DESIGN THESIS | Celebrating the fresco paintings of Shekhawati - a design model insert at Mandawa

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ACKNOWLEDGEMENT This thesis could not have been possible without all this people

I am most grateful to my guide in the thesis, Isha Talsania for sharing her invaluable time during this pendemic, expertise and knowledge in the subject and for her constructive criticism. Without her guidance and encouragement, my thesis would have never come out in the present form. It has been a memorable experience for me to work with her.

I wish to express my sincere thanks to the Dean, Professor Pratyush Shankar and Program chair Mrs. Shalini Amin for providing with all the necessary facilities and Design Department faculty members of the School of Environment Design and Architecture for the research and constant support and encouragement.

I heartily thank my parents Manojkumar Thakkar(Dad),Kailash Thakkar (mom), Jitendra Thakkar(masa), Daxa Thakkar (masi) and family for constant love, help and support throughout this four years.

A huge thanks to Khyati Rathor, Soumya Agrawal, Nafisa Sadabar, Tanisha chag, Kripa Ramani, Mihir Sonara, Nirvan Sharma, Dhrumil Shah for their constant help and moral support throughout the journey.

I would like to thank Jai Thakkar, Raj Thakkar, Sunny Thakkar, Vatsal Dalal for accompanying me during the site visit.

Special thanks to Kunj Thakkar for his contribution throughout the years.

I would also like to thank Ramakant Uncle for helping in getting access to all the havelis and guiding us through the havelis

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TABLE OF CONTENTS

PREFACE

AIM OBJECTIVE METHODOLOG

01.INTRODUCTION

1.1 FOUNDATION OF THE CITY 1.2 BUILDING OF THE CITY

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HISTORY OF SHEKHAWATI HISTORY OF MANDAWA ATTRACTION OF THE CITY

02.LIVE CASE STUDY

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03.INTRODUCTION TO MANDAWA HERITAGE WALK

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04.INTRODUCTION TO HAVELIS

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05.STUDY ON INDIAN AESTHETICS

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06.DESIGN PROGRAM

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07. DESIGN PROCESS

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2.1 AHEMDABAD HERITAGE WALK

3.1 OVERVIEW OF THE WALK

4.1 MANDAWA HERITAGE HAVELI 4.2 MANDAWA HAVELI 4.3 SINGHASANA HAVELI 4.4 RADHIKA HAVELI 4.5 COMPARATIVE ANALYSIS

5.1 STUDY ON MURALS THROUGH 9 RASAS 5.2 HOW WALL IS MADE TO PAINT MURAL 5.3 HOW TO PAINT MURAL- PROCESS

6.1 DESIGN PROGRAM IN DETAIL 6.2 INTRODUCTION TO SITE 7.1 SITE DRAWINGS 7.2 DESIGN BRIEF AND CONCEPT 7.3 FINAL DRAWINGS 7.4 MATERIAL PALATTE 7.5 3D VIEWS

08. BIBLIOGRAPHY

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AIM:

To document, acknowledge and celebrate the disappearing art of fresco paintings at Mandawa, Shekhawati.

OBJECTIVE:

Analysing the planning and designing of havelis by studing the division of interior spaces.

Documenting the wall art through a framework by studing the Indian aesthetic(rasas)used in painting the havelis, method of making murals and its colours Designing the Art Interpretation Center Programming the heritage walk through the havelis with end point as my design site

METHODOLOGY: Introducing the site location, Mandawa and its major attractions introducing the heritage walk by giving all necessary details and route map understanding the Indian aesthetics with the help of 9 rasas, detailed process of making wall murals and its colours introducing the site, formulating a conceptual design and implimenting on site

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1.1.1 Map of india highlighting the Rajasthan region

1.1.2 Map of Rajasthan highlighting the Shekhawati region

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INTRODUCTION HISTORY OF RAJASTHAN

Rajasthan is considered the second state of

modern India in Madhya Pradesh area, which lies to the west, where country is at its broadest.

People of India consider Rajasthan as visions of desert, martial Hindu rulers, colour-ful clothes, animals and heroism.

For many years, Rajasthan was divided into large and small, principalities each compete with their neighbours for power.From the early times Rajasthan is known as "land of Maharajas", which comprises of 33 districts and largest city is Jaipur(pink city), which is its capital.

