Hussain - Doshi Gufa

HUSSAIN - DOSHI GUFA

This Gufa was made by the Architect Balkrishna Doshi. It is at CEPT Campus, Navarangpura, Ahmedabad 308 009 India for M.F.Hussain. it covers a site area of 1000m² and a Built-up area of 280m². and the project costed Rs. 1.8 million. It was built in 1993.

Essentially an art gallery exhibiting paintings and sculptures of noted artist M.F.Hussain, the Hussain Doshi Gufa in Ahmedabad is located on a campus of the Centre for Environmental Planning and Technology, while becoming a metaphor, balancing the adjunct science and architecture education institutions.

Sense of ablution, comfort conditions of the subterranean, painting abstractions reminiscent of palaeolithic art, and visual reminders of Buddhist caves from Ajanta and Ellora, all influenced the form imagery of a cave for the proposed museum.
As a human intervention and interpretation of a natural form the basic plan organization evolves out of the familiar module of an intersecting circles and ellipse. The spaces formed within are however contiguous and amorphous through inclined planes of domes, curvilinear planes of walls, undulating floors and non rectilinear leaning columns. A footprint of 280m2 nearly doubles its surface area for painting through convoluting planes. The shells, domes and skylight protrusion of various sizes and shapes float on a part buried space and eves gutters extending over ground further accentuate this feeling and anchor the object to the ground. Projecting skylights and skin cutout not only illuminate the spaces within but create mythic shafts and spots of light reminiscent of the galaxy and stars.
Buried spaces, earth mounds, raised volumes and china mosaic finish renders the architecture energy conscious, cutting down it’s energy intake, in an otherwise harsh hot dry climate. Material resources are further optimized through its shell like forms and ferrocement construction techniques. A simply wire mesh and mortar lined floor in a form of natural sag of cloth, evolved through scaled model studies, eliminates the need of any kind of foundation, as the basic form is continuous and efficient in optimizing the stresses and its distribution. Similar economy of material is achieved through roof shells in a form guided by computer designs which resolve stresses to minimum, requiring only an inch thick ferrocement shell without any form work. The construction is carried out with simple hand tools and by semi and unskilled workers on site.
Computer aided designs executed by the tribal, amorphous forms out of basic geometric module; dome volumes relieving and exalting the centredness suggested by the circles in plan; and internal space division through “stone henge” like columns defied by their non vertical alignment and irregular forms are some of the inherent dualities and designed dichotomies of space making to offer a multiple dimensions of mystery and surprise. A sense of discovery synonymous to early caves.
Illusions emerging out of such dualities manifest a healthy dialogue between art and architecture is a setting for art or art is an embellishment of architecture. At Hussain- Doshi Gufa they become mutual references – one animating the other.

St Peter's

St. Peter’s

St. Peters is located in the Vatican City, it is a Roman Catholic Church. It is a major Basilica. It was built by Donato Bramante, Antonio da Sangallo the Younger , Michelangelo , Giacomo della Porta. It was completed in 1626. It has a capacity of 60,000+ people.

The Basilica of Saint Peter, officially known in Italian as the Basilica di San Pietro in Vaticano and commonly called Saint Peter's Basilica, is one of four major basilicas of Rome (St. John Lateran, St. Peter's, Santa Maria Maggiore and St. Paul outside the Walls). It is the most prominent building inside the Vatican City and built on the ruins of Old Saint Peter's Basilica. Its dome is also a dominant feature of the Roman skyline. Saint Peter's is also incidentally the patriarchal basilica of Constantinople, whereas the Lateran Basilica is the patriarchal basilica of Rome. Possibly the largest church building in Christianity, it covers an area of 5.7 acres (2.3 ha) and has a capacity of over 60,000 people. One of the holiest sites of Christendom in the Catholic tradition, it is traditionally the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus. According to Catholic tradition, also the first Bishop of Antioch, and later first Bishop of Rome. Although the New Testament does not mention Peter's presence or martyrdom in Rome, Catholic tradition holds that his tomb is below the baldachin and altar; for this reason, many Popes, starting with the first ones, have been buried there. Construction on the current basilica, over the old Constantinian basilica, began on April 18, 1506 and was completed in 1626.

