Design thesis

DESIGNING A CULTURAL REVIVAL CENTER IN BAGH FORT, TAKING INSPIRATION FROM CRAFT AND BUILT HERITAGE

GUIDED BY:

Ar. SWAPNA KOTHARI

SUBMITTED BY:

AYUSHI LAHOTHY 16192005/B.DESIGN 2019-2020

SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE NAVRACHANA UNIVERSITY, VADODARA, GUJARAT

NAVRACHANA UNIVERSITY SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE

DESIGNING A CULTURAL REVIVAL CENTER IN BAGH FORT, TAKING INSPIRATION FROM CRAFT AND BUILT HERITAGE A THESIS SUBMITTED TO THE FACULTY OF SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE, IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE DEGREE OF

BACHELORS OF DESIGN 2019-2020

Submitted to:-

Submitted to:-

Guided by:-

Prof. Pratyush Shankar Shaini Amin Ar. Swapna Kothari Dean, SEDA Programme Chairperson, Navrachna University B.Design, SEDA Navrachna University

Submitted by:Ayushi Lahothy 16192005

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DECLARATION

I hereby declare that the thesis entitled “Designing a cultural revival center in Bagh Fort, taking inspiration from craft and built heritage” is a record of original work by me under the guidance of Ar. Swapna Kothari.

The References taken from published or unpublished thesis and contribution of others have been clearly mentioned in the thesis.

AYUSHI LAHOTHY

In my capacity as guide of the candidate’s thesis, I certify that the above statements are true to the best of my knowledge.

Ar. SWAPNA KOTHARI

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ACKNOWLEDGEMENT

I would like to express my special thanks of gratitude to my guide Ar. Swapna Kothari, for sharing her valuable expertise and knowtledge in the subject and her constructive criticism and guidance throughout the thesis, helped me do a lot of research and to know many new things.

Besides my guide, I would like to thank Dean Pratyush Shankar, program chairperson Shalini Amin, and all the faculties of SEDA for their support, encouragement and insightful comments throughout the process. I would also like to thank Abhishek Joshi whoes learnigs and guidance help me reach where I am today.

I am overwhelmed in all humbleness and gratefulness to acknowledge my depth to all those who have helped me to put these ideas, well above the level of simplicity and into something concrete.

I would like to express my special thanks of gratitude to Samidha Jain and Vinisha Mandhanya and their family members to help me learn about the site in the thesis. I would like to thank Amar Jadav, Anita Sen and Riya Hoondlani to help me visit and measure draw the site. I am also grateful to people of bagh to cooperate throughout my study.

Last but not least, I would like to thank all my friends and family, especially my parents Kamlesh Lahothy and Ekta Lahothy, for keeping me progressing for my work during the difficult time of the pandemic.

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ABSTRACT

For a historic structure or space, importance is given to its connect to tradition, culture and art. How all of these weave together to create a journey of its own, follows next. This thesis study aims to highlight the importance of the 5th and 6th century rock-cut caves, the intangible heritage of Bagh printing in the area, and the regions traditional culture via remnants of the historic Bagh Fort. All of these cultural resources have for long been neglected and no longer attracts visitors .

The planned design intervention aims to create a connection between the Bagh Caves and Bagh Printing in the area, in the Fort structure, to make it a more meaningful place- for understanding how culture, art and lifestyle can be bound together.

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TABLE OF CONTENTS PREFACE

1.1 Title 1.2 Aim 1.3 Abstract 1.4 Scope 1.5 Limitation

1. Introduction

2.1 Culture In Southwest region of Madhya Pradesh 2.2 Site- Bagh Village, Madhya Pradesh

2. Culture And Built Heritage

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2.1 Bhil Community 2.2 Bagh Printing 2.3 Bagh caves 2.4 Bagh fort

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3. Adaptive Reuse

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4. Case Study

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4.1 Preservation 4.2 Rehabilitation 4.3 Restoration 4.4 Reconstruction

5.Site Analysis

5.1 Site Introduction 5.2 Existing site drawigs

6.Design process

6.1 Design Process 6.2 Elements 6.3 Zoning 6.4 Conceptual Sketches 6.5 Structural Layer 6.6 Elemantal Layer 6.7 Transition 6.8 Aditional Layer 6.9 Ceiling 6.10 Circulation Plans

7.Design and Views

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TITLE:

Re-establishing cultural relevance in Bagh, Madhya Pradesh by Adaptive reuse of Bagh Fort through contextual inspiration: Bagh Caves and Bagh Print.

AIM:

The aim of the study is to establish a relation between cultural and spatial sensitivity in an aban­doned place, while looking at the Bagh regions’ three different cultural resources. This aims to result into adaptively reusing a historic space and incorporating the cultural resources as part of the place.

SCOPE:

Possibility of retrofitting the Historic fort structure to accomodate spaces binding both the interior and exterior Providing villagers with a common cultural place, for seasonal markets, performances and more.

