How to Register for NATA

Introduction 
NATA 2014 registration forms can be filled online by making a payment of NATA fees of Rs 1000 (plus processing fees) using Netbanking / Credit Cards / ICICI Isure Bank Challan from 1st  March 2014 onwards.

This document gives a detailed procedure of filling up the NATA 2014 form online at www.nata.in.

Step 1: Register Yourself on NATA Student Portal To fill the NATA Registration form online, you need to generate a username and password at www.nata.in/register. If you have already generated your username and password for NATA Student Portal, you may skip this step.

1. In your browser, open www.nata.in/register

2. Click on the “Click here to register” button

3. You will be presented with a form to fill. Enter your desired username, password and your VALID email
address.

4. While choosing a password, please note that it should be atleast 8 characters long and MUST have
atleast 1 non alphanumeric character.

5. After filling the form, click “Create User” Button.

6. You will receive an email on the email address given by you at the time of registration. Follow the
instructions in the email to activate your account.

Step 2: Login to NATA Student Portal
After you have activated your account, click on the “Login” link at the top right corner of your page in the
browser.
Enter your Username, Password and Email address to login to the portal.

Step 3: Complete your profile on NATA Student Portal
After you login to the Student Portal, you need to complete your profile before you can pay the fees to get
NATA Registration form. In order to complete your profile, you will need following things ready:

a. Your SSC (Std X) Marksheet
b. A jpg file of your Photograph cum Signature. Please refer to Annexure A of this document to understand
the how to create a jpg file of your Photo cum Signature.
To complete your profile, follow the steps given below:
1. Click on “Candidate Profile” link in the header menu.
2. You will be presented with a form. Fill up all the information in the form by referring to your SSC (Std X)
Marksheet.
3. Click on the “Browse” button and select the jpg file of your Photo cum Signature on your computer.
4. Click on “Upload” button. You will see your photo cum signature on the form.
5. Click on “Save” Button.
If everything is okay, you will see a “Purchase Form” button at the bottom right corner of your screen. Before you click on the “Purchase Form” button, verify all the information you entered is correct.
You will never be able to change this information once you purchase a form. Therefore, you must
verify the information carefully. If you need to make any change in the information entered,
please make the changes and click on the “Save” button.
If the information entered is correct, you can click on the “Purchase form” button.

Step 4: Choosing a Payment Method 
Once you click on the “purchase form” button, you will be presented with the payment method options. There are two methods by which you can make a payment, namely Netbanking/Credit Cards and ICICI Bank Isure Pay Challan.

Netbanking and Credit Card 
When you choose this method, you will be taken to our payment gateway where you can make the payment for NATA Registration fee. Once the payment is successful, you can go to “My NATA Forms” section and download your Registration form.

ICICI Bank ISURE Pay 
When you choose this method, you will be asked to download a prefilled ICICI Bank Challan. You will have to approach the nearest ICICI Bank with the printed copies of this challan and pay the fees mentioned in it. Once the fees are paid, you will be able to download your form from “My NATA Forms” section.

Step 5: Taking Appointment for NATA Exam
After downloading and printing the form, you shall approach any activated test center convenient to you. The Test Center shall give you an appointment for exam based on the schedule and availability at the Test Center.
They will issue to you the Appointment Voucher for the given appointment.
The list of test centers is available at www.nata.in

Downloading your Scorecard
After you give the exam, your scorecard is normally generated at the end of 4th working day. You can login to the NATA Student Portal and go to the “Scorecard” Section and download your scorecard from there.
Helpdesk At any given point in time, if you have any query, you can raise a support ticket by visiting http://support.nata.in.

Please remember, you will have to generate a separate username and password at http://support.nata.in.
Your NATA Student Portal password will not work for Help Desk. Whenever you raise a support ticket, please mention your Candidate ID, Appointment Number and Username so that we can assist you faster.

