide you with the in depth details of her works and elements of architectural photography as well. As an Architect, I have always felt that the 'scope' of this field is boundless and thus, for those who have a knack for capturing building edges, clean spaces, amazing structures, this might be an interesting catch!
A quick guide for the Urban Design Studio. We were
introduced to the subject of Urban Design by Razdan Sir when he started taking
the ‘The theory of Town Planning’ subject for us and learning from someone like
him is like diving into the ocean of information and knowledge. Though we stuck
to the syllabus in that semester but Sir kept telling us about good books of
Urban Design. But ‘how theory could help us design’, this was another quest,
which was answered in eight and ninth semester when we actually started working
on an Urban level studio. At this time, Aditya Sir added on few more good reads to the 'list'. Also, Urban Design is an all new language in design
and thus to learn and understand a new language you must be aware of its basics,
I feel.
Recently, one of you asked me for some inspiration for Urban
Design and I realized that I should share the list of books (some I have read
myself and some I know are good) with you guys so that you can dig into
something right for the subject.
So, here we go, My favorite 10 UD books. (in random order)
1. The Image of the City – by Kevin Lynch
2. A Pattern Language – by Christopher W. Alexander
3. The timeless Way of Building – by Christopher W.
Alexander
4. Urban Design Handbook: Techniques and Working
Methods – by Urban Design Associates
5. Good City Form- by Kevin Lynch
6. Design With Nature – by Ian L. McHarg
7. The Death and Life of Great American Cities – by
Jane Jacobs
8. The Theory of Good City Form – by Kevin Lynch
9. Urban Design (Series) – by Cliff Moughtin
10. The Architecture of Town and Cities -by Paul D. Spreiregen
Well, these will help you for sure. Moreover, you can also
look for the How Buildings Learn Series (videos by Stewart Brand) . Those who are interested to read in
depth about architecture in ancient India can get a copy of Architecture of Manasara
for themselves. There are nine volumes of the same but I have seen and read (partially)
the Seventh Volume till now.
If we look back into the history, the pattern of development of the cities,
their architecture, we find one thing common all over the world. Many of you
must have also noticed this before that each and every civilization/dynasty
have been more or less 'inspired' by the previous one. In terms of architecture
we see different 'ages' or 'periods' or 'styles' of architecture which have
borrowed something from the earlier period. In my understanding of the subject,
I find them as the earliest examples of a 'case study'. Why is case study
important to design something? In
college, the things that we are supposed to learn are the 'basics of
architecture and design'. I feel, the college is not supposed to and cannot
teach you how to design a building/space. For this, you need to study a similar
'case'; a case which has been attempted and tried before. In some cases, it
could be a masterpiece or on the other hand, a work which would let you
understand 'what NOT to do'.
The Tree of Architecture
source : Banister Fletcher's A History of Architecture
Lets take an example of an ongoing studio, the cultural
center. Lets examine what you can learn from the college and what you can learn
from a good case study -
Then we come to the question, 'how many case studies are
required for a particular design'? Answer would be, as far as I believe, in
N-numbers. The second most important aspect of studying a 'case' is
'comparison'. Not all designs can be good, neither all can be bad! It all
depends in how we perceive it. A particular space might give great experience
to one person and could be horrible for another. It is very subjective and thus
you need to look at as many examples as possible. Then, charting out the
perimeters of your study based on which you will decide which space was good,
better or bad. These perimeters are our day-to-day basis of rating a building. Once
you are done with the rating you will have a vague idea of what a cultural
center would be like. For this you might need to have a walk around the
building. First, as a layman, keeping all your architectural instincts/knowledge
aside. Just a simple walk.
One of my presentation sheets for Thesis, showing the comparison of few of the important case studies.
Then at last is the experience of the user. Ask people who
live in that environment daily. Prepare a questionnaire and dont ask dumb
questions like "kaisa mehsoos kar rahein hain aap?" If you feel that
the questionnaire is a tough job then follow the 'Reverse Q-chain' or the reverse
question-chain.
