Whatweseeisafact,inordertoachievetheunseen,onehas to collect all the pieces of the puzzle. Re interpreting the
Figure 5: DigitalHampi.References:[2],[3]
Figure 1: Pushkarni,VigayaVitthalaTemple HistoryistherootofourcultureandHistoricmonuments are the elements that bind it together. The ancient rituals andfestivalsareoftenentangledwitharchitecture,standing to this day. Today as calledthe “City of Ruins”, the Hampi groupofmonumentsisaUNESCOWorldHeritagesite.Like mostoftheharmedmonuments,thesiteisinruins,which hasdisconnecteditfromCulturesensitiverituals.Theland hasover1600ancientsitesinthestateofdecayandsome intactTemples.
Figure 4: VijayanagaraResearchProject
Themassivenessofwhatremains,thebeauty of carvings, and the spread of the complexes make it incommensurable and unique from others. Highlights of these remnants include Temple Complexes, Royal Enclosures,Townships,Bazarstreets,WaterTanks,Defence Architecture, and Hydraulic Technologies like Aqueducts. Can we only imagine its actual existence? Can that imaginationberetouched?
2. Existing Recreations
Key Words: Heritage, Restoration, Ruins, Hampi, Underground Shiva Temple, Architecture, Illustrations, Vijayanagara 1. INTRODUCTION: Lost Heritage
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Figure 2: Rangamandapabase, Figure 3: Illustration
Previouseffortsinthismatterexplorereconstructioninthe form of 3D models, following are done by Vijayanagara ResearchProject(publishedin2014)andDigitalHampi,a projectforpreservingIndianCulturalHeritage(publishedin 2017). These renderings are available on their websites, books,andpublicationsavailableonline.Thislimitstogive animpactfuloutsideapplicationforthebenefitofruinsat the site and to easily differentiate between the existing structureandreviveddrawing.All overtheworld,wecan see multiple techniques to restore and remember the lost Heritage,whichdetectstheneedfornewideas.
Certified Journal | Page 356
Reminiscing History, Reviving Lost Heritage
3. Roots of Imagination
Parnavi Shrikant Bangar1 1Architect, Maharashtra, India. *** Abstract “Hampi” group of monuments is a UNESCO World Heritage site, like most of the harmed monuments the site is in ruins. The research focuses on transcending the ruinous state to its actual existence in time by virtue of graphics and imagery. Its Reminiscence can give the actual impact of this iceberg. Previous efforts in this matter explore reconstruction in the form of 3D models, which limits to give an impactful outside application and to differentiate between the existing structure and revived drawing. All over the world, we can see multiple approaches to restore and remember the lost Heritage, which articulates the need for innovative ideas. Reinterpreting the entirety of the complex in its true scale, consists of a study of existing literature, visitor's journals, miniature sculptures on intact structures, and the monument itself, following steps like determining the height of the structure, vertical elements, etc. The product of this analysisis in the form of graphic illustrations which becomes universal, allowing innovation without strangulating the continuity of tradition. Furthermore, the venture tries to generate a modular process of Form Finding, which can be used as a framework to re interpret other historic sites as well. One of its on site applications is in the form of transparent signage in front of the monument. The main intention of this innovation is to add on to the ruins somethingawe inspiringthatseemsto be missing, something to spare a thought for, along with the game changing intensions to benefit the monuments themselves.
Traditionally Vijayanagara expresses stone structures in combination with brick for royal monumentsand roofs of timberlikeChandanwoodinsomecases,whichwereburnt atthetimeoftheinvasion.“Maha NavmiDibba”isonesuch exampleofatimberstructureof9storieswithastonebase, leavingonlyamassiveplinthonsitetoday.Theextentand spreadofthebasearecrucialinunderstandingtheheightof thestructure,thesedimensionscangiveusatentativeheight theplinthcanstructurallywithstand.Theuseofgridsisseen inhorizontalitybutaratioisrecurringintheproportionality oftheverticalelevationwithwhichwecanfurtherdividethe heightofthestructureinprogressiveintervals.Somethumb rulesare,theunderstandingofskylineinatemplecomplex theheightoftheoutermostGopuramwillbethehighestand the Vimana of Garbha Griha shortest, floors of existing Gopuramsareconsideredforassumingfloorsofthebroken, literatureaboutthemonumentliketheMaha NavmiDibba andon siteevidenceofgroovesforcolumns,joineries,parts ofroofsandparapets,etc.