Annexure A: How to generate a jpg file of your Photo cum Signature
To generate a jpg file of your Photo cum signature, you will need a scanner attached to a computer.
1. Take a plain white paper.
2. Paste your PASSPORT SIZE RECENT photograph on it.
3. Using a Transparency / OHP marker pen, sign on the lower side of your photograph in such a way that
half of your signature is on the photograph and half part of your signature is on the paper.
4. Now scan this page using a scanner and then crop the scanned image using a photo editor so that only
the Photo cum signature is visible. Save this file as jpg image.
The Photo cum Signature file must be less than 1
MB in size and file type must be jpg. Your
Photograph must be RECENT. Please do not use
older photographs. Your application may be
rejected if your identity cannot be established
from the scanned photo. 

CONTROLLED ARCHITECTURE

Kishan Sabi, 4^th Yr

How do the perfectionist and expressive architect choose the ground, rather than a platform to support their buildings? How do they advocate research in order to attain balance; only to upset it again? Why does the architect speak of the need for freedom, and seek to conquer it; defining a path underpinned by his own rules?

The world is going through a phase of change, a change with more concern, a change with a reason and a change looking toward to the future. Architecture too has had its fair track of this ‘change phase’. Contemporary architecture no longer pose the strong point in the current trend, and is over powered by a new form of architecture that controls the role of spaces, its definition and the placement. Controlled architecture by word means a practise of architecture that deals with defining spaces within limits and controls, ensuring a better environment to live in at the same time making sure that the sense of visual quality and freedom of circulation is maintained. It doesn’t outline a mode of designing where the users are forced to move through a maze, but describes a process by which each user is directly or indirectly channelled to use the defined circulation paths and spaces. This ensures better movement of people, goods and services to create a functional design.

Spaces in controlled architecture are designed to be a part of the whole and not random enclosures. The function and the location are taken as principal elements. Apart from all this the placement of the spaces coincides in accordance with the paths/corridors/streets. The openings and the visual apertures merge to the spaces in a way similar to solving a jigsaw, where perfection is the only possible elucidation. Each column and beam is considered and spaces to enclose accordingly designed, thus pronouncing a more profound mode of designing. This not just avoids the negative/inactive spaces but also ensures optimal space utilization. Controlled architecture for some reason stays hidden within other concepts. Planners and architects use a mixture of definition for ranging from depth of access to “form follows function”, the slogan that most architects pursue. What goes unnoticed is that each of these terms is just an additional to the whole and wide concept of controlled architecture. When one goes on to say “depth of access”, what one should perceive is how the designer is able to limit or control the paths taken by any individual to a certain point. In short controlled architecture cannot be confined to a box but rather is an elaborate and vast field of study, to which we add each day.

What architects value most are timeless projects. And in these classic works he values everything, but above all the connecting elements: from the material to the geometry. There is not only one way to reach a destination. There are many and this wealth of possibilities is what prolongs the process and makes evolution possible.  

Controlled architecture.

-Article by Kishan IVth Year

How does the perfectionist and expressive architect choose the ground rather than the platform to support their buildings? How do they advocate research in order to attain balance, only to upset it again? Why does the architect speak of the need for freedom, and seek to conquer it, defining a path underpinned by his own rules?

The world is going into a phase of change. A change with more concern. a change with a reason and a change looking towards the future. Architecture too has had its fair track of this ‘change phase’. Contemporary architecture no longer pose the strong point in the current trend and is over powered by a new form of architecture that controls the role of spaces, its definition and the placement. Controlled architecture by word means a practise of architecture that deals with defining spaces within limits and controls, ensuring a better environment to live in at the same time making sure that the sense of visual quality and freedom of circulation is maintained. It doesn’t outline a mode of designing where the users are forced to move through a maze, but describes a process by which each user is directly or indirectly channelled to use the defined circulation paths and spaces. This ensures better movement, flow of traffic and a proper design.