The most exciting case studies of my college times was the
Jawahar Kala Kendra, Jaipur. I would put some light on it in another post as I
dont want to overburden you with so much text in one post!
Happy studying the case!
For any queries, requests, suggestions or just to say Hi, mail me at ar.dishantbhatia@gmail.com
Its been seven years now that I was introduced to the studies of architecture. In the early years of the study we had no idea of what it is and how it is to be pursued. Although we were fortunate enough to have teachers who told us that "architecture is all about the feel and experience". But unfortunately, the juvenile brain couldn't get the qoute. It took me the next four years to understand what he actually meant.
Years have passed but the pattern, rather I should call it the 'process', of 'studying' architecture has not changed much. New batches keep coming in and they sort of get even more 'disconnected' from architecture. There could be several reasons, like the knowledge or process they inherit or the easy access of everything through internet. (Not getting into much details) I would like to put some light on the 'habits' of architectural students around.
Gund Hall (pic: http://www.gsd.harvard.edu/)
Imagine. A student of second year studio of architecture. The batch who played with structures in first year, learned the basics of graphics, got familiar with the tools of architecture and realized that they can 'build' habitable structures. An excited student who's being poked by his parents/friends back home to 'design' rooms, shops, clinics, etc. He's been told by his seniors to join some firm in vacations to get some taste of 'practicality'. This student is forced to 'believe' that he can start designing.
The base is set. He now knows the 'basics', he now thinks he can design, and awaits a 'site' to be given to him so that he can add another layer of misconception on the previous one and design whatever is given to him without understanding a 'space'.
As students, we restrict ourlselves to 2D drawings without relating them with the third dimension. Working in 3D doesnt always mean the usage of CAD softwares. A student must always experiment. The base years of architecture are supposed to play with 'actual' planes and surfaces. They need to understand first the idea of 'volumes' before jumping to the elements of construction.
Model Making studio, Understanding Massing, IInd Semester
Just as we used to play with lego blocks and other construction games in childhood, first and second year of studies are to make us re-invent the idea of space. Playing with models is one idea to play with structures and realize the importance of 'scale'. One must be 'fearless' in attempting models. Start defining 'experience' in terms of 3D volumes.When I say 'define' space, its not just the shape and size. A space is defined by its experience. List down the experiences you have had till date and create 3D models for some of them.
Conceptual Model, Student's Plaza, Ist Semester
Designing a bungalow or country club is not just about walls, windows, deck etc. First, understand the 'wall', decipher the language of a 'window', try to study each and every material and the experience induced by their 'textures', make yourself familiar with common materials, study the local materials used for construction in and around college campus
Form space and order is one of the many 'good books' of architecture which we have but don't value!
Try out new things, work with models, break the conventional, experiment with everything, break the old habits and enjoy 'designing'.
Architecture is very much an intangible experience, with this blog, the aim to pass on this very experience and induce the feeling to 'think out of the box' and attempt what has not been done yet!
We often meet architects with 'part-time' hobbies and passions, many of them actually change their 'line' and jump into other creative professions. Thats the beauty of B. Arch. Other 'design-oriented' bachelor courses have the same advantage and eventually they call their practice as the 'multi-disciplinary' one. One such very common passion is Photography. Its a very effective tool of viewing things from a 'different' perspective. I, too, had this passion in college days which brought me quite a lot of appreciations. IIID organizes a photography competition, 'Mumbai Moments', every year and I was fortunate to bag a special mention in one of its edition.
There was something even more fortunate in that award function. I got a chance to attend an open discussion of a panel comprised of eminent artists like Jatin Das and Subrato Bhowmick; including architects like Kamal Malik and Ravi Sarangan. The whole idea of the conversation was to discuss the 'quality' of architecture and art in present times. There, Jatin Sir mentioned that experience can only be created if the designer has the 'sense' of experience. Whether its art or architecture, its the sense of understanding 'experience' that matters the most. Pointing out to the architects present in the seminar he asked how many were carrying a 'sketchbook'. And only two hands were raised.
