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    Kempegowda International Airport has become the first and only airport in the country to obtain a ‘GreenCo Platinum’ rating from the Green Building Council (GBC).

    In a statement on Sunday, Bangalore International Airport Ltd. (BIAL) said the rating, given by the Confederation of Indian Industry (CII), reflects the environmental strategies adopted at the airport, which include water conservation, adoption of biofuel for ground operations, and use of solar energy, among others. The airport had received the ‘GreenCo Silver’ rating in 2012, becoming the first in the country to receive the rating after its launch by the Union Minister for Energy in 2011.

    “We see this rating from the CII’s Green Building Council as a testimony towards our efforts in building an energy efficient and green airport,”said Hari Marar, president, Airport Operations, Bangalore International Airport Ltd.

    source: / The Hindu / Home> News> Cities> Bengaluru / Staff Reporter / Bengaluru – February 29th, 2016

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    Dr. L.R. Kadiyali

    Dr. L.R. Kadiyali

    by H.R. Bapu Satyanarayana

    “Full many a gem of purest ray serene

    The dark unfathom’d caves of ocean bear:

    Full many a flower is born to blush unseen,

    And waste its sweetness on the desert air”

    — Thomas Gray

    My friend Dr. L.R. Kadiyali died on 17th instant in Delhi at the age of 83. He is from Karnataka and his father Ramabhatta was a teacher in Kodagu.

    He leaves behind his wife Bharathi and two daughters, Vrinda and Vasuda. Dr. Vrinda is an Associate Dean for Academic Affairs and Professor of Marketing and Economics in Cornell University.

    Dr. Kadiyali graduated from Poona Engineering college securing first rank. He took premature retirement and established his own firm called Kadiyali Associates. It was a consulting firm which did work in the field of Highways all over India. This Kannadiga was a shining star in the firmament of engineering profession and has left many footprints in Karnataka’s prestigious Highway projects.

    It is not merely a personal loss because he was my colleague in the Ministry and later became my boss and mentor when I worked in Orissa. We were also family friends. In his death India has lost an outstanding engineer.

    He has left an indelible imprint with his works and also with two important books titled ‘Traffic Engineering’ and ‘Transportation Planning and Highway Engineering’ which are like a bible for engineers. They were the reference books for doctoral thesis for many students. Dr. Kadiyali has also done monumental research work funded by the World Bank titled ‘Road User Cost Study,’ which specifies the optimum speed for various types of vehicles to consume minimum amount of fuel. He was passionate about concrete roads and an authority on concrete technology. He was given the Life-time Award by Vizag Engineering College and in 2015 he got Life-time Award from the Indian Road Congress also. His firm, Kadiyali Associates, did not grow nor survive because he followed the strict principle of not bribing to get contracts.

    He was soft spoken, simple and lived a spartan life. Dr. Kadiyali donated one of his kidneys to his relative when he was alive. And after his death he had asked his people not to do any havan or other ceremonies including shraddha. He had also instructed that nobody needed to come for his last rites but wanted his daughter Vrinda to press the button at the electric crematorium.

    Later his daughter Vrinda sent me an e-mail which said: Thank you uncle.

    He had a great life and a great end, we should all be so lucky to go this way.

    NOTE: I must immensely thank Bapu Satyanarayana for sending this tribute for publication. Very thoughtful of him in these days of ‘blind-liberal democracy’ where every other Tom, Dick and Harry gets an award sponsored by the State and the State-funded Cultural, Sports and Academic institutions but not those like Dr. L.R. Kadiyali.

    Reading this mere pen sketch of a profile of Dr. L.R. Kadiyali, I am wowed. People like him are the patriots, they know the real meaning of ‘Nationalism,’ unlike those leaders who visited JNU to cheer those who are still in the dark even after 69 years of independence to understand what ‘Nationalism’ means for India.

    Nationalism should not be equated with secularism. In Hindu majority India, specially after partition on the basis of religion alone, Nationalism means simply loving your land first, then your religion or whomsoever (your party leader and the family, for example). Therefore, for all Indians, Nationalism should simply mean Bharat Mata ki Jai or Jai Hind or Vande Mataram.