Spaces in controlled architecture are designed to be a part of the whole and not random enclosures. The function and the position are taken as principal elements. Apart from all this the placement of the spaces coincides in accordance with the paths/corridors/streets. The openings and the visual apertures merge to the spaces in a way similar to solving a jigsaw, where perfection is the only possible elucidation. Each column and beam is considered and spaces to enclose accordingly designed, thus pronouncing a more profound mode of designing. This not just avoids the negative/inactive spaces but also ensures optimal space utilization. Controlled architecture for some reason stays hidden within other concepts. Planners and architects use a mixture of definition for ranging from depth of access to “form follows function”, the slogan that most architects pursue. What goes unnoticed is that each of these terms is just an additional to the whole and wide concept of controlled architecture. When one goes on to say “depth of access”, what one should perceive is how the designer is able to limit or control the paths taken by any individual to a certain point. In short controlled architecture cannot be confined to a box but rather is an elaborate and vast field of study, to which we add each day.

What architects value most are timeless projects. And in these classic works he values everything, but above all the connecting elements: from the material to the geometry. There is not only one way to reach a destination. There are many and this wealth of possibilities is what prolongs the process and makes evolution possible.  

The probability of impossibility is Zero. - Article By Anu Rahul Nandhan S

What is impossibility? Things we have not yet known to have happened. Impossibility is an idea. Not a pure science. I can state events that have happened that prove this statement right.

There was this extremely normal family in Germany. They had only one daughter. The daughter met with an accident and was under coma for a month. When she finally revived, she couldn’t speak German. She had acquired fluency in French instead. It wasn’t that the girl did not have prior exposure to French. Before the accident, she did have a couple of weeks in French training. Clearly, a couple of weeks weren’t enough to acquire fluency in French. But she spoke as if she were native French, rather than a secondary language. She found it difficult to read German anymore and she couldn’t even respond to her parents.

On investigation, it was found that the family did have a French root long ago, many generations away. So what we call a coma, did it influence her to bring back the long lost genetic memory? Or was it a blessing from the Gods? Research on Genetic memory is still a nascent subject. It deals with the ability of our DNA to save information through generations. This information is probably not memories in the form of people and incidents. This memory is in the form of skills and abilities. It is not impossible, as I have mentioned above. It is a possibility. A farmer’s son is naturally adept at farming. So is a King’s son at Kingship. This kind of memory is stored in our DNA.

The girl had inherited the ability to speak French. This is also explainable in terms of genetic memory. There has been a research paper in 1994 which suggests that our DNA actually translates to something. There is a language coded in our DNA which is nicknamed as the “language of the angels”. This supposedly angelic language is believed to be the origin of all human languages. The research concluded that this language encoded in our DNA is somehow related to the languages we speak but is too early to understand things yet.

So if this really is true, who has encoded the language in our DNA? Do three centuries of Darwinian evolution theory come to an end? If this theory is found authentic, it also suggests that mankind was not formed by mistake. Then who did create mankind? Aren’t we alone in this universe? Are there other intelligent species too advanced to be understood? Or is this the work of God?

I find the word “impossible” highly disturbing; especially knowing that anything is possible.

-Anu Rahul Nandhan S

IDENTIFICATION AND DOCUMENTATION OF HERITAGE

IDENTIFICATION AND DOCUMENTATION OF HERITAGE

Quality Improvement Programme

McGAN’s OOTY SCHOOL OF ARCHITECTURE,

5/635, PERAR, NEAR MYNALA POST, THE NILGIRIS, OOTY, TAMIL NADU

Introduction

The built heritage of our country, which forms a part of our cultural heritage, is a priceless non-renewable resource that is seriously threatened. The responsibility of preserving our heritage rests with us – the citizens of India. The Central Government through the Archaeological Survey of India (ASI) protects monuments more than 100 years old declared to be of national importance. Monuments of importance to the States are protected by the state governments through their respective Departments of Archaeology. However, existing legislation covers about 5000 monuments to be looked after by the central government and approximately 3500 by the states. Considering India’s vast cultural heritage, these numbers do not seem adequate. Innumerable historic buildings and precincts of architectural, historical, and aesthetic importance remain ‘unprotected’, largely neglected, threatened by urban pressures and thus are in need of conservation.

Since the policy framework for protection and integrated conservation is still a developing field in our country, it is essential to take stock of our built heritage. Rapid changes in the environment also entail a focused approach to the management of built heritage. Much of the loss of the historic building stock can be attributed to lack of information about the structures and their significance. The ongoing efforts of protection and management, though commendable, are not comprehensive.