‘Architecture observes itself historically’ (Hadid and Schumacher),itsevolutiongivesusthetypologieswestudy today.Thechallengeofre imaginationishighlycontextual, associated with the topography and architecture of that region. Dravidian form, style, language and principles of architecture,developmentinatemplecomplex,useofgrids, philosophies,elementsofconstructionplayapivotalrolein redesigning.Hampi wasruled bySangama Dynasty,Chola Dynasty,TuluvaDynasty,laterconcurredbyDeccansultans, giving this region a wide range of Dravidian styles of architecture.TherelationsoftheVijayanagaraEmpirewere excellentwithJains,Muslims,andForeignerswhichleadto theexistenceofJaintemples,Indo Islamicarchitecture,and useofforeignmaterials.
4.5 Vertical Principles Mathematics and tessellation go hand in hand, the focal attributes of verticality of an elevation flow the viewer’s attentiontotheskydramatically.Multipleprinciplespointed out in the following picture contribute to the moment of vision.Inreligiousmonumentsaphilosophythatthetemple is a house of god and god is generally associated with the universeitisunderstandablethattheskyretainsaspecial
entirety of the complex in its true scale requires theory, expressed through existing literature about Vijayanagara, visitor'sjournals,miniaturesculpturesonintactstructures, surrounding typologies, architecture style, material language,andanalysisofthemonumentitself.Thisventure intends to formulate ‘form finding process’ a modular concepttore imagineotherancientruinsaswell Figure 6: Spicemarket,VijayaVitthalaTemple
In order to understand the steps of form finding, let’s consider Gopuram of Underground Shiva Temple for instance.SituatedbetweentheRoyalEnclosureandBhima’s gateway,thisuniqueexampleispositionedsunkenfromthe actual ground level and the Garbhagriha is partially underwater.
Journal
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4.1 Ancient Architecture
The first step is to analyze things at hand, it could be the base of the structure, plinth, foundation, or parts of the super structure.Analysisoftheremainswillformthebase forfurtherinvestigation.Ourexamplehere,thebaseofthe UndergroundShiva Temple’sGopuramwasanaddition to this temple complex during the reign of Emperor Sri Krishnadevaraya. This particular structure was never completed entirely, as the empire was already at war, leavingonlythebasethatweseetoday.Thecarvingsonthe basegiveagistabouthowintriguingthetopcarvingswould be.Asitisanadditiontoanexistingcomplex,itisintrinsicto represent similarities, taking in the surroundings into the fieldofanalysis.
Figure 7: BaseofGopuramofUndergroundShivaTemple 4.3 Essence of the Structure
4.2 Analysing the Remnants
Thesole‘purpose’ofthemonumentisitsInception.Herethe purposeisreligious,hencethedeitybeingworshippedisthe origin. Sculptures, carvings, details revolve around it, the smallest of details can tell us the deity that temple is dedicatedto.ThedeityhereisLordShivaandthestudyof GopuramsinotherShivaTemplescantellustheassociated elements.Thepurposecanvaryfrominstitutional,political, household, organizational like structures for water management,etc.Detailson theremainsandsurrounding monumentsinthevicinitycansuggestthekindofessence the lost structure must have had. Recreations will be influencedbythesereferencesonly.
4.4 Determining the Height of the Structure
Thiscuriositycanbeutilizedforseekingattentionandfor generatingawareness.Historicinformationisavailableon boardsneareverymonumentbutthattooisphotographed and left behind in most instances, tourists are revolving aroundtheguides,andlocalsarepreoccupiedwithmyths.
Width of the floors
Reinterpretationofaforgottenmonumentcanstrengthenits bond with the younger generation, their curiosity has no limits. This venture can take a new turn for the documentationofancientwonders.Theinvolvementofsoft waresandnewtechnologycangrowthecontributionofthe youth. There can be limitless applications to this reconstruction from the development of a travel assist mobileapplicationtoformulatewalk throughsfortourists with information and visuals of the heritage site, to a complete digitalized 4D experience through VR Virtual RealityofthisDravidianmarvelatthetimeofitsglory.The Formfindingprocesscanbeusefulforredesigningapieceof workfromthatera,likemoviesetswithaestheticsthatgo backintimeviz.Mohenjo Daro,afilmrecallingtheHarappan civilization or Bahubali, with a new yet relatable ancient setting.Astheprocedureismodulartheoutcomesonother sitescanbeparallel,makingthereminiscenceoflosthistoric models possible. For sites unlike Hampi which are facing negligence, re interpretation can have a good impact. The illustration can be printed graphically on transparent signageandplacedinfrontofthemonument,seenthrough whichtheruinousstructureinfrontwillbeperceivedasits actualentiretyofexistence.Reminiscenceismereonestepin thepoolofimagination,aportaltohistory,itsimprovisation canbeextraordinary.
