Studio 3rd: ARCHITECTURE BY HISTORY

T

POR FOLIO S UDIO: ARCHITECTURE BY HISTORY

CONS- CONSERVATION OF A LIVING HISTORIC ENVIRNOMRNT PG-MARCH-Studio-3

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LUCKNOW, BASE MAP COURTESY OF SUSHANT SCHOOL OF ARCHITECTURE, GURUGRAM

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TABLE OF CONTENT

Pages

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MODULE _ Working with Archival Evidence * Palimpsestic Mapping * Counter Mapping * References

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MODULE _ Working with Material Evidence * Building Transformation > Past > Future * Refrences

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Project Title About Project Position taken Description Process Take on module Your Reflection

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MODULE _ Architectural Intervention * Sites of Memory * References

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MODULE _ Working with Archival Evidence * Palimpsestic Mapping ProjectTitle: Lucknow city: sites are propagating through social and web media to promote tourism.

About project:

This map, using the production and consumption as a lens, to identify tourism related places in Lucknow city, which populate tourism related web and social media, which have been popularized by them.

Argument:

Media (Web and Social) propagating these sites with particularly focusing sites which tend people to come, But there are more sites which have equal Significance values to reflect the Lucknow city.

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Process:

Taking the discursive position of formal Approach to add multiple layers of Historical and Present Tourism sites in an urban context of the Lucknow city.

The map has developed using archival materials such as maps, newspaper cuttings, Articles, photographs to visualize the argument with a presentation techniques by using Color Palette of Gray and Blue Monochrome Highlighting the Major Popular sites, repeating by several other Tourism sites.

Take on project:

In this Mapping I got to learn about how to represents and bring Literal Visibility to archival Research to get the Argument from your visual with the process of multilayers information of Archival Materials with Visual Representation techniques to call it Palimpsest.

* References Hilton, E. H. (1911). [The Tourist’s Guide to Lucknow ... Fourth edition. Revised and illustrated.]. Lucknow: M.A. Beg. Globalization: North South tourism. (2002). Lucknow: Centre for Tourism Research and Development.

Bhowmik, K. L., & Indian Science Congress Association. (1988). Urban development. New Delhi: Inter-India Publications.

Germon, M., Edwardes, M., & Welch, C. (1958). Journal of the siege of Lucknow: An episode of the Indian mutiny. London: Constable.

D.N. Majumdar Centennial Conference on Tribal Identity, Globalisation, and Planned Development, Saksena, H. S., Hasnain, N., Chaudhury, S. K., & Ethnographic and Folk-Culture Society (Lucknow, India). (2003). D.N. Majumdar Centennial Conference on Tribal Identity, Globalisation, and Planned Development, 28th Feb.-2nd March 2003, IMDUP, Lucknow. Lucknow: Ethnographic & Folk Culture Society.

Hilton, E. (1916). The tourist’s guide to Lucknow. Lucknow: Perry.

Beg,M. (2000). The Guide to Lucknow. Asian Educational Services.

Oldernburg,vt.(1985). The Making of Colonial Lucknow. (1856-1857). Princeton University pre. ASI, Lucknow Circle.(1958-1972).

Lucknow: Archaeological Survey of India.

Govt, UP. Tourism. Lucknow: The Heritage Arc. Private, T.D. Lucknow: Tours and Sightseeing in Lucknow.

Tornos.(1994). Learning Tourism, Places of Interest.

Road to Taste, L. M.N.S. (Oct 2017). Lucknow. Exploring Lucknow city. LUCKNOW OBSERVER, Interactive News Magazine, Heritage. Lucknow.

Sochawohl. E. (2011). Lucknow Residency, A personal journey through the Lucknow Residency. U.P. Blog.

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* Counter Mapping Project Title: Lucknow city: sites are propagating through social and web media to promote tourism About project:

This map, using the production and consumption as a lens, to identify tourism related places in Lucknow city, which populate tourism related web and social media, which have been popularized by them.