1.1.3 houses on streets of Rajasthan

Rajasthan has numerous beautiful artistic and cultural traditions which cogigate the earliest Indian way of life. It has endless tourist attractions and great facilities for tourists.

Rajasthan stands second when it comes to he state with highest forts i.e 45 forts,after Maharrastra.The vigorous state of Rajasthan proudly has the largest desert of India, which is the Thar Desert, also known as The Great Indian Desert HISTORY OF SHEKHAWATI

Shekhawati, the semi arid region of north

eastern Rajasthan, a obsolete political division of Jaipur state.The name Shekhawati ha been originated from Rao Shekha, a noble of the Kachhwaha clans of Rajputs.

Shekhawati contains more than 90% of the painted buildings spread across three districts.The population of Shekhawati is cut up into two major religions i.e Hindu and Islam.

Further Hindu is divided into four major caste Brahmin, Rajput, Vaishya and Shudra.

1.1.4 mural on exterior of a haveli

The towns of Shekhawati is centered on a bazaar of small shops(vendors) mostly run by banias and a mandi(vegetable market).The call from the mosques echoes through the streets avail by the speakers.

The most celebrated festival confined to Rajasthan are Holi, Dassehra and Diwali.

On this land, the elements still temper, deprivation is no stranger, desert rule, and men make an appearance called "painters".

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1.1.5 Map of Rajasthan highlighting the Jhunjhunu district

1.1.6 Map of Rajasthan highlighting the mandawa 14

HISTORY OF JHUNJHUNU

Jhunjhunu is the oldest town of

Shekhawati. Its name is derived from the Jat ruler. Jhunjhunu was called the capital of extended Shekhawati.The state was divided into five parts after the death of Sardul Singh who was diwan(chief minister) to his sons.

Four forts of Jhunjhunu are in varying states of decay. The town gives an excellent view from the top hill areas.The main attraction of the town is chhatris which are decaying whitewash having historical murals on it, Mohanlal Ishwardas Modi Haveli, Kaniram NarsinghdasTibrewala Haveli, two Makbaras- domed tombs, Nuruddin Farooqi Haveli, Gopinath Temple etc.

1.1.7 morning view of the town

Conical hill and Kaha Pahar is the most attractive with its winding lanes and amazing monuments.

HISTORY AND INTRODUCTION TO MANDAWA

Mandawa was inherited by Nawal Singh,

fourth son of Sardul Singh by raising it to the town status by foundation of the fort. Padam Singh and Gyan Singh, grandsons of Nawal singh moved in from Nawalgarh.

Other outstanding families other than Harlalkas were the Ladias with the most amazing finest painted Havelis in whole Shekhawati, the Sonthaliyas, sarafs, chokhanis, Goenkas included.

Mandawa is very unexposed area having the most attractive and delightful painted Havelis which attract the tourism. Now many havelis are deserted and other are restored with new paintings on the walls.

Mandawa is known as "open art gallery" due to its fresco paintings. Mandawa Fort which is divided across its court separate two families.

1.1.8 105 years old Sonthylia gate, Mandawa

The best way one can reach Mandawa is to take a flight/train to Jaipur then took a car/bus to reach Mandawa.

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MAJOR ATTRACTION OF TOWN

1.1.9 Kathputli (puppet show in Mandawa)

1.1.10 art piece made up of camel bone

1.1.11 famous temple in Mandawa with chhatris 16

1.1.13 camel cart as local transport

1.1.14 tuk- tuks (rickshaw) as local transport

1.1.15 camel cart

1.1.16 donkey cart on streets for carrying goods

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2.1.1 Ahemdabad heritage walk logo

LIVE CASE STUDY

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Time for morning heritage walk: 7:45AM to 10:30AM Start Point for the walk: Swaminarayan Mandir Road, Old City, Kalupur, Ahmedabad, Gujarat Reporting Time for the walk: 07:30 A.M End Point: Manek Chowk, Gandhi Rd, Danapidth, Khadia, Ahmedabad Length : 2 Km (time:2 Hours 30 Minutes) Number of Pause Points in the walk : 22 Points

2.1.2 walk overview

Heritage walk is a embellish to explore the undiscovered and neglected richness of that area.

