prachi di's thesis report

A Report on

Impressions of a forgotten city case of Champaner-Pavagadh,Gujrat

For the partial fulfi llment of the course of Bachelor Degree ofArchitecture

Under the guidance of Prof. Arup Sarkar

Submitted by :

Prachi Rampuria

Registration No. 130204012 Dated: 25th June, 2009

Department of Architecture, Town and Regional Planning Bengal Engineering and Science University Shibpur, Howrah- 711 103

1 . INTRODUCTION C O N T E N T S

ACKNOWLEDGEMENT

1 INTRODUCTION 1. Relevance 1.2 Aims and Objectives 1.3 Scope and Limitation 1.4 Methodology

2 STUDY 2.1 Comparative case studies of Archaeologiacal park around the world 2.2 Comparative analysis of exhibition spaces 2.3 Museums and its relation with human emotions 2.4 Museums and gallery lighting 2.5 Evolution of design guidelines

3 DESIGN IMPLEMENTATION 3.1 Site Selection 3.2 Site analysis 3.3 Site morphology

4 AREA STATEMENT 4.1 Space programming 4.2 Flow chart

5 DESIGN PROPOSAL 5.1 Design concept 5.2 Evolution of zoning 5.3 The proposal

6 ANNEXURES 6.1 List of vegetation 6.2 List of references & further reading 6.3 Structural analysis

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Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

ACKNOWLEDGEMENTS

One thing about thesis is that you never know when you are going to face a hard rock. However disciplined you are there are bound to be problems unforeseen. It may include a sudden computer crash due to virus at-tack, to losing documents and fi les when they are the most required. And then you keep losing all the patience, enthusiasm to work, desire to continue and the worst – the WILL to work.

Therefore, after you come out of it, which is when and why you have to write this page as you have every reason to be thankful about them all – the direction, the strength , the fun of it, - from all the sources perceived and comprehensible.

Establishing the context, I, therefore take this opportunity with great pleasure to thank my thesis guide Prof. Arup Sarkar, fi rst for giving me the orientation of this research, and trusting me with the task, then for provid-ing me with the so-sought- after direction of the study.

One of the greatest helps I have received is from Ar. Judith Vogel, and Joseph Bhai. My project would have been impossible without the co-operation of Soham,Ankita, Srinita, Gargi, Risha, Kabir, Nitin Uncle and Dipavali.

I am especially thankful to Dr B.V. Doshi, Ar.Rajeev Kathpalia, Ar. Khushnu Panthaki Hoof, Ar. Karan Gro-ver, Prof. Amita Sinha (Lecturer,Department of Landscape,University ofIllinoise,USA), Ar. Soenke Hoof. From the department of Architecture Town and Regional Planning, I thank Prof. Aditya Bandopadhya, Head of Department, Prof. Swati Saha, our thesis coordinator and Ar. monisha Rakhit for their kind co-operation in all aspects.

I did not want to just thank my parents as I cannot really comprehend the extent of their unconditional love and support, but still I thought of mentioning them. After all, the very basic parameters required for this kind of work – hardship and commitment, - I owe to them for yelling into my years since childhood.

Last but not the least I would like to thank the administration of Bengal Engineering and Science University, who has so thoughtfully subscribed to all the journals and books- without which this would not have been possible.

Prachi Rampuria24th June, 2009

1

INTRODUCTION01 1.1 Relevance, 1.2 Aims and Objectives, 1.3 Scope and Limitations, 1.4 Methodology

Champaner-Pavagadh, 47 kilometres northeast of Vadodara in Gujrat, is a dramatic and magni-fi cient site with many layers in history accumulated over 1,200 years in it’s cultural landscape. The site is immense, spreding over six kilometres, and covers the partially buried fi fteenth-century Islamic capital city of Champaner and the sacred hill,Pavagadh, a regional pilgrim center to the Hindus and Jains. Small communities live amidst land and on plateaus of Pavagadh hill, catering to the heavy pilgrim traffi c.It is therefore a ’living’v heritage site and is Government of India’s offi cial nomination for World Heritage Status in 2004.


1 . INTRODUCTION 1.1 RELEVANCE

Archaeological Park at Champaner-Pavagadh, Gujrat

An Archaelogical park is an area ditinguished by it’s heritage resources, which is an interpretative educational and recreational resource for the public (and where recreation is incorporated in so far as it doesnotcompromise heritage).

Declared as a world heritage site in 2004 by UNESCO

Attracts overs 2million tourists annually

Acccumulates over 1200 years of history

only 1% of people visiting are aware of its signifi cance

Tourism accounts for a of 2 billion in Kerala and 3.5 billion in Rajasthan

How can the potential of Champaner be tapped to justify its status?

Has more than 200 heritage monuments spread over 6 acres Archaeological park

A place of such richness - awareness in people about it = nil

2


1 . INTRODUCTION 1.2 AIMS AND OBJECTIVES

Proposal aims at having 5 major sections: Museum Galleries (main component) Promenade and Baazars Research Block Wings Accomodation Wings for scholars Convention Centre Therefore the aims of the project can be summarised as:

Generation of awareness around the world. Champaner to become the next tourist hub and research centre. To make pilgrimage and tourism a seamless extension of one another. Provide a platform for cultural exchange. To create a dialogue between the usual landscape and archaeology of the site surroundings. To create a showcase of various forgotten art, crafts and tradition inherent to the place. Hence the objective of the project would be: To offer the visitor an in-depth archaeological and historical introduction to the Champaner-Pavagadh Archaeological Park by means of exhibition and simulation augmented by visual, textual and audio information, learning centre and research facilities, coupled with an enjoyable unique experience.

The emphasis would be on the role of Modern Architecture to enhance the experience of the archaeological resources of Champaner and Pavagadh - towards abetter understanding of our heritage and sustainable development of the place.

3


1 . INTRODUCTION 1.3 SCOPE AND LIMITATIONS

The scope of the project may be summarized as under:

To develop and generate a landmark which will serve as the learning centre for common people, a shrine for tourists a market for craftsmen and folk artists.

To provide an international platform for conventions and seminars and to revive the dying cultural heritage of Champaner. To provide required space to artists and folk artists for the improvement and research on culture and techniques.

To provide a space where people can enjoy cultural perfor- mances in the backdrop of nature which can also be usable otherwise.

To design a unique landmark architecture in Champaner, open ing to the world. To develop a contemporary design vocabulary while still re- specting the heritage value of the place.

The scope of the proposal comprises of: Case studies to guide in designing the various activities and functions. Site analysis and study of the historic layers and morphology of the built form within the site with the objective of concluding an appropriate vocabulary of the architectural intervention. Detailed Space Programming. Concept and detailed design to fulfi ll the project requirements and aims.