In this context documentation emerges as the single most powerful tool for the conservation and management of the rich and diverse cultural heritage of our nation. Documentation not only equips professionals/ agencies in developing conservation interventions for heritage sites, but also equips communities to safeguard their heritage through understanding the significance and interpretation of cultural heritage.

What is listing of Heritage Properties?

Listing is an inventory of heritage buildings & sites based on the survey of the cultural heritage of an area. Areas of heritage in a town/city are explored, to uncover the various heritage components that depict the different time period and reflect the influence of history on the town/city. The different architectural styles and the landscape are also recorded. It attempts a comprehensive inventory of the built heritage of a state/city. However listed building or site essentially means inventoried buildings/site with statutory designations. When the inventory of heritage building is designated under the relevant legislation (Heritage Regulations, Municipal Acts, Heritage Bill, Town and Country Act, Ancient Monuments act etc.) it acquires the status of a Listing. Since a large part of our heritage is Unprotected Heritage it becomes most vulnerable without any documentation. Moreover no legislative framework is possible without baseline data or a data bank. This database of listing will serve as resource material for heritage regulations as well as to farm Heritage laws at the Municipal/Panchayat level. Listing also acts as a basic tool which is needed to identify conservation priorities and strategies in heritage planning especially for large regions.

Inventories are a primary tool for the conservation and protection of built heritage. Strategies for conservation are meaningless without knowledge and understanding of what exists. Survey, analysis and compilation of the inventory of buildings and structures are vital - individually and in groups. Only on the basis of an understanding of the areas can appropriate policies and programmes for conservation be drawn up. Inventories are useful for prioritizing work for conservation, identification of tourism potential and routes, for considerations in planning development projects such as infrastructure and education, improving public awareness by recognition of the value of this heritage and identification of potential projects.

Why is Listing of Heritage Properties important?

Listing helps us acknowledge and understand our shared history.  It marks and celebrates a building's special architectural and historic interest, and also brings it under the consideration of the planning system so that some thought will be taken about its future. The older a building is, the more likely it is to be listed. Listing is not a preservation order, preventing change. Listing is an identification stage where buildings are marked and celebrated as having exceptional architectural or historic special interest, before any planning stage which may decide a building's future.

Listing does not freeze a building in time; it simply means that listed building consent must be applied for in order to make any changes to that building which might affect its special interest.  Listed buildings can be altered, extended and sometimes even demolished within government planning guidance. The local authority uses listed building consent to make decisions that balance the site's historic significance against other issues such as its function, condition or viability.

Benefits of Listing

• Cultural resource data bank

• Formulation of heritage regulations

• Tourism development plans

• Prioritizing conservation works

• Potential for reuse

• Tourist & infrastructure facilities

• Identification of historic precincts

• Guidelines for urban & rural conservation

• Heritage walks

Quality Improvement Programme

This programme is mainly going to focus on the first step towards conservation of historic properties. Conservation of any historic property would ideally start with the identification of the same. This programme shall enable professionals and people in teaching community with the understanding of “Heritage” its importance and ways to conserve it.

Eminent Speakers

Prof. Nalini Thakur

Dean & HOD (Department of Architectural Conservation)

School of Planning & Architecture, New Delhi

Professor Thakur is one of India’s foremost experts in the field of heritage conservation. Her experience over three decades in the field of architecture and conservation ranges from activist, professional, teacher, mentor and academician.

Dr. Priyaleen Singh

B.Arch., MLA., M.A. Cons. (UK), Cert In RM&HC (Italy), Ph.D.(UK).
Professor of Architectural Conservation

Priyaleen Singh is a Professor in the Department of Architectural Conservation at the School of Planning and Architecture, New Delhi. She has a Masters degree in both Landscape Architecture and Architectural and Urban Conservation. She was awarded the Charles Wallace India Trust scholarship to do her MA in Conservation from Institute of Advanced Architectural Studies, University of York, U.K. and subsequently got the Commonwealth Scholarship to do her D.Phil from the same institute in 1998 on 'Changing Attitudes to Design with Nature in the Urban Indian context'. As a practicing Conservation architect and a Landscape architect she has worked on several urban conservation and Historic landscape conservation projects. She is presently researching on the lesser known Indian landscape design traditions from the sixteenth to eighteenth centuries to include the Rajput, Bundela and Jat garden design. She is also compiling a National Register of Historic Gardens of India but at the same time continues to be concerned with contemporary landscape design and urban conservation issues in India.