Although the Vatican basilica is not the Pope's official seat (Saint John Lateran), it is most certainly his principal church, as most Papal ceremonies take place at St. Peter's due to its size, proximity to the Papal residence, and location within the Vatican City walls. The basilica also holds a relic of the Cathedra Petri, which is, according to Catholic tradition, the episcopal throne of the basilica's namesake when he supposedly led the Roman church, but which is no longer used as the Papal cathedra. It is believed that a piece of this cathedra, or chair, is contained within the altarpiece, designed by Bernini.




St Peter’s Square

Directly to the east of the church is St Peter's Square (Piazza di San Pietro), built by Gianlorenzo Bernini between 1656 and 1667. It is surrounded by an elliptical colonnade with two pairs of Doric columns which form its breadth, each bearing Ionic entablatures. The colonnade wraps around the square, embracing the faithful in "the motherly arms of the church". This is an excellent example of Baroque architecture, where creativity is coupled with flexible guidelines. In the center of the colonnade is a 25.5 metre (83.6 ft) tall obelisk. Domenico Fontana finished moving the obelisk to its present location on September 28, 1586 by order of Pope Sixtus V. The obelisk dates back to the 13th century BC in Egypt, and was moved to Rome in AD 37 to stand in the Circus of Nero some 250 metres (820 ft) away. Including the cross on top and its base, the obelisk reaches 40 metres (131 ft). The Vatican obelisk is notable for being the second largest standing obelisk and the only one that remained standing since it was erected during the Roman Empire. An original bronze globe on top of the structure was removed when the obelisk was re-erected in St Peter's Square by Domenico Fontana. There are also two fountains in the square, the north one by Maderno (1613) and the southern one by Bernini (1675). The square is reached mainly through the Via della Conciliazione built by Mussolini after the conclusion of the Lateran Treaties.

Dome

There is a widespread assumption that the dome, or cupola, as it presently stands, was designed by Michelangelo, who became chief architect in 1546. In fact, Michelangelo's design called for a spherical dome. At the time of his death (1564), only the drum set, the base on which a dome rests, had been completed. The dome proper was redesigned and vaulted by the architect Giacomo della Porta, with the assistance of Domenico Fontana, who was probably the best engineer of the day. Fontana built the lantern the following year, and the finial was placed in 1593. Many are fascinated by the ability of the artist of who created it.

As built, the double dome is brick, 42.3 meters (138.8 ft) in interior diameter (almost as large as the Pantheon), rising to 120 meters (394 ft) above the floor. In the mid-18th century, cracks appeared in the dome, so four iron chains were installed between the two shells to bind it, like the rings that keep a barrel from bursting. (Visitors who climb the spiral stairs between the dome shells can glimpse them.) The four piers of the crossing that support it are each 18 metres (59 ft) across. It is not simply its vast scale (136.57 m or 448.06 ft from the floor of the church to the top of the added cross) that makes it extraordinary. Della Porta's dome is not a hemisphere, but a paraboloid: it has a vertical thrust, which is made more emphatic by the bold ribbing that springs from the paired Corinthian columns, which appear to be part of the drum, but which stand away from it like buttresses, to absorb the outward thrust of the dome's weight. The grand arched openings just visible in the illustration but normally invisible to viewers below, enable access (but not to the public) all around the base of the drum; they are dwarfed by the monumental scale of their surroundings. Above, the vaulted dome rises to Fontana's two-stage lantern, capped with a spire.

The egg-shaped dome exerts less outward thrust than a lower hemispheric one (such as Mansart's at Les Invalides) would have done. The dome conceived by Donato Bramante at the outset in 1503 was planned to be carried out with a single masonry shell, a plan discovered to be infeasible. Antonio da Sangallo the Younger came up with the double shell, and Michelangelo improved upon it. The piers at the crossing, which were the first masonry to be laid, and which were intended to support the original dome, were a constant concern, too slender in Bramante's plan, they were redesigned several times as the dome plans evolved.

The façade is 114.69 metres (376.28 ft) wide and 45.55 metres (149.44 ft) high. On top are statues of Christ, John the Baptist, and eleven of the apostles; The statues of St Peter and St Paul are in front of the parish. Two clocks are on either side of the top, the one on the left has been operated electrically since 1931, its oldest bell dating to 1288.

Between the façade and the interior is the portico. Mainly designed by Maderno, it contains an 18th century statue of Charlemagne by Cornacchini to the south, and an equestrian sculpture of Emperor Constantine by Bernini (1670) to the north. The southernmost door, designed by Giacomo Manzù, is called the "Door of the Dead". The door in the center is by Antonio Averulino (1455), and preserved from the previous basilica.