Due to the constraints of the academic structure, certain self employed limitations have been introduced in this thesis project. The limitations include:

Aspects dealing with economical and fi nancial analysis. Mechanical engineering details such as acoustics and HVAC detailing. Electric engineering details. Some structural engineering details.

4


1 . INTRODUCTION 1.4 METHODOLOGY

Genesis of architecture and aspirations are irrestibly interlinked with culture of the place, as it is culture coupled together to an extent with locational determinants( climate, topography etc.), which dictates the architecture of the place in which lies its genesis.

The aim is to understand these determinants in totality and keeping in mind the above I have detailed out the methodology for this research work.

Understanding the lace in terms of its culture, climate, traditions etc.

The genesis of traditional architecture of the mughal and the Rajput and the Prehistoric times.

Champaner - Understanding of the place

Their defi nitaion through the proposed needs and demands, (case studies)

Functional characteristics in terms of space requirements, services and planning criteria

Site Location and Analysis

Formulation of requirements and the design criteria.

Detailed desiging of various zones

5

02 THE STUDY 2.1 Comparative studies on the Archaeological parks around the world, 2.2 Comparative analysis of Exhibition spaces , 2.3 Museum and its relations with human emotions, 2.4 Museum and gallery lighting, 2.5 Evolution of design guidelines

2 . THE STUDY 2.1 ARCHAEOLOGICAL PARK


6

2 . THE STUDY 2.1 ARCHAEOLOGICAL PARK


A comparative analysis of some of cthe renowned archaeological parks around the globe is documented and analysed, based on cer-tain parameters pertaining to both SITE LEVEL and BUILDING LEVEL.

The comparative of the study done is to understand the nature of the parks, facilities provided for the tourists and the underlying con-cepts of modern interventions made within the park.

7

2 . THE STUDY 2.2 EXHIBITION SPACES


LOCAARCH

STYLETHEM

ACCEENTR

CLIMARESPOSITEPLAN

LAND

SPACDIVIS

JAATION JaHITECT Ch

E/ME

Po(S

ESS AND RY

M

ATICONSE/

NNING

CobanamogeJa

BlsaBushba

DSCAPE Int

CESION*

SPZO

1.2.3.4.5.6.

AWAHAR KAaipur, India harles Correa

ost ModernismSurrounding &

Monumental, gr

onc thaept is tased on the aavagraha manoved aside toestures that craipur.

ank external fave from dust,uilding orientehaded open anasic climatic re

tegrated into

PACE/ ONE

.Exhibition spa

.Educational w

. Admin.

. Storage

. Reception an

. Accomodatio

ALA KENDR

m in heritage cbuilding part

rand

that of a conterchaic notion ondala, with ono provide entryeated the orig

facades with sloo, direct gla

ed to scoop wind semi-openesponses adap

the complex

aceswing

nd public amenon zone

RA

ontext. of each other

emporary builof the cosmos,ne of the squary point and reginal plan of t

sparse openinare into internnds and usagecourt in hiera

pted in design

%

nities

408%5%122010

SAL

r.) P(a

O

ding the

res ecxall the the city of

ngs to nal spaces e of self rchy are n.

Mininka

FoM

Rin

% AREA SZ

0%%%2%0%0%

12345

SANSKAR KEAhmedabad, Ine Corbusier

Post Modernismabstracting tra

Obscure- grad

Museum and andependent idnfinite growth.knowledge whiaccess are seg

eatures like coor water bodieMuseum block

Raised on pilotnside the buildSPACE/ZONE

.Galleries 2.Educational w3. Admin. 4. Storage 5. Reception a

ENDRAndia

maditional)

dually exposin

uditorium placdentities. The c. Representingich is endless. regated.

ourtyard, roofes make the boriented to ca

tis, it invites theding.

wing

nd public ame

g

ced separatelconcept of theg the museum aPedestrian an

f gardens, grebuilding climatatch south bree

e surrounding

% A

enities

60%12%8%15%5%

y to work as museum is tha

as the body ond vehicular

een walls, pontic effective. eze.

landscape ar

AREA

%%

%

at of f

ds

reas

Symbolic entrance gate Concept - endless growth

View of museum blockCentral ‘void’

A comparative analysis of some key features (Site level) of various exhibition spaces are tabulated below

8



L

A

ST

AE

CRSP

L

SD

LOCATION

ARCHITECT

STYLE/ THEME

ACCESS ANDENTRY

CLIMATICRESPONSE/ SITEPLANNING

LANDSCAPE

SPACEDIVISION*

PINAKOT

Munich, Ge

Stephen Br

Modernism(Surroundineach other.

Monumenta

Remarkablgreater arccontext - inwithin an e

Minimal – nto the compSPACE/ ZONE

1.Galleries2.Research3.Education4. Admin. 5. Storage6. Receptiopublic ame

THEK ( Refer A

ermany

aunfels

in heritage cong & building .)

al, grand

e integration chitectural andndependent chnsemble.

not an integraplex.

s Wing nal wing

on and enities

Annexure2) I

D

12

ontext. part of

P(

Gt

into a d historic haracter

UtCt

al aspect Mi

% AREA SZ

58% 7%

8%

5%19% 3%

123456a

SLAMIC ART

Doha, Qatar,

1.Rasem Badra2. Charles Cor

Post Modernismabstracting tr

Grand - graduto Taj Mahal a

Use of courtyato create microCorniche (hugethe complex in

Mughal style, Gntegral part oSPACE/ZONE

1.Galleries 2.Research W3.Educational 4. Admin. 5. Storage 6. Reception aamenities

TS MUSEUM

UAE

anrrea

maditional)

ually exposingat Agra, India

ards and wateoclimate. The ae lake) is drawn both

Geometric, beof site.

%

Wing wing

and public

41

1

525

M** G1.2.1.2.

1.2.

g, similar .

1.2.

er body adjacent wn into

BoIcsuin

ecomes Wac

% AREA SPZ

5%2%

0%

%3%%

1.2.3.4.5.6.pu

GUGGENHEIM.New York, US. Bilbao, Spain. Frank Lloyd W. Frank Gehry

.Modernism (ic

.Deconstructivi

.Defined

. Iconic, magne

oth are centraonic buildingsurroundings – sdividuality in

Water is used eccentuate graPACE/ ONE

.Galleries

.Research Wi

.Educational w

. Admin.