Sathya Prakash Varanashi

B.Arch, M.A. (University of York), Former Head of Department of Architecture, BIT Bangalore, Convenor INTACH Banglore Chapter, Principle Architect at Sathya Consultants

Sathya Prakash Varanashi studied architecture in Bangalore, urban design in Delhi and heritage conservation in England. A former Professor of Architecture, he is involved in academics, outreach activities, freelance writing, professional associations and NGO initiatives.

Right from his early days, he was attracted to designs ideas rooted in cost, culture, climate and creativity, thanks to the influence of architects such as Laurie Baker, Shankar Kanade, K. Jaisim, A.G.K. Menon and K.T. Ravindran. His consultancy firm, Sathya Consultants, in Bangalore has been professing and practising eco-friendly cost-effective architecture for the last 15 years.

Programme Schedule

Day 1

09:00 am:                   Participants Registration

10:00 am:                   Opening Ceremony to be chaired by Prof. Kersi Daroga

10:55 am:                   Tea Break

11:15- 01:15 pm:        Presentation and Talk by Dr. Priyaleen Singh

01:15- 02:00 pm:        Lunch Break

02:00- 03:30 pm:        Presentation and Talk by Mr. Sathya Prakash Varanashi

03:30- 03:45 pm:        Tea Break

03:45- 04:30 pm:        Lecture on Listing of Jaisalmer and Rajouri – Vaibhav Prakash

04:30- 05:00 pm:        Felicitation by Prof. Kersi Daroga 

Day 2

9:00 – 10:55 am:        Eminent speaker Prof. Nalini Thakur will present a paper.

11:15 – 12:15 pm:      Lecture on listing process in Lakshwadeep – Safiya MD

12:15 – 1:15 pm:        Sharing experiences on Listing of Lakkundi/Wai – Shruti Mutalikdesai

1:15 – 2:00 pm:          Lunch Break

2:00 – 4:00 pm:          Lecture on “Incorporation of GIS in listing process” - Kuladeep

Kumar Sadevi

4:00 pm:                     Certificate Distribution by Prof. Kersi Daroga.

Day 3

9:00 am – 4:00pm:    Outdoor workshop on “Listing of Heritage properties of Udhagamandalam”

Application Form for QIP

Application Form for QIP

Name:

Address:

Email id:

Phone number:

College with address:

Designation:

Cheque/ DD no.:

Date:

Qualification:

Experience:

Teaching:

Work:

PROCEDURE FOR CALCULATING INTERNAL MARKS

For all theory and practical courses the continuous assessment shall be for a maximum of 20 marks (consisting of 15 marks for Internal Assessment tests/experiments and 5 marks for attendance). The above continuous assessment shall be awarded as per the procedure given below:

Explanation for 15 marks

1.Theory Courses

Three Internal Assessment tests each carrying 100 marks shall be conducted during the semester by the Department / College concerned.
The total marks obtained in all tests put together out of 300, shall be proportionately reduced for 15 marks and rounded to the nearest integer (This also implies equal weight age to all the three tests).

2.Practical Courses:

Every practical exercise / experiment shall be evaluated based on the exercise / experiment prescribed as per the syllabus and the records of work done maintained.

There shall be at least one test during the semester. The criteria for arriving at the internal assessment marks (15 marks) shall be decided based on the recommendation of the class committee and shall be announced at the beginning of every semester by the Principal.

3.Internal Assessment for Theory Courses with Laboratory Component:

The maximum marks for Internal Assessment shall be 15 in case of theory courses with Laboratory component.

If there is a theory course with Laboratory component, there shall be three tests: the first two tests (each 100 marks) will be from theory portions and the third test (maximum mark 100) will be for laboratory component. The sum of marks of first two tests shall be reduced to 30 marks and the third test mark shall be reduced to 30 marks. The sum of these 60 marks (Vide clause 11) may then be arrived at for 15 and rounded to the nearest integer.