The northernmost door is the "Holy Door" in bronze by Vico Consorti (1950), which is by tradition, only opened for great celebrations such as Jubilee years. Above it are inscriptions, the top reading PAVLVS V PONT MAX ANNO XIII, and the one just above the door reading GREGORIVS XIII PONT MAX. In between are white slabs commemorating the most recent openings.

(major portions of this info is obtained from www.wikipedia.com)

Notre Dame de Paris

Notre Dame de Paris

Notre Dame de Paris, often known simply as Notre Dame in English, is a Gothic cathedral on the eastern half of the Île de la Cité in Paris, France, with its main entrance to the west. It is still used as a Roman Catholic cathedral and is the seat of the Archbishop of Paris. Notre Dame de Paris is widely considered one of the finest examples of French Gothic architecture. It was restored and saved from destruction by Viollet-le-Duc, one of France's most famous architects. Notre Dame translates as "Our Lady" from French.

Notre Dame de Paris was one of the first Gothic cathedrals, and its construction spanned the Gothic period. Its sculptures and stained glass show the heavy influence of naturalism, giving them a more secular look that was lacking from earlier Romanesque architecture.

Notre Dame de Paris was among the first buildings in the world to use the flying buttress. The building was not originally designed to include the flying buttresses around the choir and nave. After the construction began and the thinner walls (popularized in the Gothic) grew ever higher, stress fractures began to occur as the walls pushed outward. At the end of the 18th century, during the French Revolution, many of the treasures of the cathedral were either destroyed or plundered. The statues of biblical kings of Judea (erroneously thought to be kings of France) were beheaded. Many of the heads were found during a 1977 excavation nearby and are on display at the Musée de Cluny. Only the great bells avoided being melted down, and the cathedral was dedicated first to the Cult of Reason, and to the Cult of the Supreme Being. The church interior was used as a warehouse for the storage of forage and food.

After falling into disrepair, a restoration program overseen by Jean-Baptiste-Antoine Lassus (died 1857) and Eugène Viollet-le-Duc, was carried out in 1845. This program lasted 23 years, and included the construction of the spire and the sacristy.

(major portions of this info is from www.wikipedia.com)

Turning Torso

Turning Torso


Turning Torso is in Malmo, Sweden. It was built by the Architect Santiago Calatrava, from 2001 till 27th August 2005. the client’s name was HSB.

HSB Turning Torso is a skyscraper in Malmö, Sweden, located on the Swedish side of the Öresund strait. It was designed by the Spanish architect Santiago Calatrava and officially opened on 27 August 2005. The tower reaches a height of 190 metres (623 feet) with 54 stories. Upon completion, it was the tallest building in Scandinavia, and Europe's second highest apartment building, after the 264-metre-high Triumph-Palace in Moscow.

The 84 metre high Kronprinsen was the tallest building in Malmö before Turning Torso.

The design is based on a sculpture by Santiago Calatrava called Twisting Torso. It uses nine five-story cubes that twist as it rises; the top-most segment is twisted ninety degrees clockwise with respect to the ground floor. Each floor basically consists of a rectangular section surrounding the central core, along with a triangular section, which is partially supported by an exterior steel scaffold. The two bottom cubes are intended as office space. Cubes three to nine house 149 luxury apartments.

The Twisting Torso sculpture is a white marble piece based on the form of a twisting human being. Johnny Örbäck, former CEO of the Turning Torso contractor and Board Chairman of the Malmö branch of the co-operative housing association HSB, saw the sculpture in 1999 and contacted Calatrava to ask him to design a building using the same concept. Construction started in the summer of 2001.

One reason for the building of Turning Torso was to reestablish a recognizable skyline for Malmö since the removal of the Kockums Crane in 2002, which was located less than a kilometre from Turning Torso. The local politicians deemed it important for the inhabitants to have a symbol for Malmö — Kockumskranen, which was a large crane that had been used for ship building somewhat symbolised the city's blue collar roots. Turning Torso can be seen as a monument of a new, more internationalised Malmö.

(major portions from www.wikipedia.com)

Sydney Opera House

Sydney Opera House

Sydney Opera House is an Arts Complex, it is an example of the Expressionist Style Architecture. It consists of concrete frames and precast concrete ribbed roof. It is in Sydney, Austrailia. It was completed in 1973 by Architect Jorn Utzon.