Argument: Media (Web and Social) propagating these sites with particularly focusing sites which tend people to come, But there are more sites which have equal Significance values to reflect the Lucknow city.

Process:

Taking the discursive position of formal Approach to add multiple layers of Historical and Present Tourism sites in an urban context of the Lucknow city. The map has developed using archival materials such as maps, newspaper cuttings, Articles, photographs to visualize the argument with a presentation techniques by using Color Palette of Gray and Blue Monochrome Highlighting the Major Popular sites, repeating by several other Tourism sites.

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Take on project: In this Mapping I got to learn, how to represents and bring Literal Visibility to archival Research to get the Argument from your visual with the process of multilayers information of Archival Materials with Visual Representation techniques to call it Palimpsest.

* References Hilton, E. H. (1911). [The Tourist’s Guide to Lucknow ... Fourth edition. Revised and illustrated.]. Lucknow: M.A. Beg. Globalization: North South tourism. (2002). Lucknow: Centre for Tourism Research and Development.

Bhowmik, K. L., & Indian Science Congress Association. (1988). Urban development. New Delhi: Inter-India Publications.

Globalization: North South tourism. (2002). Lucknow: Centre for Tourism Research and Development.

Bhowmik, K. L., & Indian Science Congress Association. (1988). Urban development. New Delhi: Inter-India Publications.

TTK Healthcare Limited., & Jacob, F. (2010). A road guide to Lucknow & Kanpur with latest map. Mahindra World City, Tamilnadu: TTK Healthcare Limited, Publications Division.

Uttar Pradesh (India). (1900). Annual development plan. Lucknow?: publisher not identified.

D.N. Majumdar Centennial Conference on Tribal Identity, Globalisation, and Planned Development.

Development, 28th Feb.-2nd March 2003, IMDUP, Lucknow. Lucknow: Ethnographic & Folk Culture Society.

International Seminar on “Conservation of Monuments: Problems and Possible Solutions”, Chandra, S., Taqui, R., & Historical and Archaeological Research Centre for Avadh. (2006). Conservation of Lucknow heritage: Preservation methodology and International dimensions. New Delhi: Tech Books International.

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MODULE _ Working with Material Evidence * Building Transformation > Past > Future Project Title: Dilkusha Kothi, Taking building back to 1857 in Lucknow About Project:

Project addresses a historical built form as material evidence to imagine the dilapidated structure (Dilkusha Kothi)past, with multi layering of the Archival research based on materialistic approach for the Architectural analysis of the structure, going back into the specific timeline in the Past with the building in its complete form as it was originally constructed. Taking discursive position with a formalist approach for architectural Analysis of the structure taking it back to 1857, before 14th November 1857.

Refernce with Chronological sequence of photgraphs 7.

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Introduction with the context

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Process:

Taking a discursive position with a formal approach for architectural Analysis of the structure Back to its original form, analyzing Archival materials Architectural style Construction, Elementary and Materialistic evidence which are still remain in the present condition of the building, completing the Formal building Elements while unpacking them, which are complete/ partially broken with its Construction materials.

The main idea of critically visiting on these components to pull out tangible elements (Columns Details ) to give a sense of completeness within the building as a whole, with an architectural conservation approach looking particularly for Construction details of columns, staircase tower pinnacle, Slab, Wall section, Windows Door, cornice and Plinth details for the building transformation.

Existing building element material evidences 9.

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Existing building element material evidences

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Existing building Plan in the Axonometric projection

Section showing the stage of building components

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All floors plans, Elevation and Sections of Dilkusha kothi

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Elevation showing the Architectural aeshtetics, in its complete form

Unpacking details of wall and its sections 12.

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*Unpacking Construction details of building components as Dome with pinnacle working with archival material. *Columns (Composite order) with the existing remains and details of materials like plaster etc. *Slab construction details working with archival amterials.