    No doubt Dr. Kadiyali is one gem among many, with purest ray serene stuck in the dark caves of unfathomed ocean called India and a flower born to blush unseen wasting its sweetness on the vast merciless Indian desert air, to add my voice to Thomas Gray’s regrets in a poem quoted in the beginning of this tribute. Which is why he did not even get a Padma Shri.

    Looking at our roads, I wonder how many road building engineers might have read his books!

    As in life, in death too Dr. Kadiyali has kept his ‘sacred’ sense of understanding life in its natural state and equanimity seen in the manner he wanted his mortal body’s disposal. Everything to the furrow, nothing to the grave. Even in death this man only thought about common good to all. To speak the language of Shakespeare:

    His life was gentle, and the elements

    So mixed in him that Nature might start up

    And say to all the world, “This was a man.” — KBG

    source: / Star of Mysore / Home> Feature Articles / Monday – February 29th, 2016

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    February 28th, 2016adminRecords, All, Sports


    Roller skating is a popular sport in Mysuru city and many roller skaters have gone on to do well in the National and International levels. Our city’s talented skater Rea Elizabeth Achaiah has done everyone proud with her performances in the National and International level in roller skating and Ice skating championships. Recently, Rea represented India in the tri-series Ice skating championship held at Singapore from Feb. 18 and performed well. She is our ‘Star This Week.’

    Rea, daughter of K.N.Achaiah and Priya Achaiah, is a student of St. Joseph’s Central School, Vijayanagar.

    Rea has represented India in the Pre-winter Olympic Camp held at South Korea in 2015 and has represented Karnataka in the National ice-skating championship held at Gulmarg, Srinagar in January 2016 and won 2 golds. She also represented Karnataka in the National Roller skating championships and won 4 golds and 1 silver medal in her age category.

    This talented skater has so far won 15 golds, 2 silvers and 2 bronze medals in National championships and has emerged as the Individual champion twice.

    This year, she was awarded the Pratibha Puraskar by the Governor of Karnataka for her achievement in the sport of skating.

    Rea is coached by Ekalavya Awardee K.Srikantha Rao at Rao’s Roller Skating Club in Mysuru. Encouraged by her parents, her school and her coach, Rea intends to work hard in the days to come and bring more laurels for her State and country in both roller skating and ice skating.

    source: / Star of Mysore / Home> Sports News / February 28th, 2016

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    February 28th, 2016adminArts, Culture & Entertainment

    Literature Fest begins

    Senior Konkani litterateur Rev, Fr. V.J. Menezes seen interacting with writer and poet Valli Vagga (right) during the Konkani Literature Fest at Konkan Bhavan in city this morning.

    Senior Konkani litterateur Rev, Fr. V.J. Menezes seen interacting with writer and poet Valli Vagga (right) during the Konkani Literature Fest at Konkan Bhavan in city this morning.

    Mysuru :

    “The crave for English among younger generation has resulted in the age-old Konkani language, which has close links with Marathi, reaching a stage of extinction and there is a need to revive Konkani by creating awareness among children on the use of the language to preserve it,” opined President of Konkani Christian Association, Mysuru, Vincent Crasto, here this morning.

    He was speaking after inaugurating the one-day All-India Konkani Literature Festival, organised by Konkani Christian Association (KCA), Mysuru, in association with All India Konkani Writers Organisation (AIKWO), Mangaluru, at Konkan Bhavan in Vijayanagar here which was attended by more than 400 persons from Mysuru, Mandya, Bengaluru and Mangaluru among other places.

    Regretting a steep fall in the usage of Konkani even at homes, Vincent Crasto suggested that all efforts should be made to revive the language by organising seminars and other programmes which would not only help preservation of the language but also its growth.

    AIKWO General Secretary, Dr. Edward Nazareth, speaking on the occasion said that publication of articles in newspapers and other forms of media would help in restoring the glory of Konkani, which needs to be preserved for future generations.

    During the festival which began at 11am, Rev. Fr. V.J. Menezes interacted with Konkani Writers after which Dr. Rocky Miranda conducted a symposium on ‘The Old Konkani Bharatha’ after which participants from Mumbai, Bengaluru, Mangaluru and Mysuru participated in a ‘Poet’s Meet’.