2.1.3 gathering point

2.1.4 walk pamphlet 2.1.5 videography room

Swaminarayan temple was the start point of the heritage walk sponsered by Akshar group. the presentation room to give the overview of the walk and also handed us the pamplet and wrist band. After the presentation we were ask to gather after 15 mins and have a look and see the amazing architectural details in and around the temple, also there were three parts of the temple in which the main temple was gender neutral while the opposite side of the temple there was division made for men and women.

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2.1.6 coloumn

2.1.7 entrance

2.1.8 swaminarayan temple,Kalupur

There were total 25 participants which includes all the age groups, there were a small group of art students, one couple, one single parent with her two daughters (around 10yrs old), two old people, me and my 3 cousins.

2.1.10 kavi dalpatram house facade

Kavi Dalpatram's house was restored after his demise to a memorial that showcases his thoughts and creativity.

The new house wasrestored in such a way that a facade of the house depict the living and its architecture taking design references of the nearby pol houses and recreating the memories of the of the Kavi by placing his statue at the front of the house (otla).

2.1.9 kavi dalpatram ni pol

Chabutra is a platform covered with a dome shape and placed on a 5-6 feet high pole. A dish of water and grains are kept for birds. Chabutras are of various sizes.They are available in many various material including stone, metal, wood and bricks.In ahemdabad the chabutra was mainly in wooden material.The function of chabutras is providing hideaway to birds that are commonly found in human settlements.

2.1.11 chabutra 20

2.1.12 narrow lanes

2.1.13 narrow lanes

2.1.14 pol of ahemdabad

there are around 356 pols in Ahemdabad, which area occupied by people of the same caste, culture and profession. Every pole have 1-2 gates with few hidden gates which was used to escape anciently during any war.

2.1.16 wudu in Jami Mosque ahemdabad

Jami Mosque was the End point of the walk.

2.1.15 Jami Mosque

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“A nation’s culture resides in the hearts and in the soul of its people.”

- Mahatma Gandhi

Here begins the beautiful and colourful journey of Havelis of Mandawa through a walk.........

3.1.1 Mandawa walk pamphlet

KEY PLAN FOR HERITAGE WALK THROUGH FIVE HAVELIS

3.1.2 Mandawa walk site plan

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HAVELIS

HOUSES

PATHWAY 27

3.1.3 Mandawa site plan

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3.1.4 Mandawa walk overview

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3.1.5 detail walk program 30

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3.1.6 sketch of pause points during

3.1.7 sketch of lanes in Mandawa

Pause points/resting ponts in between the walk are given at every 450m in the place between the market

3.1.8 3D view of pause point during walk

Pause points are kept in between between the hustle bustle of the town so one can rest, shop, have famous local food, can ride on any cart

3.1.9 3D view of pause point during walk 32

3.1.10 3D sketch

3.1.11 sketch of view seen during a walk

Lanes of the town were in such a way that the houses create the barrier as there was no visual connection on the other side, so one have to take care of heavy vehicles, animals approaching from the other side

3.1.11 3D sketch

3.1.12 local dress

3.1.13 local dress

3.1.14 lane view

This were the activities seen during a walk, earthern pots, people wearing traditional dress of Rajasthan, some pause point beneath the tree in this hot climate.

3.1.15 Mandawa street view

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3.1.16 Detail overview of the walk 34

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HERITAGE MANDAWA HAVELI

4.1.1 Front view

Heritage Mandawa attribute ethnic Indian Rajasthani architecture and wall paintings in entire haveli which includes exterior wall, interior , balcony, ceiling. Located in Mandawa, it is within a 15-minute walk from Mandawa Haveli, Raghunath Temple and Chhatri Building. Spacious and well-decorated Camel rides, folk dance performances and guided Haveli tours are regularly arranged

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4.1.2 inner courtyard view

4.1.3 intricate murals

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MANDAWA HAVELI

4.2.1 inner courtyard view

There are seventy rooms in Mandawa Haveli which is the most amazing haveli constructed in Jaipur. There are grand affairs with terraces and double courtyard haveli which icludes private, semi private and public places.which provide shade as well as keep the houses light and ventilated which is essential in the harsh climates of Rajasthan. Today, this haveli is converted into charming hotel which have great tourist attraction.

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4.2.2 entrance view

4.2.3 intricate murals

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SINGHASANA HAVELI

4.3.1 facade with beautiful carved wooden window

SINGHASAN HAVELI is also known as Goenka Haveli.The haveli is fully covered with exquisite painted murals on its walls,interior, exterior, ceiling and courtyard. It belonged to the Marwari people.