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* Building Transformation > Future Approach Project title: Futuristic form of Dilkusha Kothi, Lucknow Description of the project:

Imagination of Dilkusha Kothi in the future taking building as a subject in its own Historiographical commentary. ‘Dilkusha Kothi was the earliest and much the most ambitious of the attempts at a European style and flat-roofed mansion of this type in Oudh.’ The Architecture of Lucknow and Oudh 1722-1856: Its Evolution in an Aesthetic and Social Context by Banmali Tandan Since 1858 the building is abandoned and the structure is in depleted condition and it is difficult to conjecture the form of the structure in current condition.

Imagining The furure of Bulding with Holographic Projections 14.

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Process:

Here the discursive position is taken with a formalist approach to intact Collective Memories of Dilkusha Kothi By holographic projection.

Bringing all the structural elements into the white projected base with white light highlighting the existing condition, placing column into position by using same Composite order projection, Cornice for aesthetic projection of the slab with an enclosure and pinnacle with a unique architectural importance of building. And adding the surface of building color and material texture to add multilayer information of various alterations during the period from its original to present form for formal transformation with visual reading of holographic projection.

Take on: the understanding for this module with a conservation approach can bring out the narrative with archival uses for historical built form as material evidence to get familiar with the material and construction techniques in the conservation discourse.

Reflection on module: Being conservation student, lacked in the approach for to conserve the building it is just not with the existing material evidence it’s beyond the tangible component of the building with bringing the narrative with political, material based, historical events and Curating the narrative for writing the history again on the building with analyzing and critiquing the narrative.

The second part, I lacked with understanding of the module to convey it from the historiographical positions in the Architectural discourse. At the end of the project learnt the process of an imagined futuristic form of the building, with discursive position taken to approach in the Historiographical position and its representation can itself defined the position that building took for its Futuristic form.

The module was interesting with an opposite approach to conserving the building and its imagination into the future.

* References Das, N. (1998). Indian architecture: Problems in the interpretation of 18th and 19th century architecture: a study of Dilkusha Palace, Lucknow. Delhi: B.R. Pub. Corp.

Tandan, B. (2008). The architecture of Lucknow and Oudh, 1722-1856: Its evolution in an aesthetic and social context. Cambridge, UK: Zophorus.

Ouseley, G., & Ouseley, Gore. (n.d.). Dilkusha Kothi; Close oblique view, circa 1868 (albumen print, Felice Beato). Art, Architecture and Engineering Library.

Ouseley, G., & Ouseley, Gore. (n.d.). Dilkusha Kothi; General view circa 1814-1815, as represented in painting “Country Palace Dil Khoosha” (watercolor, Sita Ram). Art, Architecture and Engineering Library.

International Publications (Firm : Delhi, India). (2010). Uttar Pradesh, tourist road guide & political. Delhi: International Publications.

Saksena, H. S., Hasnain, N., Chaudhury, S. K., & Ethnographic and Folk-Culture Society (Lucknow, India). (2003). D.N. Majumdar Centennial Conference on Tribal Identity, Globalisation, and Planned Chatopadhhyay,s.(2018).Photos trace the decay of lucknow’s famed Dilkusha Palace after the 1857 revolt,Lucknow.

Scroll.in.pub.art.

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MODULE _ Architectural Intervention * Sites of Memory Project Title: Re_ imagining 1857 Trail, Surrounding of Dilkusha Kothi and Interpreting as Information Centre of Lucknow city About Project:

The project, “Re-imagining the Trail Route of 1857” with an architectural intervention on the selected site, is based on “Sites of Memory” During the 1857 Mutiny in Lucknow city, focusing on British Perspective taking the Route for Second Relief. The Architectural intervention has been done in the surrounding of Dilkusha Kothi, having high Significance. The Structure of Dilkusha Kothi is Interpreted as Information Centre as well as serves as the Main Exhibition Centre (Inside and Outside of the building) to reflect the Rich Archival Material of the Lucknow city.