LIMITATION:

Owing to the remote location of the Village, accessibility to it is currently restricted Transition within the structure, owing to its vertical and massive feel, is limited The Fort in itself has a very dense and monotonous material pallet allowing very little to merge or stand out from it

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1. INTRODUCTION

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RAJGARH (46km from bagh)

1.1 Culture In Southwest region of Madhya Pradesh

The old city belongs to the Malwa region and is surrounded by a battlemented wall. Rajgarh is now known for NTPC solar power plant and dam projects running over here, as a result companies like Tata and Reliance power have shown interest.

MADAHYA PRADESH

Fig.1.1 Map of India hilghting madhya pradesh

Madhya Pradesh is arguably India’s finest repository of architectural monuments, some of which are known while many are absolutely untouched. History buffs flock to the three sites at Orcha, Datia and Sanchi in Central India.

Fig.1.2 Map of madhya pradesh hilghting south west regions

Bhils have rich and unique culture. The Bhilala sub-division is known for its Pithora paintingThe traditional dresses of men are Pagri, Angarkha, Dhoti and Gamchha. Traditionally women wear Sari and Ghagra CholiTraditional Bhil villages are led by a headman (gameti). The gameti has authority and decision-making powers over most local disputes or issues

Madhya Pradesh is the second biggest Indian state by territory and the fifth biggest state by populace with more than 75 million inhabitants.

It fringes the conditions of Uttar Pradesh toward the upper east, Chhattisgarh toward the southeast, Maharashtra toward the south, Gujarat toward the west, and Rajasthan toward the northwest.

Fig.1.5 Distance of Rajgarh to Bagh

KUKSHI (19km from bagh)

The absolute most momentous old work of art of Madhya Pradesh is found in caves. The Bagh caves, close to the western town of Mhow, are enhanced with artistic creations on Buddhist points that date generally to the fifth century CE. Originating from about a similar period are the Udayagiri caves (Brahmanical and Jaina religious communities), near Vidisha, which show fine art and rock-cut engineering like those of the notable Udayagiri caves in the neighboring province of Orissa.

Kukshi is a town in Dhar district of Madhya Pradesh state, India. Kukshi has population of around 37,482 and as it is a tehsil place. Kukshi is famous for the business of cotton, mirchi, gold and silver, and ready made garments.

This city was known in ancient times as Tarapur, Taranpur, Tungiapattan etc., on one of the idols in this temple, there is an inscription in which it is stated that the idol was ceremonially installed at the instance of Shahchandra on Chaitra Sukla 5 in Vikram year 612 at the hands of Acharya Sri Jagachandrasurishvarji.

Fig.1.6 Distance of Kukshi to Bagh Fig.1.3 Map hightlighting Bagh and other important places around it

DHAR (84km from bagh) Dhar is a historic city, laced in the legends of kings and battles. Ancient structures, standing tall for centuries, grace the cityscape. Also is rich in art having Phadke Art Studio bringing tourists to the place. and transport you back to another era as you walk through the narrow

Fig.1.7 Phadke art studio

Fig.1.9 Dhar Fort

Fig.1.8 cotton mills

Fig.1.10 Red chilli storage in Rajgrah

dusty lanes admiring these historical marvels Fig.1.4 Distance of Dhar to Bagh

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Fig.1.11 Space in Dhar fort

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1.2 About Bagh Village BAGH CAVES

Bagh of Caves are 9 in number located 150 feet above Bagh River and is remarkable as being only out crop of sandstone. The caves extend at total frintage of 750 yards. From the Sculptures and architecture it can be stated it belongs to A.D. 450 to 500.

The caves has no image of Buddha carved upon it, as is done in much later caves in ajanta and ellora and this memorial dome apparently was the center of workship.

Cave 1, 8 and 9 have collapsedand their interiors are choked,. though cave no. 2, 3, 4, 5, 6, 7 are standing intact after the rennovations done by Archeological Survey Of India(ASI).

The caves hold hestorical importance reflecting through the Paintings and Motifs, Talking about how people used to live in those dark spaces managing the ventilation and light.

Fig. 1.12Outside space of cave

Fgi. 1.18 The Bagh Region has an arean of 1.58km sqaure, having

Fig. 1.19 The region has various site of heritage as well as cultural

Fig.1.20 The town sits on hilly landscape, taking us through highest and the steepst level

Fig.1.21 A: Bagh Fort ; B: Bagh Caves ; C: Bagh print

Fig. 1.13 Motifs in cave

BAGH PRINTING Bagh Hand Block Print was once on the stage of disappearing bevause before the decade of 1980 the cloth prepared by Bagh Print was designed according to the traditional dresses of the tribal people and there were limited resources of Bagh print and the person to do it were also limited because young geneation wasn’t intrested to do it.

Bagh Printing is a very technical process. Firstly the selection of cloth, as inthis craft the cloth is boiled for dyeing, so it is cumpulsory the clothbeing used in printings made of Natural Fibers.

In this process of printing firstly the cloth is cut to extract startch.Many techniques are used in this process it is determined how nicely the cloth is dyed.

The print is majorly done in BLACk and RED color.