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4.3.2 second entry door for inner courtyard

4.3.3 perforated arch above the window

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RADHIKA HAVELI

4.4.1 inner courtyard view covered with green shade

The only haveli having covered courtyard with green shade which gives good light to the murals and was not more highlighted. it was very soothing to eyes.

The haveli do have faded and old exterior but the interior is restored and used the same colours as before 42

4.4.2 ledge of the courtyard painted with murals depicting raas of shree Krishna with gopis

4.4.3 interior of havelis showing the ancient furniture, door and window

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COMPARATIVE STUDY BETWEEN THE HAVELIS HERITAGE MANDAWA HAVELI - double courtyard haveli - faded exterior murals - background colour for murals was white - ganesha mural at entrance - murals were painted in grid

4.5.1 front view

YELLOW,RED, BLUE AND GREEN ARE MAXIMUM COLOURS USED IN MURALS

4.5.2 murals

4.5.3 murals

coloums are not painted by murals they are ornamented

MANDAWA HAVELI

SINGHASANA HAVELI

-single courtyard haveli -faded exterior murals -background colour- off white -ganesha murals on entrance -not strong grid 4.5.11 entrance RED AND BLUE ARE MAXIMUM COLOURS USED IN MURALS

-double courtyard haveli -faded exterior murals -background colour for murals was pinkish -ganesha mural at entrance -murals were not painted in

4.5.18 inner courtyard RED AND BLUE ARE MAXIMUM COLOURS USED IN MURALS

RADHIKA HAVELI -single courtyard haveli -faded exterior murals -background colour for murals was pure ochre -ganesha mural at entrance -murals were not painted 4.5.22 entrance door in grid strongly

WHITE,RED, BLUE AND GREEN

Both upper/lower part of column is painted (lightly painted not heavy

4.5.12 entrance

coloums are not painted 4.5.19 front facade 4.5.14 murals

upper part -painted lower part - white washed

4.5.4 murals

4.5.5 murals

murals shows recreational activities of lord krishna, raja/rani life, gossiping, chilling, music, dance, drinking water, milking cow, kadies combing hairs, mahabharata scenes, hunting, killing snakes etc

4.5.13 murals

4.5.23 entrance door

no story depicting murals in interior, only flowers, veils, window with perforated arches, and accordingly painted the murals

4.5.15 murals

Murals depicts story of lord krishna rass,krishna sitting in shess naag, ram bhagvan killing bali, ramayna stories, womens getting ready

heavily painted (exterior)

main extrance have two big murals of elephant as welcoming gesture, exterior facade have heavy mural with minimal portraits of ramdom people

not heavy (interior)

heavily painted (exterior)

no murals on stairs rooms(minimal murals)

4.5.24 inner courtyard

4.5.20 arch

not heavy (interior) no murals on stairs cool interior

4.5.16 murals 4.5.6 murals

4.5.7 murals

4.5.8 murals on exterior

murals are heavily painted on exterior and interior of haveli (courtyard surrounding)

murals are heavily painted on exterior wall, interior of courtyard or rooms have minimal painting

4.5.25 temple

4.5.21 entrance door 4.5.9 no murals on stairs

4.5.10 stairs view

no murals on stairs, rooms of haveli this haveli has heavy murals on every walls

4.5.17 murals in interior

not heavy as compared to heritage mandawa haveli

exterior murals have some stories of lord krishna, raja/rani lifestyle

4.5.26 inner courtyard view

only haveli to have shade in courtyard

some written shloks

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STUDY ON INDIAN AESTHETICS WITH HELP OF 9 RASAS: Detail study of beauty of murals(art) in havelis and receiving the information, appreciating the art, its form, summarizing the detail of fresco. Earliest evidence of human art suggests and people told stories with pictures.

Narration gets more easier with the help of 9 rasas.

1. SRINGARA which means LOVE majorly love of radha- krishna and sankar- parvati are painted on the walls. Sringara also convey the Green colour.