. Storage

. Reception anublic amenitie

M MUSEUMSAnWright

y

conic) ism (iconic)

etic, abstract.

ally placed onin contrast wiself importantboth.

extensively tondness at Bilb

%

ingwing

nds

635%

6%

5%183%

site. th the t

baoAREA

%%

%

%8%%

Entry view

Grand entrance

Museum - Correa

Museum - Badran

Museum - Correa

Interior views

** Museum of Islamic Arts was a competition design. Rasem Badran’s entry was chosen by the client and is now under con-struction while Charles Correa’s entry was unanimously chosen by the jury for the fi rst prize.


9

LA

ST

AE CRSP

L

SD

2. THE STU

Impression

LOCATION ARCHITECT

STYLE/ THEME

ACCESS AND ENTRY

CLIMATIC RESPONSE/ SITE PLANNING

LANDSCAPE

SPACE DIVISION*

* Space divisidrawings.

UDY

ns of a forgo

TATE GALLiverpool, UMicheal W Modernism

Defined wi

Remarkablgreater arccontext - inwithin an e

Green areagardens - lconnect outSPACE/ ZONE 1.Galleries2.ResearchWing 3.Educationwing 4. Admin. 5. Storage 6. Receptioand public amenities

ion has been a

PLAN WORK

otton city –

LLERY UK

Wilford & Assoc

(Adaptive Re

thin the existin

e integration chitectural andndependent chnsemble.

as function as arge glass fatdoor with ind

% AR

s

nal

on

54% 7% 12% 5% 19% 3%

approximately

OF MUSEUM –KED ON EXISTIN

2.2

– case of Ch

ciates

euse)

ng context

into a d historic haracter

sculpture cades help oor. EA

y calculated o

– NG

EXHIBI

hampaner -

CLORE GALLiverpool, UKMicheal Wilfo Traditional (A

Defined withi

Enlarge uponof existing his

Landscape inglass atriums load bearingSPACE/ ZONE 1.Galleries 2.Research Wing 3.Educationawing 4. Admin. 5. Storage 6. Reception and public amenities

on the basis of

PLAN OF WORKED

ITION S

Pavagadh,

LLERY K ord & Associa

Adaptive Reus

in the existing

n or explore thstoric building

tegrated with within a tradi

g brick enclosu% AREA

l

52% 12% 6% 5% 20% 5%

the total supe

MUSEUM – ON EXISTING

PACES

, Gujrat

KP

ates L

e)

Cr

context D

he context s.

Rerod

in by high itional re.

Lr

A SZ 12W3w456aa

er built up are

KIMBELL ARPhiladelphia Louis I. Kahn

Contrasting terelationship is

Defined, regul

Rigid grid follexperiences droofs – energyoriented to madaylight.

Landscaped corelief.

SPACE/ ZONE

1.Galleries 2.Research Wing 3.Educational wing 4. Admin. 5. Storage 6. Reception and public amenities

ea of the muse

ENTRY V

T MUSEUM

xtures. Mass a exploited.

lar geometric,

owed – multipesigned. Vauly efficient. Buiaximize use of

ourts provide

% AREA

65% 5% 6% 5% 16% 3%

eum determine

VIEW

and void

, simple.

ple lted ilding f

visual

ed through



VICTORIA ( Refer Annexure4) NGMA (Cowasji Jahangir hall) INDIAN MUSEUMLOCATION Kolkata, India Mumbai, India Kolkata, India ARCHITECT William Emerson British architect Wittet

STYLE/THEME

Traditional - Victorian style

Modernism (Adaptive Reuse)

Traditional – Colonial Style

ACCESS AND ENTRY

Defined – unfolds the visual axis to the main building

Defined within the existing context

Monumental but cluttered.

CLIMATIC RESPONSE/ SITEPLANNING

Building centrally placed. The Background foreground principle is exploited to maximum.

Enlarge upon or explore the context of historic buildings.

Oriented around a large courtyard As an answer to the warm humid climate of Kolkata.

LANDSCAPE Integral part of design – building occupies just 6%of total plot area.

Minimal – not an integral aspect to the complex.

Landscaped courts provide visual relief also create microclimate.

SPACE DIVISION*

SPACE/ ZONE

% AREA SPACE/ZONE

% AREA SPACE/ ZONE

% AREA


45% 20% 10% 7%19% 3%


62% 4%4%5%20% 5%


72% 0%1%5%21% 1%


Exterior view Gallery space View of courtyard

Gateway - framed view Gallery space View of courtyard

11



A comparative analysis of key features (Building level) of various exhibition spaces are tabulated below

JAWAHAR KALA KENDRA SANSKAR KENDRA

EXHIBITION andANCILLARY SPACES

- Collection include paintings, sculpture, arts and crafts, drawings, photography, prints and illustrated books, film, media.

- Storage level is attached with each gallery with a separate back entrance.

- Interconnected galleries ease the storage distribution.

- Activity zone well defined and seamlessly meanders into the next adjacent space.

- Building facades and courtyards of varying heights, size and colour keep unfolding as one travels – layering of spaces.

-

- Form of galleries based on a rigid cubic formwork helping to modulate the space additively giving rise to primary form.

- Galleries exhibit paintings, sculptures, arts and crafts.

- Galleries are categorized according to nature of exhibits.

- The gallery spaces are rectilinear. - Interconnected galleries ensure free flowing

movement and minimum circulation. - There is maximum usage of existing space. - Storage level is completely segregate on ground

level, with a separate entrance, storage below galleries are linked via vertical circulation.

- Each activity zone is well defined in single larger space

1.LIGHTING

2.CIRCULATION

3. SHAPE/FORM

Combination of natural (through courtyard) and artificial lighting used, modulation of light gives direction

Combination of natural lighting (through skylight) and artificial lighting used

Well defined loops giving freedom of choice. Service and visitors circulation segregated.

All routes branching from the entrance courtyard also accessible directly to the upper level via ramp from outside landscaped areas.

The exhibition spaces amorphously spaced within a rigid planform of 9 squares. Height varies from 4-7 m for exhibition spaces.

Galleries carved out from a grid of 49mX49m, each module being 7mX7m Length ranges from 30-50m. Height is 6 m for galleries.

12

GASP

1. 2. 3.

2. THE STU

Impression

ALLERY andNCILLARY PACES

LIGHTING

CIRCULATION

SHAPE/FORM

UDY

ns of a forgo

PINAKO

d

-

-

-

N

M

A centrala panoragalleries Centralizcubic impcompositpermeaball sides

Rectanguwide), Le

SE

EL

otton city –

OTHEK

The galleries form – intercopartition wallCollections incand design, mTheatre gallegrand stairca

l rotunda (100amic viewing t. Combines to

zed circulationpression from oion develops a

bility and transfrom the rotun

ular regular shength ranges f

ECTION

LAVATIONS

Entrance atriu

2.2

– case of Ch

and rectanguonnected with ls. clude graphicsmodern art, filery provided uase.