Multiple layering of the trail 1857 with the memory of site 16.

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Description of project: The Trail route followed during 2nd relief of Mutiny 1857 The heritage trail of 1857, narrated from a British perspective with a formal modernistic approach to intervene the trail.

During the first relief of Lucknow by major General Henery Havelock’s drove the revel from 25th September from Alambagh to the Charbagh because of monsoon, city was flooded and waterlogged, tried to cross the Charbagh canal and later on after a month they took march from Charbagh to Sikandarbagh and Residency and occupied and defended chattarmanjil palace. During the second relief, another major general was into the command known as Sir Colin Campbell, took and change the revel in 14th October started from Alambagh and because the heavy loss on the first relief, they opted march by Dilkusha garden to La- Martinere and cross the canal near to the Gomti river to Sikandarbagh and linked with Residency then later on extended to Chutter munzil, places like Bibiapur Kothi which was treated as a medical storage on the way to Wilayati Bagh.

Master plan of trail during mutiny 1857_1858 in lucknow and Followed specific route for the site plan during the Second relief of 1857 with locating all the sites of memory in the visuals.

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Master plan of the trail of 1857_1858 Mutiny in Lucknow with highlighing the events and activities happended on Sites of memory.

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Dilkusha Kothi and its surroundings selected as a site of memory for architectural intervention, formal Modernistic approach to a structure and interpreting it as Information Centre for the Lucknow city. Because of its high significance in the Archival History Narrative of Lucknow, serve a different role during the revolt.

The building’s excellent location on high ground made it a strategic stronghold, it was located on the outskirts area of the city.

General Colin Campbell’s forces to captured Dilkusha from the rebels on November 14, 1857, and from there marched to relieve the besieged garrison at the Lucknow Residency.

Surveillance of the enemy in the trenches along the neighboring Martiniere from the rooftop of Dilkusha went hand in hand with the pleasure of surveying a landscape. On Nov 1857, General Henry Havelock died at Dilkusha, although he was buried in the quieter precincts of Alambagh. As both Edith Cuthell and Sidney Hay pointed out, there were only a few named graves at Dilkusha.

Structure severely damaged under fire from rebel forces during the prolonged siege, Dilkusha survived the conflict and was kept in its damaged state as the most prominent memorial monument in Lucknow. In 1874 where Dilkusha’s altered state, it has lately been dismantled, and although it is built on an eminence, nothing can now be seen of the once noble edifice, but its bare massive walls and castellated stair-cases, later remarked that the building was declared unsafe and partially demolished and lies almost derelict at present Condition.

Plan of the trail route followed during the second relief with sites of memory 18.

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Site plan of the trail with specific site of memory (Dilkusha Kothi) with its surroundings. The formal approch of modernistic intervention on the streets as a intervention of trail and Graden as the Exihibitions Space with Installation in simplistic form to bring the simplicity of the place focusing on the function.

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Site plan of Dilkusha Kothi as a Site of memory and its Surroundings

Surrounding steert near by Dilkush kothi 20.

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Idea and Process for the intervetion of trail:

The Discursive position has been taken with a formal modernistic approach to Redesigned the trail with a specific area of street surrounding an area of the Dilkusha Kothi from the Alambagh to La-Martiniere.

The route leads to the Dilkusha Palace a Particular square junction in front of the Dilkusha Kothi. The Trail has been designed by evoking the memory of place emphasized on Honesty of materials and functional simplicity of the spaces to give the sense of place as the nostalgia of being in 1857 with a design of spaces.

Street furniture design like Sin ages (master plan of the trail, site plan of the route, specific plan with a Literal description of the sites view etc.), Lamp boards, Street lights, Floor Pattern (follow the trail route) and, Dustbins, Sitting Furniture and Recreational places for a picnic etc.

Intervention of trail route as a street with outside furniture design

Intervention of Open area within the site Idea and the process for the Open laws within the site:

The open lawns of the Kothi are interpreted as permanent and temporary exhibitions space with a formal approach to a design, bringing the cultural significance of the site, exploring with the simplistic rectangular forms of the installations.