Figure 9: Steps Figure 10: CompletionofGopuramofUndergroundShiva Temple 5. Reminiscence Accumulatingallthedataandanalysisintheform finding process as discussed, with a dramatic touch of figurative detailing,wewitnesstherevivingofanincompleteicon.As fortheexampleconsidered,refinementofstandardelements like multiple stories of Gopuram, their skylights, and Kalasha thebarrel vaultedhead,carvingsofLordShivaand afewdesignsinspiredbyexistingsculpturesinthetemple complex evolves into the final visual. Arevived graphic of thisentrancebasepicturestheforgottenskylineofthatera, theancientarchitectureandpaintsaphotographicmemory totheeidetichistory.
International Research Journal of Engineering and Technology (IRJET) e ISSN: 2395 0056 Volume: 09 Issue: 03 | Mar 2022 www.irjet.net p ISSN: 2395 0072 © 2022, IRJET | Impact Factor value: 7.529 | ISO 9001:2008 Certified Journal | Page 358
Hampiisatitspinnacleoffamewherefootfallisincreasing day by day by national and international tourists, yet occasionslikethedestructionofmonumentsduetoillegal mining and the wrath of youngsters for a YouTube video takeplaceeventoday.Themainintentionofthisinnovation istoaddontotheruinssomethingawe inspiringthatseems tobemissing,somethingtospareathoughtfor.
Antiquity is often associated with stories of the old days, while listening to one we all picture a thematic representationasperourimagination.Thecreativeenergy thathasredefinedthefascinationofthepast,deepensthe bars of curiosity for one’s inspiration. Once a new perspectiveisobtainedthemindstartsthinkingingeniously.
Perceiving the vertical principles the width proportion graduallydiminishesasthestructurenarrowsdowninthe vertical axis, which induces balance in the elevation. In religious models like Gopurams, the chamfering is progressivefractionallydirectlyproportionaltotheheight. In non religious models, the standardization of this proportion differs with respect to the function. Often the structures are restricted to the ground floor along with parapetsofbricksona stoneslabwithrefined carvings is likelytobeseen.BlocksofBasarstreets,mandapas,Storage units, covered passages around Pushkarnis, housing units thesearesomesuchexamples
value. In structures of different typologies, the function evolvestheverticalprinciples.Someprinciplesareexplained inthefollowingpicturefiguratively Vertical Principles viz. Projection, Staggering, Progressive Multiplication,BurstingofBoundaries,Splitting,Expanding Repetition,PictorialRepresentation.Reference:[7]. Figure 8: StoneChariot 4.6
International Research Journal of Engineering and Technology (IRJET) e ISSN: 2395 0056 Volume: 09 Issue: 03 | Mar 2022 www.irjet.net p ISSN: 2395 0072 © 2022, IRJET | Impact Factor value: 7.529 | ISO 9001:2008 Certified Journal | Page 359 Figure 11: SignageinfrontofStoneChariot 6. Revived Illustrations, Hampi Figure 12: VijayaVithhalaTemple Figure 13: VirupakshaTempleGopuram Figure 14: VijayaVitthalaTempleGopuram
International Research Journal of Engineering and Technology (IRJET) e ISSN: 2395 0056 Volume: 09 Issue: 03 | Mar 2022 www.irjet.net p ISSN: 2395 0072 © 2022, IRJET | Impact Factor value: 7.529 | ISO 9001:2008 Certified Journal | Page 360 Figure 15: LakshmiNarsimha Figure 16: AchyutarayaTempleGopuram Figure 17: AdoorwayStructurenearVijayaVitthala TempleComplex Figure 18: MahanavmiDibba,KingsPalaceinRoyal Enclosure
[5] Book:HampiRuinsDescribedandIllustratedbyauthor A.H.Longhurst [6] Book: THE NEW CAMBRIDGE HISTORY OF INDIA: ArchitectureandartofSouthernIndia [7] TheSouthIndianHindutemplebuildingdesignsystem byK.J.Oijevaar BIOGRAPHY
FindoutmoreaboutReminiscingHistoryonSocialMedia: ReminiscingHistory(@Reminiscing_Hst)/Twitter ParnaviBangar(@reminiscing_history)•Instagramphotos andvideos
Ar.ParnaviSBangaristhefounderof Reminiscing History an online effort of showcasing reimagined historic monuments. Her previous published workincludesBhutananinsightinto architecturalgeography,photography andresearch
International Research Journal of Engineering and Technology (IRJET) e ISSN: 2395 0056 Volume: 09 Issue: 03 | Mar 2022 www.irjet.net p ISSN: 2395 0072 © 2022, IRJET | Impact Factor value: 7.529 | ISO 9001:2008 Certified Journal | Page 361
REFERENCES [1] UNESCOWorldHeritage:GroupofMonumentsatHampi website,https://whc.unesco.org/en/list/241/
[2] Vijayanagara Research Project, published in 2014 website(penn.museum) [3] DigitalHampi,aprojectforpreservingIndianCultural Heritage2017 [4] Book:TemplesofHampibyauthorK.M.Suresh
Figure 19: VijayaVitthalaTempleComplex