0m dia, 30m htower- brings p, side and ar

n – in contrast outside the inna surprising desparency- viewnda.

haped galleriefrom 10-45m.

TYPIC

GROU

um

EXHIBI

hampaner -

ular/square in flexible

s, architecturem. underneath the

high), works aslight to the rtificial light.

with the closedner egree of w open from

es (18 - 25 m HT. =9m

CAL PLAN

UND FLR.

ITION S

Pavagadh,

KIMBELL

e

-

--

-

s Use of DifAs shown

d

Looped cibody and

RectangulLength ran

DIFFUREFLE

PACES

, Gujrat

L ART MUSEU

The museum grectilinear geVaulted roofWater gives monumentalitIntermediate

ffused naturalin pictures ab

irculation - all d punched cour

ar regular shanges from 40m

VIEW OF CO

USED NATURALECTOR SYLIGHT

UM

galleries are deometric formsfs adopted - e visual relief aty. courtyards br

lighting is maove.

routes bring vrtyards in betw

aped galleriem. height rang

OMPLEX

R

L LIGHTING THTS – MAJOR IN

designed withs. energy efficienand increases

reak monotony

aximized into t

viewer back toween gallerie

s (18m wide) ges from 7m

ROOF DETAIL

ROUGH NNOVATION

h simple

nt.

y.

the interiors

o the water es



A comparative analysis of key features (Building level) of various exhibition spaces are tabulated below

GASP

1.

2.

3.


LIGHTING

CIRCULATION

SHAPE/FORM

MUSEUM

d

-

-

-

N

M

Use of Dthe interi

CentralizoverlookStorage Square sanother iHT. =7m

M OF ISLAM

The museumsimple rectilvisitor rest amental fatigWater and relief, breakmonumentalThe mythicagradually toexperience

iffused naturaors through sk

zed circulationing the Corniclevel circulatio

shaped galleriin plan form fo

MIC ARTS - B

galleries areinear geomet

areas in betwegue.courtyard givk monotony anity. l courtyard is o the visitor enand pleasure

al lighting is mkylights.

n –a grand plache serves as ton is internal aies (rotated onor dynamism)

ADRAN

designed witric forms and een to ease the

ves visual nd increases

revealed nhancing the

aximized into

azathe nucleus. and separate.ne above 25 m wide,

MUSEUM

h

e

-

-

-

Use of Difthrough sk

Looped cimythical g

RectangulLength ran

M OF ISLAMI

The museum grectilinear gebetween to eWater and cmonotony anThe mythicalthe visitor en

ffused naturalkylights.

irculation - allgarden placed

ar /square renges from 20

IC ARTS - CO

galleries are deometric formsease the mentacourtyard gived increases mcourtyard is rhancing the ex

lighting is ma

routes bring vd centrally.

egular shaped- 40m. height

ORREA

designed withs and visitor real fatigue. es visual reliefonumentality.

revealed gradxperience and

aximized into t

viewer back to

d galleries (18t ranges from

h simple est areas in

, break

dually to d pleasure

the interiors

o the

m wide) 7 - 9m

Galleries oriented around a mythical courtyard to which a visitors return each time

Galleries offering alternative and fl exible movement for the visitors

View of complex

View of complex

14

GASP

1. 2. 3.

2. THE STU

Impression


LIGHTING

CIRCULATION

SHAPE/FORM

UDY

ns of a forgo

GUGGE

d

-

-

-

N

M

Diffusedinteriors t

Centralizpeople s

The inverthe galle

SE

EL

VIEW

otton city –

NHEIM MUS

Galleries acatrium – no exhibits –thethe atrium. Storage areseparate atCombinationstructure use

d natural light through glass

zed ramped citart their journ

rted cylindricaery space.

ECTION

LAVATIONS

W OF COMPLEX

2.2

– case of Ch

SEUM – NEW

ccessible form separate cubiey shown alon

eas are distinc semi basemen of concrete aed to span the

floods inside top of atrium

irculation throuney from the t

al conical atriu

X

EXHIBI

hampaner -

W YORK

a ramped icles for ng walls down

ct and nt level. and frame atrium.

into the

ugh atrium– top floor.

um serves as

ITION S

Pavagadh,

GUGGEN

-

-

-

Use of Difthrough sk Centralizetheir journinternal a Organic arectilinearvariable.

AMORITSELF

PACES

, Gujrat

NHEIM MUSE

The museum gasymmetricageometry. Self entity in than exhibitsGallery partamorphous gdistraction.

ffused naturalkylights. Artific

ed ramped cirney from the tond discrete.

amorphous shar shape also. H

RPHOUS SHAPF TRANSFORM

EUM – BILBA

galleries are ol, iconic some

itself – archite. titions are undgiving a high d

lighting is macial lighting is

rculation throuop floor. Stora

aped galleriesHeight and dim

PED GALLERIESMS INTO A PIEC

AO

of organic foralso of regula

ecture more p

ulating in heigdegree of dyn

aximized into t used also with

gh atrium– peage level circu

s , some gallermensions are e

MAIN ENTRY

– THE BUILDINCE OF ART.

rms, ar

prominent

ght and namism and

the interiors hin.

eople start ulation is

ries are of extremely

Y

NGS

GASP

1. 2. 3.

2. THE STU

Impression


LIGHTING

CIRCULATION

SHAPE/FORM

UDY

ns of a forgo

TATE GA

d

-

-

-

N

M

System sfollowed

Looped cgalleriesdiscrete. The galleexisting s

GRO

UPPEFLOO

otton city –

ALLERY - LIV

The galleriepresent andchronologica

Gallery orgKhanian notplace, and rinstitutional street, villagterms becomexperientialsculpture ga

The art musedifferent chaat entry leveand stronglygalleries notand above ispace capato suit largeexhibition.

similar to Chlo in the Tate G

circulation thro. Storage leve ery size has bestructure. Gall

UND FLOOR P

ER OR PLAN

2.2

– case of Ch

VERPOOL

es are classifie future follow

al order.

anization reinions of sense oreworking Khaconstants – the

ge green – whme the galleryl route, and th

arden.

eum has gallearacter on difel an orthogony articulated st intended to bis a top lit ‘wable of adaptio

e works and ch

ore gallery haGallery.

ough interconnel circulation is

een guided byery ht. = 7.6m

LAN

EXHIBI

hampaner -

ed as past, ing a

nvestigates of scale and an’s here e school, hich in Tate y, the he informal

ry spaces of ferent floors, nally gridded suite of be subdividedare house’ on or division hanging

s been

nected s internal and

y the already m

ITION S

Pavagadh,

CLORE G

d,

-

-

Unique synatural ligpg 33) as

Simple cir(double he

The gallerstructure.