    A short play titled ‘GULIYO,’ written by Richie John Pais of Mangaluru and Directed by George William D’Souza of Mysuru was staged and winding up the day’s programme was Cultural programme in Konkani by the members of the association.

    Earlier, before the commencement of the festival, a ‘Konkani Mass’ was held at the premises under the supervision of Rev. Fr. V.J. Menezes

    KCA General Secretary John William D’Souza, Treasurer John Leo Rebellow, AIKWO President Vincy Quadras, Treasurer Richard Moras, Literature Festival Coordinator Valli Vagga were among those present.

    source: / Star of Mysore / Home> General News / February 28th, 2016

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    February 27th, 2016adminEducation


    The kit comes in three languages — Kannada, English and Urdu

    Vidwath Innovative Solutions, a city-based company, has developed a smart class kit for students of Classes 1 to 10. One of the features of the kit is digitalised, animated versions of all subject material. The kit comes in three languages — Kannada, English and Urdu — in order to cater to more students across the State.

    Rohit M. Patil, managing director and chief executive officer of Vidwath, and Venugopal Rangaraju, the chief operating officer, told The Hindu on Friday that after working for three years straight with a team of over 35 software engineers, technicians and subject experts, they had managed to prepare digitalised and animated versions of all the lessons.

    The lessons have been designed in such a way that students can easily grasp the ideas by actually seeing their representation instead of having to imagine them. For example, if a science teacher wants to explain the human heart or a rocket to students, he or she can just show them on screen and teach.

    The kit includes a multi-touch interactive board, which is just like a touchscreen monitor. Even students can use the interactive board and open math tools like compass to draw diagrams on the screen.

    According to Vidwath, there is great demand for their product and over 700 schools across Karnataka have already bought it. Of the 700 schools, 500 are Urdu schools.

    Besides this, for many schools in rural areas, where backward class students are in large numbers, Vidwath has not only supplied the kit free of cost but has also appointed a tutor to teach the concept of ‘smart teaching’ to the teachers.

    Mr. Venugopal said they have used high-end software and hardware to make the kits, which has all the lessons in 3-D. Mr. Patil said he plans to hold discussions with the higher-ups in the Education Department soon to make this “first-of-its-kind” kit available in all government schools. They also said Vidwath had supplied smart class kits to schools in Mysuru with children with hearing and speech disabilities.

    source: / The Hindu / Home> National> Karnataka / by H.S.Narasimha Kumar / Mysuru – February 27th, 2016

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    Terracotta beauties


    Her interest in gardening, which she inherited from her father, led her to do something different — both as a passion and as a way of caring for the earth. When she found that the market is dominated by plastic and cement pots, neither of which are good for plants, she started making terracotta planters about seven years back.

    ‘Maati Terracotta’ is the brainchild of Shashi Bagchi, who started creating terracotta products before she decided to specialise on terracotta gardening pots.

    “I was working with an advertising agency but left the job because boredom seeped in. I was always into gardening and over the years, I noticed that the pots available in the market are only the plastic and cement ones, both of which are not good for plants. That’s when the idea of making terracotta pots came to my mind. It was a part of my course back in college, but I also took a short-term course on terracotta before I took the leap,” says Shashi.

    However, due to the non-availability of a physical unit in her initial days, she started off by going to Pottery Town, which didn’t work out for her as it was a difficult task to carry the completed works. Today, she has a studio where the entire process takes place.

    She says, “I have my own studio where the complete process, right from designing and manufacturing to retailing and supplying takes place. I work with landscapers, corporates, individuals and architects. The entire process of creating terracotta pots involves a lot of physical labour and I solely work towards the upliftment of potters. Currently, we are concentrating on supplying our products to Coimbatore, Hyderabad and Chennai.”

    Her forte lies in making large planters (standing as tall as four feet), animal-shaped planters, garden accessories like garden sculptures, bird feeders and bird baths, lamp shades, name plates and cooking utensils. Some of her popular items, she claims, are the ‘walking legs’ pot, wall murals, the kettle-shaped wall clock and the frog garden sculpture. Shashi’s main motive, she says, is to make people aware of the eco-friendly nature of these products.