The remaining 5 marks for attendance shall be awarded as given below:

Attendance

Theory and Practical courses and Project Work

76% to 80% of attendance - 1 mark
81% to 85% of attendance - 2 marks
86% to 90% of attendance - 3 marks
91% to 95% of attendance - 4 marks
96% to 100% of attendance -5 marks

ABOUT MCGAN’S OOTY SCHOOL OF ARCHITECTURE (MOSA)

As an innovative, hands-on architecture and design school in India, McGAN’S Ooty School of Architecture (MOSA) offers a student-centric learning environment along with access to a faculty of highly experienced practitioners. From the founding principles of architecture to the latest trends in sustainability and design aesthetics to developing technical and leadership skills, MOSA exposes you to practice-oriented curriculum as you pursue a degree in architecture, digital media arts, or construction management, to achieve your professional goals.

EXPERIENTIAL PHILOSOPHY

McGAN’S Ooty School of Architecture reinforces classroom theory with real-world application. We challenge our students with rigorous advancement standards, and our hands-on, instructional degree programs nurture artistic passion while demanding professional excellence.

FACULTY PRACTITIONERS

At MOSA, most of our faculty members are highly experienced active practitioners. They will help prepare you for your career by bringing the present and future of architecture and design into the classroom.

SOCIAL CONSCIOUSNESS

We prepare professionals for responsible citizenship and careers in architecture and design. Our degree programs are built on a solid ethical foundation and have long promoted accessible, socially beneficial, and sustainable design solutions.

PERSONAL ATTENTION

Our dynamic classes provide individual attention while encouraging collaboration among students and faculty. Because we maintain relationships with many area architecture, and construction management firms and projects, there are ample opportunities to engage personally with local professionals and to participate in site visits.

SCENIC LOCATION

MOSA offers a unique inspiring academic environment. We don’t believe that learning happens only in the classroom. From the natural beauty of our surroundings, the lush green landscape, our students learn to work with nature to create a better built environment. MOSA is located at the inset of the nature, surrounded by the hills of Ooty.

OUR PHILOSOPHY

At McGAN, we challenge our students with rigorous advancement standards, and our hands-on instructional programs nurture artistic passion while demanding professional excellence. We believe that a wide range of individuals can find reward and fulfillment in the study of architecture and design.

OUR MISSION

All of our students are encouraged to continue their research in off campus and independent study as well as internships, which jump start your resume and provide valuable job experience.

The faculty and student community at MOSA is dedicated to working towards a common goal, the betterment of architectural education and practice, not only in India but also in the global context.

The mission of McGAN’S Ooty School of Architecture (MOSA) is to nurture and inspire design-minded students. Our students demonstrate a firm foundation of critical thinking, ethical behaviour and a culture of professional practice, on their way to becoming socially responsible leaders of change for our global society.

MOSA achieves this mission through:

•  A progressive curriculum, taught by accomplished, active faculty.
•  Practitioner-based models of learning focused on problem-solving, experiential learning and process-based design.
•  Active participation and engagement in our local and global community.
•  A progressive curriculum, taught by accomplished, active faculty.
•  The constant pursuit of academic excellence.

OUR VISION

McGAN’S Ooty School of Architecture (MOSA) will be a leading provider of architecture and design education focused on improving the quality of life in the built and natural environments on both the local and global scales as informed by nature, supported by research, focused on professional practice, and committed to sustainability. MOSA will accomplish this through a disciplined approach to the following tenets:

People: MOSA will be a place where faculty and staff are engaged in a vibrant educational setting and where students find meaning and inspiration in the pursuit of their professional goals.

Portfolio: MOSA will grow its commitment to sustainable design and dynamic program development by anticipating the ever-changing needs of our students and the professions we serve.

Partners: MOSA will be a leading contributor to the design professions around the globe as the flagship institution within the Anna University network for architecture education.

Place: MOSA will be practice-oriented, student-centric, and contribute to unique and interactive setup at a scenic and inspiring educational environment.