UPPER

FLOOR

GROUNFLOOR

PACES

, Gujrat

GALLERY - LI

The museum grectilinear geexisting strucGround floorand administupper floor

ystem of skyligght within the gs shown in the

rculation core eight).

ry size has beGallery ht. =

ND PLAN

IVERPOOL

galleries are deometric formscture. r dedicated totrative facilitie

ghts was devisegalleries (refefigure above.

accessed from

een guided by 7.6m

designed withs adopted fro

o educational, es, gallery beg

ed to get diffuer museum and.

m the entrance

the already e

LIGHTING DETAIL USTO ALLOWDIFFUSED NATURAL

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Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

2 . THE STUDY 2.3 MUSEUM AND HUMAN EMOTIONS

Relation with human emotions:

The tour of a museum is a journey for the moving person which has to be made into an enriching experience. In order to enrich it, the design should be such that can effi ciently arouse the required human senses and feelings/emotions necessary to make the journey fulfi ll-ing, such as:

Curiosity – the urge to see what’s more in store next. Hence the element of dynamism is of great importance and the geometry should be such as to impart this quality. E.g. Indian museum, Doha Ease – where the person can feel that he will be able to fi nd his way on his own without having to ask for directions. Hence readable layout is necessary. E.g. Doha museum of Islamic arts Relief – so that a person tired of browsing/walking may feel relieved to fi nd open space to assimilate all the knowl edge/learning. E.g. Indian museum court

Concentration – there should not be too many distracting elements within the galleries, so that the person can give his 100% concentration on the objects showcased. E.g. Cima art gallery, Pinakothek de modern, Munich.

Awe – the museum should be such that its overall form and statue becomes a symbol of the place.

Comfort – the galleries whose sole purposes to impart learn ing should be of human scale so that knowledge can be gathered without any inhibitions, because true knowledge cannot be assimilated where there is awe/fear.

Surprise - Museum would always be full of surprises. Noth ing static. So the museum has as many moods as there are moments in time and never as long as the museum remains as a building will there be a single day like the other. E.g. Kimbell art museum

Fulfi llment/satisfaction – such that when a person completes his journey he can feel enriched within and feels that the time he spent on the museum was worthy of it. The fundamental issue is to place and illuminate objects in a mean-ingful sequence – so that they can communicate with the moving ob-server. Hence, OBJECT, ROUTE, LIGHT becomes the basic elements of design/zoning.

Museum of Islamic Arts - Correa

Guggenham Museum - Gehry

Jawahar Kala Kendra - Correa

Sanskar Kendra - Le Corbusier

18

Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat

2 . THE STUDY 2.4 MUSEUM AND GALLERY LIGHTING

Introduction

Lighting is one of the most important aspects in museum design. There are many forms of lights which can be manipulated and used for the purpose.

For many artists, art and light are synonymous. For instance, Rem-brandt’s paintings are famous for their luminosity. In short, lighting is critical when coupled with fi ne art and even a slight difference in direction or type (fl uorescent, incandescent, halogen, natural, etc.) can make all the difference. Like anything else, art lighting is a com-promise and requires some expert advice.

NATURAL LIGHTING: It’s hard to control direct natural light in gen-eral terms. It causes a big problem for art, particularly, paintings and works on paper. The infrared and ultraviolet (UV) rays of natu-ral sunlight can damage works of art. UV rays are so harmful that it can, over time, fade works on paper especially pastels, prints, photographs, and watercolours. Also, textiles will fade in sunlight in a matter of only a few short months.But natural light is also essential for human comfort hence ways are needed to be devised to diffuse the natural light before entering into the galleries.

ARTIFICIAL LIGHTINGIt can be broadly classifi ed into 3 kinds: Incandescent lighting: It has its good and bad points. They bring out the warm colours within the colour spectrum such as the red, brown, orange, and yellow tones. But if you have a seascape com-posed with blues and greens (i.e., the cool colours), then an incan-descent light won’t bring out all of those cool colours. The blues, greens, and violets within your works of art will be fl attened out by incandescent lights. So, these lights are better. Fluorescent lighting: Fluorescent lights aren’t the easy answer either. Museums and galleries don’t use the fl uorescent bulbs as a common practice because they give off a high amount of UV rays which are harmful. In addition, fl uorescent lights do not emit light across the entire spectrum of colors and this is problematic.Halogen lighting: Because of the strong white light that it emits, halogens are among the best lighting solutions if installed properly. A low watt halogen light may prove to be a very good lighting solution, the subtleties come through with a halogen light which has been recently introduced which redirects damaging UV and infra-red rays. Once again, the use of a halogen light at low wattage may prove best for most works of art. In short, museum curators, don’t keep works on display for long periods of time since all light) is damaging to works of art and antiques and as a result will devalue your pieces over time. Thus, di-rect lighting systems are never recommended on artwork, antiques.

Museum of Modren Art, Japan - Kisho Kurokawa

Kimbell Art Museum, Philadelphia - L.I.K

19


2 . THE STUDY 2.5 DESIGN GUIDELINES

Objectives: To form conclusions to be used as guidelines for the proposal

20


2 . THE STUDY 2.5 DESIGN GUIDELINES

Based on primary and the secondary sources of information and their consequent analysis, certain design guidelines have been evolved, which are as follows:

Site level

1. To consider the local climate aid environmental factors while fi x-ing the orientation of the development.2. Provide a well defi ned entry, meet security demand effectively.3. To ensure easy and uninterrupted accessibility within the site, considering all types of movement and visibility.4. To segregate vehicular and pedestrian circulation and minimize vehicular traffi c.5. To create unidirectional circulation loops to ensure security and functional movements.6. To use landscaping, considering the climatic and environmental factors, to defi ne positive spaces 7. Complex should be iconic in stature.

Building level

General guidelines1. To create unidirectional and sequential pedestrian circulation loops to maximise natural surveillance and develop effective inter-active and functional spaces to cater the different requirements. 2. To harmonize the built forms with the strong contextual back-ground.3. Segregate between public, semi - private and private spaces.4. Segregate indoor and outdoor spaces providing transition zone.5. Design an ambience arousing the human senses.6. Provide adequate public amenities (tlt./drinking water) at inter-vals according to the byelaws.

Gallery and service spaces guidelines1. Provide adequate space for storage and curatorial practices.2. Provide inlet of diffused natural light into the galleries.3. Keep provision for rest areas between the galleries for the visi-tors.4. Provide adequate space for ancillary facilities like the theatre gallery, educational/research facilities.5. Minimizes the inlet of dust particles, smoke or any other foreign particles which may prove to be harmful to the exhibits.6. Provide adequate provisions for surveillance of the exhibits.7. Encourage visual transparency within the gallery levels.8. Provide ample space for loading unloading, crating uncrating etc. 10. Provide adequate common amenities for the staff.