    While on one hand, terracotta products are gaining popularity among people these days, on the other hand, the younger generation of potters has stopped working in this business, resulting in a decline of the pottery industry.

    She reasons, “The younger generation of potters is rarely seen carrying this forward. The
    reason being that they are getting educated, which is a good thing, but these youngsters also don’t want to get their hands and clothes dirty. Though they will sit and admire the works, when it comes to doing it themselves, they will move away. I believe that the support they deserve and the physical space terracotta products require (during the entire process) is limited.”

    But she says that ordinary pots don’t have any aesthetic value attached to them. When it comes to terracotta pots, the scenario is different — there is demand because there are different designs that one can find, the quality is better and a terracotta planter can stay up to 12 to 15 years, carrying an aesthetic importance with it. However, the easy availability of cement and plastic pots is what hampers this business.

    As for the support and feedback she gets, she says, “I am blessed to have the support of my family. They are always curious to see what I am creating next. That inspires me to constantly keep creating unique products. Many people have come back to me saying that they like the finish I give to each item. Moreover, they are also fond of the innovative designs and the expressions I give to each creation. If one notices, they can clearly see that all my animal planters have a happy face. That attracts the attention of many customers.”

    source: / Deccan Herald / Home> Supplements> MetroLife / by Surupasree Sarmmah, Bengaluru / DHNS / February 27th, 2016

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    February 27th, 2016adminArts, Culture & Entertainment
    RSN Memorial Awardees - Music Director A.S. Prasanna Kumar, Sugama Sangeetha singer G. Pushpalatha and Composer Sunitha Chandrakumar - are seen with the guests and organisers.

    RSN Memorial Awardees – Music Director A.S. Prasanna Kumar, Sugama Sangeetha singer G. Pushpalatha and Composer Sunitha Chandrakumar – are seen with the guests and organisers.

    Mysuru :

    RSN Memorial Awards were presented to three doyens of music at a programme organised by R.S. Naidu Art and Cultural Welfare Trust at Nadabrahma Sangeetha Sabha on JLB Road here yesterday.

    The event was held in commemoration of 30th death anniversary of Freedom Fighter and sculptor R.S. Naidu.

    The awards were presented to Music Director A.S. Prasanna Kumar, Sugama Sangeetha singer G. Pushpalatha and Composer Sunitha Chandrakumar of Raghuleela School of Music in city.

    Speaking as the chief guest, Visiting Professor of Mysore University Prof. C. Naganna lauded the services of late R.S. Naidu and his simplicity.

    Bar Association President B.R. Chandramouli presided. Trust President Ramesh, Secretary Srinivas and others were present.

    Later, Prasanna Kumar, leading a group of young singers, presented a music programme.

    source: / Star of Mysore / Home> General News / February 27th, 2016

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    Jenny Pinto | JITHENDRA M

    Jenny Pinto | JITHENDRA M

    Her muse might be centuries old, having lived and survived long enough to label it ordinary. But paper is central to designer Jenny Pinto’s life and keeps her enthralled, excited by what one can do with it. Right now, she is busy in designing a structured light in veneer and paper to be fit into a pitched ceiling for a client in Chennai. A few months ago, the Bengaluru-based artist had a particularly good showing at ‘The Amethyst’ in Chennai where she showcased her art in all its uniqueness, especially the hand-made elegant lamps in all shapes and sizes. Pinto puts to good use this meaningful, tactile and versatile medium as she dubs it by fashioning life-size book sculptures as well as quirky paper art.

    Pinto’s sense of design goes back to the time she was a successful ad film-maker based in Mumbai. “Ad film-making requires one to have a wider design sense involving musical, visual and art direction. But it is different from a craft which is about materiality, form and function,” says Pinto, who moved to Bengaluru in 1996 to pursue a different career path.

    Papers may have served as her vehicle of creative discovery but to explain the connection is not easy, says she, insisting that one cannot pin down the why of any artform or craft which is individualistic. Also, she is delighted by what one can achieve through this medium, as her art found an outlet in the products she designed, ranging from lights to home accessories and stationery including paper and sculptures.