5.1.1

5.1.2

2. SHANTA which means TRANQUILITY Peace that can be achieve by dancing with love forgoting

5.1.3

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5.1.4

2. BIBHATA which means DISGUST scene of Draupadi vastraharan from mahabharat, seeta haran from Ramayana are depicted

5.1.5

5.1.6

4. HASYA which means LAUGHTER joy that comes from within is expressed which help one to get relief from tension and worry hasya is self focused when one make fun of others

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5.1.8

5. ADBHUTA which means WONDER The feeling of wonder when on recognises their own ignorance

5.1.9

5.1.10

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6. RAUDRA which means ANGER Ruadra rasas means the “destructive” one, which means anger not acceptable, not agree on something and show the anger

5.1.11

5.1.12

7. KARUNA which means COMPASSION which shows the sadness, highest form of compassion, illusion when one is suffering in destructive manner.

5.1.13

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8. VEERA which means BRAVERY This Rasa shows the presence of energetic, firm and unrelenting nature which has no element of confusion. It shows boldness, bravery, and self-confidence.

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9. BHAYANAKA which means FEAR It shows the element that invokes the feeling of fear.

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Ganesha, the great God of wisdom with bowl of sweets in hand, and his steed- a rat- tethered to his command.

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Mural of Lord Ganesha appears above the entrance of every Hindu building.

The universal- known nine personifications to depict a murals 1. Matya - the demon is slayed by the fish

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3. Varaha - Boar lifts the earth on his fang while destroying a demon

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5. Vamana - water is received by king bali to dwarf people

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7. Rama - Rama with brother laxman and hanuman

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2. Kurma - turtle act as a spindle when god and demon agitate the ocean

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4. Narsimha - The man lion tears the evil

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6. Parasurama - Axe in hands of Lord Rama

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8. Karishma - playing the flute

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9. kalki - the personification to come

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Folk fable taken from murals which depicts the small story : 1. Sassi and Punu : a story of a princesssassi raised among washerman Punu.

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3. Laila and Majnu : the famous tale of love appears in the murals.Majnu being crazy in love with laila as laila is forced to marry another man

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2. Jagdev and Kankali : Jagdev makes an order to his wife to cut his head and serve it to the kankali God.

4. Binjo and Sorath: Veena is played by Binjo as Sorath fall in love with him and dance peacefully.

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Heer and Raanjha : The famous Punjabi tale is depicted through murals, as Raanjha fall in love with heer,daughter of rich landowner

5.1.29

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METHOD OF MAKING WALL FOR MURALS:

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Process of making mural painting on wall:

MURALS IS PAINTED ON WET WALL AND TRACING IS USE TO DRAW DIFFERENT SHAPES

AFTER STICKING TRACING ON WALL, IT IS RUBBED BY CHARCOAL TO GET THE IMPRESSION OF THE SKETCH

WHEN THE TRACING IS PEELED OFF, WE GET THE IMPRESSION OF SKETCH ON WALL

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FIRSTLY THE SKETCH IS DRAWN ON TRACING THEN WITH HELP OF NEEDLE, DOTS ARE MADE ON SKETCH

TRACING IS PEELED OFF FROM THE WALL

WITH THE HELP OF IMPRESSION MURAL IS PAINTEDAND THE BLACK COLOUR OF CHARCOAL GETS INVISIBLE

Mainly murals falls in these 10 subjects: 1. Religious 2. ragamala 3. folk mythology 4. historical events and personages 5. everyday environment 6. animals and plants

THE IMAGES SHOWS THE ACTIVITIES OF DANCER, SINGING, RELIGION RULING, FLORA AND FAUNA ARE DEPICTED THROUGH THE HELP OF RASAS

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How the painter used the Grid system in making wall murals? the method used is grid method in which painters just make the grid according to the length of window or door and draw a line.

- Firstly selecting the image to draw or imagine something want to draw - then with the help of ruler or a thread dipped in ink is used to create the straight line parallelto the door and window.

- measure and mark the square on the selected wall - then the image is drawn by the method mention on pg

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Different arch pattern created above the door and window

The different arch pattern made above the window and door also depict the religion of the owner of that place.

In the semi circular arch either murals are painted, or wooden partitions are made or its perforated.

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Site plan

6.1.1

SITE ANALYSIS:

6.1.1 showing end point of the walk

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INTRODUCTION Arvind Sharma's Haveli is above 105 years old, situated in Mandawa town of Jhunjhunu district, Rajasthan. The haveli was built by his grandfather. The haveli is not restored but have amazing interior element like column, arches, wooden doors and windows with beautiful minimal painted murals above it. Its a double courtyard haveli.