21

DESIGNIMPLEMENTATION

03 3.1 Site Slection, 3.2 Site Analysis, 3.3 Site Morphology


3. DESIGN IMPLEMENTATION 3.1 SITE SELECTION

The need was to select a site in a manner that it utilises the natural potential of the place and ensures minimum risk to the heritage sites and monuments around. The site should not have remains or buried structures in that area. Keeping the above in mind the site is selected by ASI at a strategic position such that it is also:

Clearly visible as a landmark as one enters\exits from the archaeological park using the access highway

Central to the historic cores and can be viewed from all heights within archaeological park.

Presence of talaos around (Kasbin and Jhorvan) infl uence microclimate - an essence of an oasis in the semi - arid region.

Presence of reserve forest around nurtures wildlife, and the Pavagadh hills in the background with ruins and remains of settlements sticking out at various parts form the backdrop.

Site and its regional context:Site and its regional context:

22


3. DESIGN IMPLEMENTATION 3.2 SITE ANALYSIS

Ariel Map showing Access road and adjacent developments

Ariel Map showing Topography and Views from the site

Access: An 18m wide metalled road proposed to be extend-ed to a 24m wide road runs parallel to the northern boundary of the site. The site is at the entrance of the Champaner-Pav-agadh Park. All Infrastructure lines run along the main road spine.

Adjacent Developments: render the site at convinent reach for the tourists

Topography: The surrounding topography is hilly. The site es-sentially fl at with natural depressions forming natural lakes. The slope of the site is towards these depressions. The sur-rounding topography ensures breathtaking views around the site

Therefore: The design of the site should be one that compli-ments the natural terrain. Vegetation and wildlife to be inte-grated into design.

1. Royal enclosure walls - towards NE

3. Lush terrain - towards Machi

4. Towards the hill - looking SW

Site and its immediate context:

2. Parking - towards east

23



Soil: The top soil (thickness 1.2m) is alluvial consisting mainly of loam, sand and kewal (hard stiff clay). The pH from 6.36 to 7.67 (slightly acidic). Moisture retention is in the range of 42% to 53%. Thereafter, layers of igneous rhyolite rock is found which extends down to the strata where solid rock starts.Therefore: design to reduce settlement potential. Hydrology: The site has natural depressions due to which the storm water streams running through the site form 3 lakes. The condition of the soil is alluvial. Therefore: Utilize the natural drainage channels and slopes. Consider techniques for rainwater harvestation and reuse for suitable purposes as done by the catchments and conveyance system in olden times in the region.

Vegetation: Mainly 3 kinds of vegetation found and around the site-grasslands, shrubs, and forests.Therefore: Preserve the vegetation that fl ourishes on and around the site. Make use of the natural vegetation and do not intro-duce aliens form of vegetation. Wildlife to be automatically be invited on the site when vegetation is allowed to grow near the site.

Raised edge of site

Edge of Kasbin

Edge of Jhorvan

Site and its landscape studies:

Ariel map showing hydrology and vegetation

24


Climate: The area experiences semi arid climate owing to its distance from sea. Summers are hot and winters cold. Mon-soons last 4 months and relates to the south west monsoon winds. May is the hottest month and January the coldest. Pre-dominant wind direction is South West & South East and North East in winters. Presence of large waterbodies infl uence the microclimate around the site.

Therefore: the design to take advantage of the wind di-rections. It should restrict absorption of radiation during the summers, and block the chilly winds in winters. Solar radiation may be utilized to generate energy. It should use the natural landscape to enhance the microclimate of the site.

Orientation Long axis EW, compact courtyard planning

Rain protection

Parameters Building type recommendationLayout

SpacingsOpen space for breeze inflow, but protection from thesevere cold/hot winds through landscape andmicroclimate/compact layout

Size to depend on the medium of ventilation and light tobe provided for the space

Openings

Rainwater to be prevented from entering in exhibiton andgallery spaces containing artifacts/weatherable itemsShould follow the natural slope of terrain to be collectedstored and reused it for suitable purposes

Drainage

Walls and roofInsulation, time lag, reduction in absorption of directradiation should be ensured due to hot summers doublewall, heavy walls etc.

Exclude direct sunlight through overhangingsystems/louvers etc.

Protection of openings

Position of openingsIn north and south walls on windward side, could be therein internal walls also


Diagram illustrating optimum orientation

Site and its climatic studies:

25


3. DESIGN IMPLEMENTATION 3.3 SITE MORPHOLOGY

The hill of Pavagadh rises to height of about 800 metres. Its highescarpment on the West and South makes it safeand unap-proachable, while its North-Eastern sude has gentle slopes connecting various plateaus. This natural feature has led to the settlements in this area. Its two main plateaus, one on the top, known as Mauliya and other almost in the middle of the hill, known as Machi, have been urban settlements. It is from these points that one has been able to trace the later developments.

Map showing Historic Layers and evolution of the region

26


EXCERCISE 1

Objective: to establish the fabric of my concept by summarising the fi rst images that one gets of champaner - its essence.

Conclusion: thus streets, nodes, chowks, hierarchy of streets and open spaces were the crux to champaner’s genius loci.


Various conceptual studies undertaken in order to understand the place, its genius loci with the objective of developing more clarity and a deriving the essences which would allow the gradual sequential development of my concept proposal.

Settlement pattern of Sultanate Phase: Jahapana Killa

27



INFERENCES BASED ON EXCERCISE 1

Scale and density: Overall fabric is scattered implying that the setllement was divided into zones for separate castes. The ir-regular nature nature of the movement pattern suggests organic growth of the settlement maintaining the major spines. The fabric is not too dense. The house tyoe is courtyard type sharing back to back walls.

Structure of spaces: It seems the streets have been carved out of a solid rock. Their labyrinthic character shows a lack of order but a close inspection with respect to the social norms ahows an inherent order which gives it its present form. There is a heirar-chy in the open system of spaces.

Jalaashay system: The people used an elaborate system of catchment and conveyance systems, i.e. caught stored and di-verted for human use. They achieved this by a range of water structures ranging from taloas to kunds, vavs and kuas.

Organization of streets: Irregular axial lines suggest that they have been a result of accretion over time. It is this complexity that adds richness to the organization. Though this complexity might be confusing to a stranger moving in a system and they might get lost but once when lost they tend to become more aware and involved with the spaces hence have a greater expe-rience.

Orientation of the street: Is predominantly north south direc-tion as response to the climate. They also take advantage of the venturi effect.