The Sydney Opera House is located in Sydney, New South Wales, Australia. It is a UNESCO World Heritage Site, as appointed on 28 June 2007.Designed by Jørn Utzon, a Danish architect, the Sydney Opera House is one of the most distinctive and famous 20th century buildings, and one of the most famous performing arts venues in the world. Situated on Bennelong Point in Sydney Harbour, with parkland to its south and close to the equally famous Sydney Harbour Bridge, the building and its surroundings form an iconic Australian image.

As well as many touring theatre, ballet, and musical productions, the Opera House is the home of Opera Australia, the Sydney Theatre Company and the Sydney Symphony. It is administered by the Opera House Trust, under the New South Wales Ministry of the Arts.

The Sydney Opera House is an expressionist modern design, with a series of large precast concrete 'shells', each taken from the same hemisphere, forming the roofs of the structure. The Opera House covers 1.8 hectares (4.5 acres) of land. It is 183 metres (605 feet) long and about 120 metres (388 feet) wide at its widest point. It is supported on 580 concrete piers sunk up to 25 metres below sea level. Its power supply is equivalent for a town of 25,000 people. The power is distributed by 645 kilometres of electrical cable.

The roofs of the House are covered with 1.056 million glossy white and matte cream Swedish-made tiles,[citation needed] though from a distance the tiles look only white. Despite their self-cleaning nature, they are still subject to periodic maintenance and replacement.

The Concert Hall and Opera Theatre are each contained in the two largest groups of shells, and the other theatres are located on the sides of the shell groupings. The form of the shells is chosen to reflect the internal height requirements, rising from the low entrance spaces, over the seating areas and up to the high stage towers. A much smaller group of shells set to one side of the Monumental steps and houses the Bennelong Restaurant. Although the roof structures of the Sydney Opera House are commonly referred to as shells (as they are in this article), they are in fact not shells in a strictly structural sense, but are instead precast concrete panels supported by precast concrete ribs. The building's interior is composed of pink granite quarried in Tarana and wood and brush box plywood supplied from northern New South Wales.


The Sydney Opera House contains five theatres, five rehearsal studios, two main halls, four restaurants, six bars and numerous souvenir shops.

The five theatres making up the performance facilities:
• The Concert Hall, with 2,679 seats, contains the Sydney Opera House Grand Organ, the largest mechanical tracker action organ in the world with over 10,000 pipes.
• The Opera Theatre, with 1,547 seats, is the main performance space for Opera Australia; it is also used by the Australian Ballet Company.
• The Drama Theatre, with 544 seats
• The Playhouse, with 398 seats
• The Studio Theatre, with 364 seats

Besides theatrical productions, venues at the Sydney Opera House are also used for functions such as weddings, parties and conferences.

(major portions are from www.wikipedia.com)

Seagram Building

Seagram Building was a project of Ludwig Mies van der Rohe. It is in New York. It was built in 1954-1958. it is a sky-scrapper and is used as a commercial office tower. It consists of steel frame with curtain wall, bronze exterior columns. It has an eloquent structural expression in facade which is ornamental rather than literal.

The inescapable drama of the Seagram Building in a city already dramatic with crowded skyscrapers lies in its unbroken height of bronze and dark glass juxtaposed to a granite-paved plaza below. The sitting of the building on Park Avenue, an indulgence in open space unprecedented in midtown Manhattan real estate, has given that building an aura of special domain. The commercial office building in this instance has been endowed with a monumentality without equal in the civic and religious architecture of our time....The use of extruded bronze mullions and bronze spandrels together with a dark amber-tinted glass has unified the surface with color....The positioning of the Seagram Building on the site and its additive forms at the rear, which visually tie the building to adjacent structures, make for a frontal-oriented composition. The tower is no longer an isolated form. It addresses itself to the context of the city.


The Creator's Words
"Skyscrapers reveal their bold structural pattern during construction. Only then does the gigantic steel web seem impressive. When the outer walls are put in place, the structural system, which is the basis of all artistic design, is hidden by a chaos of meaningless and trivial forms...Instead of trying to solve old problems with these old forms we should develop new forms from the very nature of the new problems. We can see the new structural principles most clearly when we use glass in place of the outer walls, which is feasible today since in a skeleton building these outer walls do not carry weight. The use of glass imposes new solutions."
—Mies van der Rohe. from Martin Pawley, introduction and notes. Library of Contemporary Architects: Mies van der Rohe. p12.

(major portions are from www.wikipedia.com)

The Crown Hall, Chicago,IL.