    The lighting designs—be it the flame of the forest table lamp, the oyster mushroom wall lamp or the sea urchin ceiling lights, blending in both aesthetics and functionality—seem to find their inspiration from nature. “I feel everything a person does is inspired by nature in essence, which is very wide and all-encompassing. It is about form, colour, light and randomness,” she says. As she takes us through the designs, she points to her favourite one, the passion flower chandelier inspired by dried flowers on a wild creeper. “I love the randomness of a creeper. It goes towards the light with the flowers usually lasting a day or two only for the creeper to have dried and fresh flowers to have bloomed at the same time,” says Pinto.

    Sustainability is a key component of Pinto’s art. She makes her own paper using only natural fibres that are waste from agriculture like banana, sisal, mulberry, pineapple, kora grass and jute, preferring banana fibres over the rest. Her studio located off Sharjapur Road is an example of sustainable architecture. “All the paper is made in the studio which has been built from mud blocks. It recycles all water, grey water and the water from paper making,” reveals Pinto.

    source: / The New Indian Express / Home> Magazine / by Sunita Raghu / February 20th, 2016

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    The old bungalow is marked by a British colonial architectural style, with a touch of Indian influence  Jithendra M

    The old bungalow is marked by a British colonial architectural style, with a touch of Indian influence  Jithendra M

    Bengaluru :

    Plaques detail the contributions of the three Tagores — Abanindranath, Gaganendranath, Rabindranath — and various art movements in the country at National Gallery of Modern Art on Palace Road. But no boards speak of the significance of the heritage structure that houses the collections of rare paintings — Manikyavelu Mansion.

    A document in NGMA’s official files, titled Excerpts from Karnataka Government Gazetteer and signed by its former owner Vilum Manickavelu Mudaliar’s granddaughter Vitto Bai, tells you that this once belonged to the Yuvaraja of Mysore.

    Mudaliar, it reads, was the third son of a poor family. He married into an aristocratic family and became a successful ‘business magnate’ after taking manganese and chrome mines on lease. He acquired this building, the document says, ‘during his early years’, and called it Manickavelu House. While reliable history books say it was sold to him, the record of the sale perhaps remains unknown, says historian and researcher Arun Prasad.

    Officials in the NGMA say Mudaliar and his family lived in the mansion for some years. “But due to a domestic problem, they defaulted payments either to a bank or the government, and the house was put on auction,” says an official. It was acquired by the City Improvement Trust Board, the erstwhile BDA, and then transferred to the Housing Board in the 1960s. The Ministry of Kannada and Culture, which has taken it on lease, sub-leased it to the Ministry of Culture in 2000, when it became the chosen location for NGMA’s southern centre.

    As for when the mansion was built, again records are elusive. “It’s neighboured by several century-old colonial bungalows, including the Balabrooie Guest House,” says Prasad. Hence, it’s probably safe to assume ManiIf you wander in its 3.5-acre campus, and look beyond the official records, you might catch snatches of a fascinating oral history account: Mudaliar, on a visit to Bengaluru, stumbled upon the colonial-style house when it belonged to the Yuvaraja of Mysore. Impressed, he sought entry and was refused until he greased some palms. After a tour around the mansion, he vowed he would one day come to own it.kyavelu Mansion dates back to that time, he adds.



    If you wander in its 3.5-acre campus, and look beyond the official records, you might catch snatches of a fascinating oral history account: Mudaliar, on a visit to Bengaluru, stumbled upon the colonial-style house when it belonged to the Yuvaraja of Mysore. Impressed, he sought entry and was refused until he greased some palms. After a tour around the mansion, he vowed he would one day come to own it.

    Indra Rajaa, daughter of Mudaliar’s granddaughter Vitto Bai, says her generation, brought up in Madhya Pradesh, is rather removed from their Bengaluru connection. “My maternal mother, Manickavelu’s only daughter, moved to Kotagiri after marriage,” she says. “She died a month after giving birth to my mother, who was brought up by her paternal uncle and his wife. My mother thought they were her parents till she got married.”

    In 2003, the year she passed away, 67-year-old Vitto Bai visited the mansion with her husband. “She said she got a royal reception by the officials there, and was very happy,” her daughter says. Rajaa tried locating the house when she was last in the city. “I asked for Manickavelu’s mansion, but no one seemed to know where it was,” she says.