Map showing overall fabric skin and imagery

28

Map showing overall fabric, skin and imagery

EXCERCISE 2

Objective: detail analysis of the character of street and its working Conclusion: Option as how could this street structure work for the museum block as route and what would be the various layers of the spaces.


Impressions of a forgotten city - case of Champaner-Pavagadh, Gujrat 29



EXCERCISE 4

Objective: to study the nature and use of collonades

Conclusion: to provide a variety of collonaded spaces as transitional spaces at various junctures of proposal using appropriate contemporary vocabulary

EXCERCISE 3

Objective: to study in detail the nature of built form, its basic element being courtyard and streets.

Conclusion: the effect of courtyards in everyday life, the multiple role of the anti grid street order and that the incorporation of such streets as a main element of my concept.

30



EXCERCISE 5

Objective: to identify elements of the various eras of Champaner which may be manupilated and used for the de-sired effect of establishing notions and associations for the visitors

Conclusion: the darwazas, fortifi ca-tion walls, typology of arches, and collonades courts, kunds, stepwells, courtyards were found to be some such elements

EXCERCISE 6

Objective: to understand the tradition-al way of building, spanning spaces, and materials used and to interpret some elements in a contemporary architectural language.

Conclusion: contemporary alterna-tives drawn for the same i.e. usage of locally available stone with modern materials like steel, glass, plastic and the collonade was taken up and 2 op-tions were developed.

31


EXCERCISE 8

Objective: detail analysis of the charac-ter of urban sihouette and 3D massing Conclusion: principles of massing and its effect on a eyes became more clear.

EXCERCISE 7

Objective: to study the scale of spaces and how the massing helped in balanc-ing the various scales to form a harmoni-ous whole in the traditional settlements of Champaner.

Conclusion: the various heights which correspond to the scales and give a perception to the visitor with their attributes are concluded.




Kaleidoscope of images of Champaner - Pavagadh

33

AREA STATEMENT04 4.1 Space programming - Site level and Building level, 4.2 Flowchart

4. AREA STATEMENT 4.1 SPACE PROGRAMMING


Pie chart for Broad Area Program

Pie chart for Reception Zone

Pie chart for Administration Zone

34

TOTAL SITE AREA - 21 acres (87,618 sq.m. approx.)

GROUND COVERAGE - 40% (35,050 sq.m. approx)

MAXIMUM PERMISSIBLE F.S.I(Floor space index) - 1.8

MAXIMUM PERMISSIBLE B.U.A.(Built up area) - 63,090 sq.m.

FRONT OPEN SPACE - 7.5 m

REAR AND BACK OPEN SPACE - 3 m

13065266510001356.53602451603.620295

Museum and Education facility

Reception facility

Parking

Research facilities

Accomodation facilities

Administration facility

Crafts demonstration zone

FunctionArea

(sq.m.)

BROAD AREA PROGRAM ‐ 20295 sq.m.



36


4. AREA STATEMENT 4.2 FLOWCHART

Entrance

Security guard

Lounge

Information desk

Food court Museum lobby

Permanent exhibition

Film viewing

Learning centre

Offi ce

Public lecture

Parking

Loading & unloading

Service area

Loading & unloading

Accomodation lounge

Research lounge

Scholars’ accomodation

Dining

Registration lab

Artefacts lab

Conservation and restoration lab

Phtographic lab

Documentation lab

Collection storage

Excavation equipment storage

37

05 DESIGN PROPOSAL 5.1 Design concept, 5.2 Evolution of zoning, 5.3 The proposal


5. DESIGN PROPOSAL 5.1 DESIGN CONCEPT

Concept - Ruined city in time wrap

Some of the aspects of the concept are illustrated below:

1. The objective is to offer an understanding of Champaner through the park being as “living event” such that those experiencing the spaces would be able to comprehend them within the culture that produced and contributed to their making.

2. Emphasise the cultural, environmental and historic values emerging from the context and these should be expresssed in architectural form.

3. The proposal to be viewed as a social - educational and cultural event for people/tourists.

Different planes

Street strewn with activities

Immagery of Amman fort

38

Comparative study on the nature of streets of the settlements of Champaner

The diagram above shos metamorphosis of a rectilinear spine into an organic one and how its character changes with transfor-mation of geometry.

The metamorphosis enhances the aspects like curiosity, unpre-dictability, elements of surprise, variety within this spatial spec-trum. Hence providing multiple dynamic experiences which are loose meandering and unique in nature.

One is free to choose apace and time. In it a space of very small spaces cramped tiny, noisy and full of vitality. Yet there are corners to hide or go in seclusion, where ther would be dis-courses or dialogue and even larger open areas for catering to larger groups.


5. DESIGN IMPLEMENTATION 5.1 DESIGN CONCEPT

Disparate visual and physical axis

Sequential unfolding of spaces

Conditioning of the mind through movement

Choices of movement path for personal and intuitive experience

Kinesthetics’ as the organisation and proportional

tool

From theses studies fi nal principles that would govern my design were concluded which are illustrated alongside

39


5. DESIGN PROPOSAL 5.1 DESIGN CONCEPT

EXCERCISE 1

Objective: to establish the relationship of form with the surroundiong terrain and therefore what should be the nature of built form and hence the architectural styles which would be incorporated.

Conclusion: corresponding to the concept the built for should have an “unfi nished look” hence dynamic - just like ruins

EXCERCISE 2

Objective: to use accentuate the natu-ral potential of site - role of water

Conclusion: according to the natural slope of the land the existing water bodies onsite were connected in a man-nar that they aslo serve as a physical divider between the various compo-nents of the ruined city like the museum, promenade, research and accomodation zones.

40


5. DESIGN PROPOSAL 5.2 EVOLUTION OF ZONING

ZONING STAGE 1

The basic activity zones were identifi ed and crudely placed onsite on based suitable locations and circulation.

ZONING STAGE 2

Following the natural slope of land and with the objective off accentuating and integrating onsite and adjacent natural features the lakes were con-nected to form a canal which would act as a physical barrier and ecological device bteween the various zones of the “ruined city”. It would also serve as rainwater drainage channels harvesting rain water.

A green belt was left alongside tak-ing into consideration the approximate positions of the existing trees.

After this the various activity zones were modifi ed and replaced from stage1. and the main circulation spines were identifi ed.

41


5. DESIGN PROPOSAL 5.2 EVOLUTION OF ZONING

ZONING STAGE 3

Continuing from stage 2 circulation spines were detailed and public and semi public spaces were placed to allow minimum confl ict.