Surprised by this, he paused for a while and mentioned that he used to draw '300 sketches' per day in his college days! This bowled me over.
Why it is important to sketch? Why its important to document what you experience? Why in our course we are told to sketch out things again and again? Its the relationship that matters. The continuous dialogue between the 'subject' and you. The moment you sketch out a building in front of you, you will actually understand 'depth' of it. You will get the best possible knowledge about the materials, the construction techniques and other details which you would never notice otherwise.
[This sketch (right) was done during one of the MD studio.The Krimachi Group of temples, date back to centuries and are supposed to be constructed in Vedic times. Once you start replicating a built form on paper you get into the details like the texture of the material and thus discover the importance, depth and effect of a material on built form. Sciography, sense of scale and perspective, etc. are the additional benefits of the exercise.]
I started writing this article talking about photography and mentioned that I "had" that passion. I quit when I realized that I was actually missing out all the 'details' by clicking a shot in micro-seconds. Sketching lets you concentrate on a subject for hours and sometimes, days.
[The perspective view (below) was drawn as a part of design proposal for a School. Though incomplete, it still clearly provided the sense of scale and massing.]
So, start keeping a sketchbook and lets start sketching! Be it cartoons, rough sketches, conceptual sketches, flow diagrams, detailed drawings, anything. Be it in any medium. No matter how bad or good it is. Remember that it is meant for 'you'. There are two types o drawings in architecture : one that you make for the client and one that you make for your own self.
Start sketching for your own self! The early you start the better it is. I realized its importance quite late but now am enjoying it. I am still about to try my hands on 'proper' architectural sketches. Its never late to start anything!
So pick up your favorite medium and 'sketch it out'!
Architectural studies are considered to be the most laborious of all. Keep this in mind and whenever you feel you have got time for a good nap, instead try sketch out something! Believe me, his 'hard work' WILL pay off ! Happy Sketching! [Have a doubt or want some help regarding the subject, mail me at dishantbhatia@yahoo.co.in]
History has always been considered as one of the most boring subject in any format of education. So much so that now it has become a stereotype to hate history. Thanks to our education system and the way we are taught we find it very un-interesting. No matter what is your subject, be it architecture or even English literature ( I have been through both) the historical aspect remain crucial.
Very often we feel that the 'logics' behind things are not explained well or there is no proper reasoning for the things we are taught. That is where the history comes in. Knowledge of history of any subject provides you with the answers for "why?". Why it happened, how it happened and why it is still done this/that way, all such queries find their answers in the 'background'.
History of architecture, thus doesn't only mean to study the ancient or medieval structures, but also to find answers to whys and hows. If a structure is built with some particular materials why it was done so and why we don't use it now? How the concept behind behind building certain 'types of buildings' came up? Why we needed cultural centers, community centers, libraries, etc.?
These studies should be related with each and every design problem given and not only for 'thesis'. Research is very important part of designing. Once you have gone through the history of a particular topic you are done with 50% of designing. It clears out your concepts.
Just like history is important, it is very crucial to attain it from the right source. There are some Indian books on history of architecture which are enough to get through the exams. But BF (Banister Fletcher's A History of Architecture) remains the only 'epic' which everyone must follow (for reference). As far as Indian Architecture is concerned, books like the Manasara Series are the ocean of knowledge. Keeping yourself 'away' from internet and online 'pedias' is another thing one should follow. Refer to different libraries, of state or other colleges. There are people who have already done research on almost everything, take some help from them. Visit the libraries of other architecture schools and dig into the dissertations and thesis projects they have.
All this might seem a bit outdated in the times of internet, but the 'originality' of the source should always be kept in mind especially when one is looking for the answers for 'why' and 'how'.
After loads of effort, finally this Sunday I made it to the much talked about exhibition of Master Architect Doshi. ‘Celebrating Habitat’, at National Gallery of Modern Art, Delhi is a retrospective of the Architect’s life hence his projects. I have been to a handful of architectural exhibitions before – in college life mostly – and always ended up finding myself a bit more curious and a bit more incapable of ‘understanding’ the projects from wall-hung plans, sections and few complementary models. This was one of the reasons why I got interested when a friend of mine came up with the idea for his thesis where he wanted to connect people with architecture through ‘exhibiting architecture’.