Concrete rectangular open box as exhibition boards, where all archival Exhibitions will happen in the discourse of history integrating with new ideas of an exhibition like the photographic gallery, art gallery, historical performances, painting gallery, educational exhibition etc.

The main idea for this exhibition to bring the relationship between social remembering and identity forms the framework through which representations of collective memory are analyzed of the Lucknow city.

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Intervention of Open area with the Installtions as a Exibition space centre 22.

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Process and the idea for the building and Information Centre:

An intervention of the building keeping the original structure with a Transparent form of the new intervention, The Information Centre will provide a permanent house to archaeological treasures in the Lucknow city.

With the formal approach to the building adding the dimension of Modernistic approach rather on conserving the building in its original form, therefore adding layer of functionality and simplicity in the form, created deliberately non-monumental structure with keeping the transparency of the existing building as Invisible Building form whose simple and precise design invokes the mathematical and conceptual clarity with dramatic experiencing the places with the movements (Vertically and horizontal).

The building acting as an Inverted hollow transparent box, with an Existing building is supporting the form of the building as experiencing the original ruin inside.

The material Used in throughout new Information Centre are glass, concrete and Floor tiles have been used to complement the simplicity of the overall design. Concrete provides the main building structure (column outside the building with flooring) and acts as transparent Curtain from outside and translucent from inside view. Glass walls will allow exhibits to be viewed in natural light, as they would have been seen in the time of 1857.

Initial Conceptual sketches, complementing with the existing structure to create spaces

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The planning approch: The building is articulated in three layers, with a base, a middle zone, and a top.

Where the Base layer is constructed 3mts above the existing basement with concrete rectangular pillars without disturbing the existing structure.

The Middle zone which is 3.3 mt above from the ground, level contains the main public Entry and Exit with entrance, triple height lobby space and exhibition spaces with a gallery for vertical visual connectivity as well as brick glass floors puncture bringing the Natural light into the floors with glass faรงade which translucent from inside. The top layer which the second floor adding two layers of subfloors as an extension of a gallery to have vertical movement of experiencing the space and building as well. On the top of the building form the brick glass acting as a skylight to give emphasis on the central lobby to experience the integration of light with spaces which are generated through existing and new Building as Information Centre.

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New Buiding Complementing the Existing Buiding while keeping it Trasperent

New Buiding Complementing the Existing Buiding while keeping it Trasperent 26.

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About the Glass Material used to keep the Transpereny in the form: The glass element was created to be viewed in daylight, with angle changes in light throughout the day.

Extensive use of glass as an element of the new building allows the integration of natural light into the galleries, the inside spaces which are not accessible, balance the movements of experiencing the spaces inside the building with the architectural style, form, plan, and materials where used during the construction of the building into its original state.

Integration Existing and New building elevations

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Juxtaposition of Existing and New building elevation and Inside views of the buiding

Inside of Exihibition Gallery

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Inside the Lobby

Details of new components with existing building

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Take on: The Approach to design Memory of sites, the intervention can go beyond the Position taken into the Formal approach for the intervention taking collective memories and identity of the place transformed into the modernistic approach where u can intervene your own position with just not bringing back the memory but adding the memories to the futuristic approach at present time.

Conservation approach can go beyond the nostalgia agenda with re-imagine the memories in new ways of engaging people with history, with interactive installations and heritage trail apps to look the process with addressing the ideas of integrating history with people engagement to experience the spaces with a new approach in the Conservation discourse.

Reflection on Module: The most interesting part of this module was, you are allowed to intervene in the Architectural discourse with taking an idea of the Formal based approach going beyond the boundary to its memory and identity for the intervention with an idea of 1857 trail, bringing the sites of memory taking a different discursive position in the Historiography.