Crown Hall was a project of Ludwig Mies van der Rohe, it is situated in Chicago, Illinois. It is an architectural school made of steel and glass.

One of Mies van der Rohe's last building erected on the Illinois Institute of Technology campus is Crown Hall, a superb example of his clear span designs. The roof is suspended from the underside of four steel plate girders which in turn are carried by eight exterior steel columns. These columns are spaced 60 feet apart with the roof cantilevered 20 feet at each end....Crown Hall, in which architecture, city planning, and design are taught, has a symmetrical plan about its short axis. Free-standing partitions at the height of the window muntins partially subdivide the space. Only two enclosed service ducts interrupt the ceiling. A pair of interior stairways leads to a basement level used for workshops, offices, toilet rooms, and mechanical equipment. ...Natural ventilation is provided by louvers at floor level.

"One of Mies van der Rohe's last building erected on the Illinois Institute of Technology campus is Crown Hall, a superb example of his clear span designs. The roof is suspended from the underside of four steel plate girders which in turn are carried by eight exterior steel columns. These columns are spaced 60 feet apart with the roof cantilevered 20 feet at each end....Crown Hall, in which architecture, city planning, and design are taught, has a symmetrical plan about its short axis. Free-standing partitions at the height of the window muntins partially subdivide the space. Only two enclosed service ducts interrupt the ceiling. A pair of interior stairways leads to a basement level used for workshops, offices, toilet rooms, and mechanical equipment. ...Natural ventilation is provided by louvers at floor level.

The Creator's Words
"The essence of space is not determined by the mere presence of limiting surfaces but by the spiritual principle of this limitation. The true task of architecture is to let the structure articulate the space; it is not the building that is the work of art but space."
— Mies van der Rohe. from Mies van der Rohe. Less is More. p86.

Lunaganga

Lunaganga

Lunaganga is in Bentota, Sri Lanka. It was made by Geoffrey Bawa between 1948-1998. it was a residential and landscape project and was used as a private residence and garden.
The journey to Lunuganga begins on the doorstep of the house in 33rd Lane, whence the car sets out on the harrowing journey along the coast road to Galle. After 60 kilometres the road crosses the Bentota River over the old Dorman Long Bridge, providing glimpses of the Bentota Beach Hotel, Bawa's lost masterpiece, and the sea beyond. On the left a narrow, bumpy road snakes through a dense hinterland of small villages to a causeway that crosses the neck between the Bentota River and the Dedduwa Lake, offering the first distant view of Lunuganga's northern terraces. But, like William Kent's scenario for the great eighteenth century English garden at Stowe, the road now leads off in a circle so that the final approach to the house is from the other side. At last a laterite track leads through a paddy field and towards a thickly wooded hill where an overgrown portal announces the boundary of Lunuganga and a steep driveway swings up through the trees to arrive at the foot of a cascade of steps that climb to the bungalow's southern terrace. The view from the entrance terrace towards Cinnamon Hill and a distant temple comes as a complete surprise. It is as if, having been spun around in a game of blindman's buff, the blindfold has suddenly been removed to reveal the centre of a magic kingdom.
The bungalow lies at the hub of the composition and it is the only point from which all of the garden's separate elements can be comprehended. The estate sits astride two low hills on a promontory jutting into the Dedduwa Lake, a brackish lagoon fed by an estuary of the Bentota River. A mile away to the west, the waves of the Indian Ocean roll in over coral reefs to break onto a white beach fringed with coconut palms. To the east, beyond serried ranks of rubber-tree-covered hills and rice-carpeted valleys, lies the mysterious Sinharaja Forest, Sri Lanka's last surviving area of primeval rainforest. The area around Lunuganga is the wettest and most fertile region of the island, a vast hothouse of exotic trees and plants. But, like so much of Sri Lanka's landscape, Lunuganga is a man-made creation, which in its previous incarnations has been a Dutch cinnamon garden and a British rubber estate.
In 1948 there was nothing more here than an undistinguished bungalow surrounded by 25 acres of rubber trees, enjoying only limited views northwards across the Dedduwa Lake. Since then hills have been moved, terraces cut, woods replanted, new vistas opened up and the old estate road has been buried within a ha-ha. The house itself has been turned inside out, but the original shell survives within a cocoon of new verandahs, courtyards and loggias.