Yellow: public spacesOrange: semi public spaces

Key for the alongside zoning plan:

1. Reception2. Pre historic era gallery 3. Rajput era gallery 4. Champaner era gallery5. Educational facility zone 6. Temporary exhibition spaces7. Diorama and crafts zone8. Promanade9. Research zone10. Accomodation zone

ZONING STAGE 4 - CONCEPT PLAN

Continuing from zoning stage 3 I started putting the various requirements according to the zoning adhering to the main circulation spines as refl ected in the zoning stages to scale.

42


5. DESIGN PROPOSAL 5.3 THE PROPOSAL

The alongside images show the initial design scheme, which after improvisation culminated to the fi nal concept design pro-posal as shown below.

Final concept proposalRuined city ina time wrap

Object, Route, Light being its 3 main components.

43



Promenade ZoneThe promenade is concep-tulised around the bazaar street which also serves as the service street in off hours. Gradual unfolding of spaces fi nally leading the visitor to the revolution of the vaast Jhorvan talao with hills in the back-ground and ruins sticking out from them has been the focus during the design process.

Museum ZoneThere are two ways seeing ruined building. First is to see the fragments as pieces of a zigsaw, as clues to a reconstruc-tion and the second is to as picturesque. Ignoring the inten-sions of the original builder one enjoys the romantic effect of the damage done by time- crum-bling stone, ivy, mysterios dark spacesand dramatic contrast of light and shade.

In th museum zone the charac-teristics of both the view points have been incorporated through its spatial qualitie keeping the whole fabric an amalgama-tion of past era and the pres-ent modern times. To combat museum fatigue the visitors needed to be given a variety of experiences, surprises at every node plausable junctures which arouse notions and associations given them an essence of the past through the plurality of spaces interms of the sequence in which they are revealed and concealed

Vehicular entrance and parking Zone

44



Educational facility ZoneOrganised around intercon-nected amorphously placed courts catering to activitie like, seminars, lectures and confer-ences.

Scholars’ accomodation ZoneOrganised along a street with the aim of giving a vil-lage likae ambience for the residents scholars archae-ologistas, conseravationists and researchers. Its placed in between the research and the educational facility zone such that both facilities are equally accessible by them

Research wingLocated onthe extreme corner of the site for privacy and overlooking the forest. The design of the zone based on interconnected, interactive spaces at various levels en-hancing the work environment and learning spaces.

Pedestrian entry zone

45

06 ANNEXURE 6.1 List of vegetation, 6.2 List of references and further reading, 6.3 Structural analysis

6. ANNEXURE 6.1 LIST OF VEGETATION


Medium fi ller trees

Alanthus excelsaTree of heaven / Maharukh

Lofty, quick, growing, deciduous tree. Good soil binder, good tree shelter, handsome foliage, showy fl ower.

Cassia simmeaSiamese trees / Kassod

Quick growing evergreen trees. Flowers are deep yellow. These are planted specially in parks.

Chorisia speciosaThe Mexican Silk Cotton tree

Quick growing medium size deciduous tree. Trees are leafl ess but covered with yellow fl owers. Planted in groups.

Choridia myxaIndian cherry bhokar

Hardy small sized tree with evergreen dense foliage. Provides good shade. Alstonia scholarisDevil’s tree / Satwin

Medium to large sized evergreen tree, columnar crown. Planted in groups. Provides good shade.

Bauhenia venegateOrchid tree /Kachner

Small to medium sized deciduous tree. Flowers are of various colours varying from pink to mauve

48

6. ANNEXURE 6.1 LIST OF VEGETATION


Shade trees

Azadriachta indicaNeem tree / Mangosa tree

Sub - deciduous tree with long, straight trunk. Has small - stared, fragrant fl owers. Excellent shade tree.

Bombax malabaricumIndian Silk Cotton tree

Large, straightly, upright, deciduous tee with straight cylindrical stem. Colourful fl owers with long fl eshy petals. Suitable for planting along highways.

Ficus bengalerisisBanyan / Barged

Evergreen long - lived tree with aerial roots and buttress. Planted near villages or parks.

Ficus religiosaBodhi tree / Pipal

Large sub -deciduous tree with rounded or fl at topped. Good trees for plantation on highways.

Gmelina arboreaChandan tree

Deciduous tree with dense foliage. Very good shade tree for roads and gardens.

Magnifera indicaMango tree / Aam

Evergreen tree with dense rounded,conical or columnar crown. Flowers are yellowish green.

Tamarindus indicaTamarind / Imli

Slow growing, deciduous almost columnar shape. Grown along roads, parks, gardens, etc.

49

6. ANNEXURE 6.2 LIST OF REFERENCES


1. Kagal, Carmen (Ed.) Vistara: The architecture of India, 1986

2. Herdeg Clause, Formal structures in Indian architecture, Ithaca, 1997

3. B.V. Doshi, Lecture series 1, 3, 1993

4. Huntington Susan L. & Huntington John C., Art of ancient India, 1996

5. Brown Percy, Indian architecture, (Buddhist and Hindu), 1983

6. Michell George, Life in ancient India, Thaes and Hudson, 1994

7. Tadgell Christopher, History of Architecture, India, Penguin books, 1990

8. Ambalal Amit, Rajasthani paintings: Nathdwara, Mapin publications, 1987

9. Ecole de Beaux Art, Architecture in India, Electa Moniteur, Paris, 1986

10. De Koning, Krijan, Inside Outside, Rotterdam publishers, 2001

11. Meininger, Irmgard, City palace of Udaipur, D.K. Printworld, 2001

12. Stierlin Henry, Hindu India: From Khajuraho to the Temple town of Madurai, Benedict Taschen Verlag GmbH, 1998

13. Lane Smith Ron, Temple cave design, Vastu shilpa Foundation, 1996

14. Doshi B.V. (Dr.), Universe of an Indian Sthapati, VSF, 1992

15. Doshi B.V. (Dr.), From Chandigarh to Sangath, VSF , 1997

16. Pandya Yatin, Concepts of space in Traditional India Architecture, 1994

17. Mehta R. N. (Prof.), Champaner - A medieval capital , Heritage Trust, 1986

18. Modi S, Impressions of a forgotten city , Heritage Trust, 2004

19. Jain Kulbhushan ,Thematic Space In Indian Architecture, India Research Press, 1999

20. Bhatia Gautam , Silent Spaces and Other stories of Architecture, A Penguin Book, 1994

21. Blatter,E,W.S. Millard, Some beautiful Indian Trees, 1954

22. Department of Landscape Architecture, University of Illinois Urbana-Champaign,&Baroda Trust,2001

23. Modi. S ,Water Intelligent City: Champaner-Pavagadh, 2002

6. ANNEXURE 6.3 STRUCTURAL ANALYSIS


prachi di's thesis report

Documents