This exhibition is a bit different. The ‘recreated’ spaces are the USP and you know it the moment you enter the hall. Greeted by a low-height ceiling a sense of intimacy created by space gropes you in. The exhibition allows you to move freely as the projects are not arranged chronologically. The scale and size of that ‘model’ pushes you to look for its ‘real’ counterpart. And there, on the right, you see a life-like photograph of the Architect’s residence with the plans and model. And there only you discover the actual implementation of the low-height ceiling and the small intimate space. That very moment, you know… this is different!
On the right hand side, you find another private residence project done by the architect and few sketches accompanied by a note written by him. As photography is prohibited in the exhibition (thank god), thus what I could carry back from there were only few notes/writings mentioned at different places. (Confession: These notes actually helped me to understand and relate to the exhibition in a much better way) The sketches were done by his grand-daughter (also the curator of this exhibition) in childhood, I guess. The note that accompanied them read, “Become like a child… and break free from normal conventions.” Here he was inspired by the drawing of a face drawn by his grand-daughter and thus decided to become a child whenever he works on a project – every time, think like a child, as if you have not done anything like it before, break free from what the education has bounded you with, and start from scratch… every time. This very note was enough to be considered as a souvenir from the exhibition.
A quick glance on the paintings done by him (handmade perspective views in a painting – I mention that with a feeling of awe and surprise) and a collage of ‘local’ pics with a quote written on top, “Indian lifestyles are likeblotting paper. Simultaneously local and global, holistic and sustainable…”
Then the masters of the master – Corbusier, LIK, Tagore and Gandhi. A green backdrop with their photographs and quotes, I managed to note a few.
Corbusier – “Remember. Every morning you are born in the skin of a donkey…”
LIK – “search for spiritual in architecture…”
Tagore – “look for viswa bharti. Be a part of nature and build around nava rasaas…” (This is something I still have to google, thus have no idea what it means..)
And this was followed by a model of the exhibition area mentioning what is where, again with a note by him, “this is not an exhibition of an architect but an exhibition of an artist who sees all the stages of place, bldg at one glance.” Indeed, what he said could be easily seen and felt. What I found ironic was that Corbusier being his mentor, one can easily find traces of his style in Doshi sir’s work – but what puts them apart from each other is the fact that Corbusier was an artist who designed buildings… and Doshi sir, we know him as an architect and he calls himself an artist! Interesting. Indeed there is a very thin line between both these practices.
Then the projects – NIFT, Delhi, Sangath – plans, models, sketches, drawings – and people who came with ‘families’ found it difficult to understand and created nuisance and demanded for somebody to explain ‘something’ to them. (Thanks to the girl present there who actually explained everything to them, phew, hectic job!) Suddenly after this minor episode I read on the wall in front, “There is no greater teacher than intuition…” and I smiled to myself. The ‘forced perspective’ tunnel that was recreated with Sangath’s model is an incredible effort to create the ‘experience’ of scale/space. Experience can only be felt. It is not something that can be ‘explained’. This is a step ahead in ‘exhibiting architecture’.
Then few steps take you to the Hussain-Doshi gufa (a.k.a. amdavad ni gufa) and CEPT corner. Again, a wonderfully recreated space with the help of photographs and actual space is commendable. I haven’t been to CEPT yet, but could feel how that particular part of the building would actually be. Moved on with other projects and a door designed by him, strategically placed in between the hall. Small cutouts in the wall also gave the glimpse of other projects showcased behind it, creating a relationship and continuity. The next installation bowled me over.