Built Area : 450 sq.m Unbuilt Area : 600 sq.m Total Area : 1050 sq.m 6.1.3 courtyard of the site

Mainly floral patterns were used in mural painting and stone carving was done on columns, parapet.

haveli has one interesting element i.e the arch/ ceiling of each room and also ceiling of passage. haveli consist of total 12 rooms and a big open space beside it. these wonderful haveli in the town were created as town houses by the landed gentry and wealthy business men of the day. They were often grand affairs with terraces and several courtyards which served to provide shade as well as keep the houses light and well ventilated, essential in the harsh climates of Rajasthan.

6.1.4 passage view of the site

6.1.5 arch in rooms

6.1.5 ceiling of the haveli

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6.1.7

6.1.6

6.1.9

LEFT SIDE VIEW FROM ENTRANCE VIEW OF OPEN SPACE FROM TERRACE

OPEN SPACE

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EN

NTRANCE VIEW

6.1.8 RIGHT

6.1.11

SIDE VIEW FROM ENTRANCE

INNER COURTYARD

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7.2.5 space diagram

7.2.1 bubble diagram

7.2.3 bubble diagram

7.2.4 circulation

7.2.2 bubble diagram

7.2.6 identifiying space with the help of rasa

7.2.7 identifiying space with the help of rasa

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7.2.8

6.2.11

7.2.9 6.2.8

7.2.10

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7.2.12

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16.7

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3.5

3.5 0.6 0.8

15.3

0.8 0.6 1.2

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0.7 10.6 36.6 6.0

0.8 0.4 0.8 0.4 0.8

0.8 0.4 0.8 0.4 0.8

3.1 6.3

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ENTRY 2.4

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N 7.3.1 existing plan of the site

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SCALE 1:200

6.5

7.6

1.4 5.9

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5.3 14.7 6.4

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N 7.3.2 existing terrace plan of the site

SCALE 1:200

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ENTRY

N 7.3.3 ground floor zoning

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SCALE 1:200

N 7.3.4 terrace floor zoning

SCALE 1:200

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ANCIENT WELL

SOUVENIR SHOP

VENDORS SPACE

WORKSHOP

0.7

STORAGE

BOOK STORE

BIRD FEEDING AREA

DINING

DINING

SERVICE ROOM

FOYER

KITCHEN

SERVICE ROOM

PUPPET SHOW

REST ROOM

COMMON GATHERING

EXHIBITION POT VENDOR

OUTSIDE SEATING

ENTRY

N 7.3.5 ground floor space plan

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SCALE 1:200

CANOPY SEATING

SEATING

ROOF TOP DINING

N 7.3.6 terrace floor space plan

SCALE 1:200

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16.7 5.2

5.2

6.4

2.6 4.5

8.6 6.8

3.5

3.5

18.0 4.0

4.5

4.5

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5.0

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2.7 5.4 2.3

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24.5 3.7

2.4 11.5

5.6 1.6

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1.5 2.8

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7.3.7 ground floor furniture plan

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SCALE 1:200

N 7.3.8 terrace floor furniture plan

SCALE 1:200

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ENTRY

N 7.3.9 ground floor circulation plan

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SCALE 1:200

N 7.3.10 terrace floor circulation plan

SCALE 1:200

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SPOT LIGHT HANGING LIGHT WALL MOUNT

1.0

2.0

2.4

2.0

1.1

2.6

N 7.3.11 ground floor electrical plan

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SCALE 1:200

0.4

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1.1 0.3 1.9

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0.4 2.0 0.5 1.2 0.4 1.9

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1.1 0.4

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7.3.12 reflected ceiling plan

SCALE 1:200

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3.4

2.3

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8.0

7.3.13 door details

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8.0

7.3.14 door elevation

7.3.15 door elevation

7.3.16 floral mural

7.3.13 door details

7.3.17 door elevation

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7.3.18 door elevation

7.3.19 mural 7.3.20 ceiling view

5.2

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5.2

7.3.21 ceiling view

7.3.22 mural pattern

7.3.23 column detail

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7.3.24 section

7.3.25 section

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7.3.26 section

7.3.27 section

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7.3.28 space division

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7.5.1 existing site view

7.5.2 3D view

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7.5.3 existing site courtyard view