    The Chennai-based chartered accountant recalls that an ‘uncle’, one of her clients who had met Mudaliar, had told her that great grandfather was a ‘generous man’. She quotes him: “He would willingly feed any number of people, but would refuse loans.”

    But Mudaliar’s descendants are scattered across the city, says architect Naresh Narasimhan of Venkatramanan Associates, involved with the restoration and design of the new wings. “It is said he lived atop a hill in Rajajinagar, next to the one Iscon is on. He owned a lot of land in Mahalaxmi Layout, named after his daughter,” he says.

    He says although the house is prominently British colonial in architecture, it features some Indian decorative elements on the outside.

    When Narasimhan began visiting the site, what he calls the biggest bungalow in Bengaluru had a kitchen in the back. “It was in ruins, so we took it out and built the new galleries there,” he says.

    In 2003, when restoration and construction began, the heritage building needed plugging of leaks, to say the least. “Water used to seep in,” says Rehana Shah, currently Bengaluru NGMA’s curator, who was posted here from the headquarters in Delhi to oversee the work. “The entire building was built with brick, with mud plastering,” says Narasimhan, adding that most structures back then were not constructed to last.

    The auditorium too, built – according to Narasimhan – when  the property was with a UN body before it was acquired by the government, also required work. “We replaced the roof,” Shah says. “And extended the stage, originally designed for talks,” he adds. The first couple of rows of seats were taken off to make room for this, and the hall now accommodates 168 people.

    So the heritage building is like a central diamond, with the new additions – two galleries a museum shop and the cafeteria – like the ring around it, Narasimhan says. “That’s why there’s a pool next to the old mansion. Together with its reflection, the mansion forms a spectacular image in the evenings. The pool’s pump keeps its water moving, cleaning out fallen leaves.”

    Tree Treasure

    During the restoration and construction, the team of architects and Central Public Works Department officials took care to retain all the tress. “Next to the cafeteria stands the biggest, and probably the oldest rubber tree I’ve seen,” says Narasimhan.

    The trees probably have their own stories to tell, says Prasad, for many of them have been around since the bungalow was built. Tree walks are conducted here regularly, and a part of the city’s tree festival, Neralu, was also held here.

    “The trees here are truly grand,” says Janani Eswar, who conducted one of the festival’s sessions. “They have been allowed to grow undisturbed as they would be in a rain forest. Finding a spot like this in the city is very rare.” Visitors must not miss the nearly 150-ft tall banayan the back corner and a huge raintree in front, she says.

    The Gallery and Museum

    “As early as 1989, the state government proposed that the bungalow should be converted into a museum,” says historian Arun Prasad. “And the Centre agreed.”

    In 2000, the Ministry of Culture took over the building for the National Gallery of Modern Art (NGMA) and the foundation stone for the new structure was laid in 2001, during S M Krishna’s government. Work began in 2003 and continued right up to 2008.  A 1, 260 sq metre gallery block, where exhibitions are organised, was added to the 1,551 sq metre art museum in the heritage building on the walls of which hang works of unknown artists alongside greats like Raja Ravi Varma, Jaimini Roy and Amrita Sher Gil. “This is perhaps the only colonial structure, located in such an aesthetic setting, that has been aptly converted into a museum – a museum with a collection no other in South India has,” says Prasad. “The extension has been made without damaging the original structure. Even the wooden panel flooring and the ornamental windows have been retained.”

    source: / The New Indian Express / Home> Cities> Bengaluru / by Chetana Divya Vasudev / February 25th, 2016

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    February 24th, 2016adminBusiness & Economy, Science & Technology

    Over 40 models on sustainability in water energy related to the traditional knowledge will be on display at the two-day Science and Engineering Fair 2016 titled ‘Anveshana’ from Thursday. It will be held at Visvesvaraya Industrial and Technological Museum on Kasturba Road.

    Speaking to presspersons here on Tuesday, foundation’s senior manager and coordinator of anveshana, Suresh T.S. said the fair is an initiative to bridge the knowledge gaps between schools and engineering colleges. He said prize money worth Rs. 1.25 lakh would be distributed among the top 10 teams.

    source: / The Hindu / Home> News> Cities> Bengaluru / Staff Correspondent / Bengaluru – February 24th, 2016

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