Falling Water

FALLINGWATER
Fallingwater, also known as the Edgar J. Kaufmann Sr. Residence, is a house designed by American architect Frank Lloyd Wright in 1935 in rural southwestern Pennsylvania, 50 miles southeast of Pittsburgh, and is part of the Pittsburgh Metro Area. The house was built partly over a waterfall in Bear Run at Rural Route 1 in Mill Run, Fayette County, Pennsylvania, in the Laurel Highlands of the Allegheny Mountains.
Fallingwater was the Kaufmann family’s weekend home from 1937 to 1963. Fallingwater (The Kaufmann House) is now a museum. Since 1964, when it opened to the public, nearly four million have visited the house (as of July 2006).

It’s a masterpiece both for its dynamism and for its integration with the striking natural surroundings. This organically designed private residence was intended to be a nature retreat for its owners. The house is well-known for its connection to the site: it is built on top of an active waterfall which flows beneath the house. The fireplace hearth in the living room is composed of boulders found on the site and upon which the house was built - one set of boulders which was left in place protrudes slightly through the living room floor.
The stone floors are waxed, while the hearth is left plain, giving the impression of dry rocks protruding from a stream. Integration with the setting extends even to small details. For example, where glass meets stone walls, there is no metal frame; rather, the glass is caulked directly to the stone. There are stairways directly down to the water. And in the "bridge" that connects the main house to the guest and servant building, a natural boulder drips water inside, which is then directed back out. Bedrooms are small, some even with low ceilings, perhaps to encourage people outward toward the open social areas, decks, and outdoors.
The active stream (which can be heard constantly throughout the house), immediate surroundings, and locally quarried stone walls and cantilevered terraces (resembling the nearby rock formations) are meant to be in harmony, in line with Wright's interest in making buildings that were more "organic" and which thus seemed to be more engaged with their surroundings. Although the waterfall can be heard throughout the house, it can't be seen without going outside. The design incorporates broad expanses of windows and the balconies are off main rooms giving a sense of the closeness of the surroundings. The experiential climax of visiting the house is an interior staircase leading down from the living room allowing direct access to the rushing stream beneath the house.

Villa Savoye

Villa Savoye







The Villa Savoye is considered by many to be the seminal work of the Swiss architect Le Corbusier. Situated at Poissy, outside of Paris, it is one of the most recognisable architectural presentations of the International Style. Construction was substantially completed ca. 1929.

The house was emblematic of Le Corbusier work in that it addressed "The Five Points", his basic tenets of a new aesthetic of architecture constructed in reinforced concrete:
1. The pilotis, or ground-level supporting columns, elevate the building from the damp earth and allow the garden to flow beneath.
2. A flat roof terrace reclaims the area of the building site for domestic purposes, including a garden area.
3. The free plan, made possible by the elimination of load-bearing walls, consists of partitions placed where they are needed without regard for those on adjoining levels.
4. Horizontal windows provide even illumination and ventilation.
5. The freely-designed facade, unconstrained by load-bearing considerations, consists of a thin skin of wall and windows.

The Villa Savoye was designed as a weekend country house and is situated just outside of the small village of Poissy in a meadow which was originally surrounded by trees. The polychromatic interior contrasts with the primarily white exterior. Vertical circulation is facilitated by ramps as well as stairs. The house fell into ruin during World War II but has since been restored and is o pen for viewing.

Corbusier designed the building to use a flat roof, a move he said was for functionality, though may have been partly due to way it looked for him. Indeed the roof failed its functionality, as the roof leaked, causing the owners to attempt to take Corbusier to court. However at the same time WW2 broke out, and Corbusier left the area, leaving the building in a state of disrepair.

Happy dappy independence day

uff it feels wonderful to be free free to do everything

free to live, free to speak , free to be me

i wore green yesterday, and forced the whole class to wear green too.it was luking soo cute. everyone in green, truly felt
pakistanis spirited enough to show it off.

there were people who laughed. but it didnt matter to me. i said " people who dont have the spirit should not laugh at the
ones who have it" and walked off.

and today we all went to this nice indian coffee shop chain outlet and had a nice breakfast to show solidarity . that we
Pakistani's celebrate happiness with everyone. and that we are tolerant of those who dont share the same views, same religon
and same ideals as us.

i know some might say, we should have gone to a pathan's dhabba instead. but khair,there were people in the group who
thought this seemed a more grand gesture on our part.


its seems nice when we sit and talk about ideals and how we can actually shape pakistan image abroad. and what we want to do
when we grow up and how we can change other people's opinions.

oh, and my bf was looking cute in green . and his car was looking patriotic with the flag on it.