7.5.4 3D model courtyard view

101

7.5.5 existing passage view

7.5.6 3D passage view

102

7.5.7 3D passage view

7.5.8 3D passage view

103

7.5.9 Isometric view

104

105

7.5.10 view from terrace to courtyard

106

107

7.5.11 entrance view of the site 108

7.5.12 entrance view of the site

109

7.5.13 entrance view of the open space of site 110

7.5.13 passage view

111

7.5.14 seating space/game zone

7.5.15 seating space/game zone

112

7.5.16 entry to the exhibition

7.5.17 exhibition space view

113

7.5.18 entry to the dining space

7.5.19 dining space (to the people who cant sit on ground

114

7.5.20 stairs lighting

7.5.21 dining space (indian seating dining)

115

7.5.22 terrace dining space

7.5.23 terrace dining space

116

7.5.24 terrace dining space

117

7.5.25 terrace seating space

7.5.26 terrace seating space

118

7.5.27 terrace indian seating space

7.5.28 terrace indian seating space

119

7.5.29 open space seating

120

7.5.30 open space seating

121

7.5.31 bird feeding area 122

7.5.31 view from terrace to open space

123

7.5.32 isometric view

124

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LIST OF FIGURES : CHAPTER 01 1.1.1 - https://www.google.com/url?sa=i&url=https%3A%2F%2Fgadm.org%2Fmaps%2FIND%2Frajasthan.html&psig=AOvVaw0MZzs9EKGFjazc09yKawH n&ust=1621975825340000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCOC8sYKZ4_ACFQAAAAAdAAAAABAJ 1.1.2 - https://www.google.com/url?sa=i&url=http%3A%2F%2Fwww.environment.rajasthan.gov.in%2Fcontent%2Fdam%2Fenvironment%2FEnv%2FPdf_ Files%2FNotification_26_08_2011_File2.pdf&psig=AOvVaw3CmixXcc1ud8vxex5JHt6K&ust=1621976194830000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCIjIkaya4_ACFQAAAAAdAAAAABAI 1.1.3 - by author 1.1.4 - by author 1.1.5 - https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.researchgate.net%2Ffigure%2FDistrict-map-of-Rajasthan-and-the-study-area_fig3_322978550&psig=AOvVaw0dn_X6Z6CsgpGP-5dQFxM1&ust=1621976038895000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCLj1t-GZ4_ACFQAAAAAdAAAAABAV 1.1.6 -https://www.google.com/url?sa=i&url=http%3A%2F%2Fwww.rajasthanexplored.com%2Frajasthan-travel%2Fmap.html&psig=AOvVaw1VLjpzs-jUC0khnEGqGKzt&ust=1621976506737000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCLjPuNGb4_ACFQAAAAAdAAAAABAJ 1.1.7 - 1.1.16 - by author CHAPTER 02 2.1.1 - https://www.openstreetmap.org/#map=16/28.0539/75.1449 2.1.2 - https://www.openstreetmap.org/#map=16/28.0539/75.1449 2.1.3 - 2.1.16 - by author CHAPTER 03 3.1.1 - by author 3.1.2 - by author 3.1.3 - https://www.openstreetmap.org/#map=16/28.0539/75.1449 3.1.4- 3.1.16 - by author

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CHAPTER 04 4.1.1 - 4.1.3 - by author 4.2.1 - 4.2.3 - by author 4.3.1 - 4.3.3 - by author 4.4.1 - 4.4.3 - by author 4.5.1 - 4.5.26 - by author CHAPTER 05 5.1.1 - 5.1.29 - by author CHAPTER 06 6.1.1- 6.1.11 - by author CHAPTER 07 7.1.1 - 7.1.6 - by author 7.2.1 - 7.2.13 - by author 7.3.1 - 7.3.28 - by author 7.5.1 - 7.5.32 - by author BIBLIOGRAPHY THE PAINTED TOWN OF SHEKHAWATI AUTHOR: ILAY COOPER - https://www.shekhawati.in/history-of-shekhawati/ - https://www.tripadvisor.in/Hotel_Review-g1162333-d645976-Reviews-Hotel_ Heritage_Mandawa-Mandawa_Jhunjhunu_District_Rajasthan.html

127

128

measure drawing of design site

Kunj Thakkar

Vatsal Dalal

129