The Intangible city, a collage of plans of all the townships done till date by the architect placed as a plan of a city itself with a river flowing through it. Previously, on a wall one of his quotes had mentioned how he feels like a river flowing in search of sea and how his architecture defines his life. Suddenly I felt smashed by the enormous quantity of brains that he might have put in to create something like that! With this kind of ‘introduction’ to his planning capabilities one can now see the details of these townships. Vidyadhar nagar, LIC housing, Aranya… with very interesting sketches and an intelligent interactive model of Aranya showing the possibilities and permutations and combinations of housing plan. A wonderful conceptual diagram explaining the stages from encroachment to urbanization explains everything. As I have been working on participatory housing planning/designing for Dharavi, I found a line written on wall catchy, “Participatory communities with choices to grow and build.”
A quick glance on the assembly building project and a residence – again with to scale model of the ‘otla’ and staircase with four columns recreated. The ‘journey’ ended in the central space created by four columns, like a vedi, replicating a sitting space in the Architect’s own residence. Saw the movie ‘Retrospective Film on Architect B. V. Doshi’ before leaving the exhibition.
Overall it is an experience one must have.
Short film -
P.S. One might not be able to understand the ‘experience’ of a space in a photograph, but photographs can actually help you understand this article in a better way. So click the link - Photos of the Exhibition by Dinesh Mehta
Light… natural or artificial… is like jewelry, an accessory for a building. Its like the 'sringaar' that is applied to beautify something - ornamentation. I admit that I had never noticed before how even the bland buildings get a colorful flavor with the help of ‘lights’. This time the Diwali celebrations pointed out that to me in open.
After a routine long day, coming back from work, spending an hour in the pale yellow/white light of metro compartment, walking down back home you are greeted by the same buildings that you see daily – the same ‘block’ architecture with common elements, common technical faults and even common looks. But once, during this festive season you are welcomed by lights… all over the place. The buildings, for once, lose their boundaries and merge into one another as if they lie with a layer of lights on them. Everything – the corner balconies, the glass railings, the MS-balusters, the out-of-context cornices and motifs, the excessively provided glass doors – everything is overpowered by those beautiful lights spread over those boxes (no offense) uniformly. Suddenly, the road is converted into a ‘space’ highlighted by the lights around. On the other hand, very seldom you see such lights placed according to the architecture of a building – enhancing and justifying all the niches, parapets, voids, and massing. Whatever way they are used, they indeed put life in (though for short time) what seems to be a dead immovable mass.
Louis I. Kahn, the master Architect said, “The sun never knew how great it was until it hit the side of a building..”
The randomly clicked ‘show of lights’ on my way back home. Delight!
भले छ्चीन लो मुझसे मेरी जवानी..
मगर मुझको लौटा दो Campus का सावन..
वो छोटी सी Balcony वो बारिश का पानी..
Sirah की वो सारी दुकानें पुरानी वो चाचू जिनसे कहते हम की “Maggi है खानी..!”
वो राजा की lemon-tea में चीनी का बहना… वो बबलू के omlete में प्याज़ ना रहना..
भुलाए नहीं भूल सकता है कोई… वो छोले ते कुलचे… वो चटनी में पानी…
कड़ी धूप में GATE 1 से निकलना वो DPS के लिए .. लंबा शॉर्टकट पकड़ना.. वो पहाड़ी के पेढो तक पत्थर उच्छालना..
वो Hospital की design में नुक्स निकलना.. वो चिल्लड़ की दौलत पे party बनाना.. वो समोसे + टिक्की + राम लड्डो में दही मिलना…
वो थक- हार कर भी हमेशा पैदल ही जाना.. फिर दिन काट के.. छत पे रातें बितानी…
वो छोटी सी बाल्कनी वो बारिश का पानी..
कभी काम करके .. ढंग से bore हो जाना.. वो Nagari, Anshul, Sahil के कमरो में जाना.. ‘नहीं करना yaaaa’ ऐसे बहाने बनाना… वो sheet-ein बनाकर फिर Cntrl+Z दबाना…
वो गर्मी में तपना.. वो सर्दी में जमना… ना दुनिया का घम था.. ना Society का स्यापा.. बस Monsoon की बारिश में बहते ही जाना…
कोई मुझज्को लौटा दो Campus का सावन.. वो छोटी सी बाल्कनी … वो बारिश का पानी..