Being a conservation student I have approached to Trail and Dilkusha Kothi with a formal Modernistic approach to re-imagine the building in 1857 lacking with an idea to designed the whole route of selected trail introducing heritage app for a self-guided tour to these different sites of memory and experiencing these sites with false designed elevations and views with some recreational installations to make more live spaces with a modernistic approach as to have a feel of present time while going back to 1857.

References Das, N. (1998). Indian architecture: Problems in the interpretation of 18th and 19th century architecture: a study of Dilkusha Palace, Lucknow. Delhi: B.R. Pub. Corp.

Tandan, B. (2008). The architecture of Lucknow and Oudh, 1722-1856: Its evolution in an aesthetic and social context. Cambridge, UK: Zophorus.

Ouseley, G., & Ouseley, Gore. (n.d.). Dilkusha Kothi; Close oblique view, circa 1868 (albumen print, Felice Beato). Art, Architecture and Engineering Library.

Ouseley, G., & Ouseley, Gore. (n.d.). Dilkusha Kothi; General view circa 1814-1815, as represented in painting “Country Palace Dil Khoosha” (watercolor, Sita Ram). Art, Architecture and Engineering Library.

Saksena, H. S., Hasnain, N., Chaudhury, S. K., & Ethnographic and Folk-Culture Society (Lucknow, India). (2003). D.N. Majumdar Centennial Conference on Tribal Identity, Globalisation, and Planned Chatopadhhyay,s.(2018).Photos trace the decay of lucknow’s famed Dilkusha Palace after the 1857 revolt,Lucknow. Scroll.in.pub. art.

Adelaide,c.(1858). Day by Day at Lucknow: A Journal of the Seige of Lucknow, Lucknow.London.pub.Gern.

Hilton, E. H.(1894). The tourists’ guide to Lucknow: In five parts. Lucknow: Printed at the London Print. Press.

TTK Healthcare Limited., & Jacob, F. (2010). A road guide to Lucknow & Kanpur with latest map. Mahindra World City, Tamilnadu: TTK Healthcare Limited, Publications Division International Publications (Firm : Delhi, India). (2010). Uttar Pradesh, tourist road guide & political. Delhi: International Publications.

Hilton, E. (1916). The tourist’s guide to Lucknow. Lucknow: Perry.

HILTON, E. H. (1911). [The Tourist’s Guide to Lucknow ... Fourth edition. Revised and illustrated.]. Lucknow: M.A. Beg. TT. Maps & Publications Ltd. (1992). Lucknow. Madras [India: TT. Maps & Publications Varshneya, V., & Singh, R. (2009). Lucknow, a treasure: A perspective of heritage. New Delhi: Atma Ram & Sons.

Varshneya, V., Jaiswal, A., & Indian National Trust for Art and Cultural Heritage. (2017). Lucknow: The City of Heritage & Culture: A walk through History. New Delhi: Niyogi Books.

International Seminar on “Conservation of Monuments: Problems and Possible Solutions”, Chandra, S., Taqui, R., & Historical and Archaeological Research Centre for Avadh. (2006). Conservation of Lucknow heritage: Preservation methodology and International dimensions. New Delhi: Tech Books International.

National Survey (Firm), & New England Heritage Trail Foundation. (1974). Heritage Trail. Boston: New England Heritage Trail Foundatio Schofield, T. (2010). The Heritage Trail. Wilmslow: Sigma.

Pantermalēs, D., & In Bernard Tschumi Architects,. (2013). The new Acropolis Museum.

Pantermalēs, D. (January 01, 2010). The New Acropolis Museum: Collections and visitors. Critica D’arte, 8, 25-38.

Tsakos, K. (2014). The Acropolis and its new museum: A guide to the history and archaeology.

Peter Eisenman: Building Germany’s Holocaust Memorial. (2014) Peter Eisenman: Making architecture move. (2014).

Zumthor, P., Lending, M., & Binet, H. (2018). A feeling of history. Zurich: Scheidegger & Spiess.

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