Fig. 1.14 Worker doing bagh print

Fig. 1.15 Instruments udes in bagh priting

BAGH FORT In 1982, a hoard of 27 inscriptions issued by the Maharajas of Valkha was discovered at Risawala near Bagh. The inscriptions were issued from a place known as Valkha, which has led to suggestions that the name “Bagh” is derived from “Valkha”. The inscriptions are dated to the years 38-134 of an unspecified calendar era. Historians D. C. Sircar and R. C. Majumdar theorized that the Maharajas of Valkha were subordinates to the Guptas, and the calendar era used in their inscription is the Gupta era starting from 319 CE.[2] Thus, the Maharajas of Valkha can be dated to 4th and 5th centuries CE.[3]

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Fig. 1.22

Fig. 1.16 Top view of bagh fort

Fig. 1.17 Wall elevation of bagh fort

The Cave and Fort has their heritage importance for the town. Both telling about how people used to live back then, and also how spaces used to dwell. Though the Caves were of buddhist monks telling about the history of religion hence acting as INSPIRATION. where as Fort tell aboutthe dynasty and rulers also about people of region the BUILt

Fig. 1.23

Distance btw fort and caves - 7.1km, Distance btw fort and print - 1.9km The town also has history of art that is the Bagh Prints,which is now being revived after years having inspiration from motifs of Bagh Caves. The major people earn there brea from this proffession. which marks as an important PRODUCE for village.

Fig. 1.24

Talking of culture leads to various landscape factors in India. The place has BAGHINI River worshiped by artisans.

It’s copper content was high and that would account for all the beautiful deep colors in the fabrics that would be offered from the region. Also, the flowing water would contribute essentially to the dyeing process.

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2.1Bhil Community

2. CULTURE AND BUILT HERITAGE

Bhil tribe is majorly in western parts of India, in which Bagh village is one of them. The tribe’s belief is to live the lives by enjoyment. The community earns money by farming and by mugging people.

The language they speak is called adivasi language which is mix of gujrati, marathi and sanskrit.

All the rituals in bhil are done by head of the family known as Gameti

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Clothing

Fig.2.1 Women clothing in community

Fig.2.2 Men clothing in community

Women wear Ghgra(bottom) Lungda(top), whereas men wear either Dhoti(bottom) Kurta(top) Feta(headgear) or Payjama(bottom) Shirt(top) Gamcha(around neck)

2.2 Bagh Printing

Food

Fig.2.3 Picture of mauwa fruit

Bagh Printing is an aged old handicraft tradition in India.

The craft involves printing through wooden blocks with natural dyes. though for some time people stopped continuing the handicraft because of more using of Synthetic Fabric, some people continued doing it and has now given the craft a different platform where people from different regions of the world come to learn about the same Fig.2.4 Tadi local alcoholic drink

The food they eat is usually maize with garlic and onions, and they also eat chicken and eggs. They make their local alcoholic drink-through fruit of mauwa, and Jamun is known as Mauwa and Tadi, respectively. they believe this drink keeps them energetic the whole day so they can do fieldwork more efficiently

Bhagoriya: Festival in tribe

Bhagoriya is a seven days festival celebrated by bills. The festival is played with dry colors at a commonplace called Mela. The young generation of the tribe runs away with a person they like to get married, and the community has to accept them.

Fig.2.5 Community celebration

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Fig.2.7 Step 2

Fig.2.6 Step 1

Then the cloth is being washed in water and dried in sun. the water needs to be solution of goat’s dung+castor oil+raw salt

The process starts with selection of CLOTH and and cutted into pieces and starch is extracted from it

Fig.2.8 Step 3

The cloth is being treated with HARDA powder,and then cloth is dried under sun kept on stones this is called as PEELA process

2.3 Bagh Caves

Fig.2.9 Step 4

The cloth is then spread on stones and dried

Fig.2.10 Step 5

The printed cloth is then kept in flowing water of Baghini River this is Vhichiliya process

Fig.2.14 Step 8

Fig.2.15 Step 9

Kartali

Vichliya

it is then dried and prints are made strong in BHATTI process

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Fig.2.11 Step 6

The cloth is then dried in sun

Fig.2.12 Step 7

The cloth is now ready to get printed

These are old buddhist moastries. It is belived these were total 9 caves, but now its only total 6 caves left, cave no.1 is still there but has no excess and cave 8 adn 9 are been demolished. Though the village people also belive that these were the caves where PANDAVAS used to live. Also as the names suggest bagh caves there are Tigers that usually roa around

The cloth is then dried and roll pressed by local process

Fig.2.16 Instruments used in bagh prints

Paliya

Chapa

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Spaces In Caves

CAVE 2

CAVE 3

Fig.2.17 Spaces in all the caves CAVE 4 CAVE 5

CAVE 6

CAVE 7

Types Of Coloums

2.4 Bagh Fort

Motifs And Prints

Fig.2.18 Different types of coloums

Fig.2.19 various motifs in caves

The mystery of a Place lies in the Ruins and the stories associated with it.

Bagh Fort also has such stories for its existence.

The people nearby the fort believe it to be a fort of seven floors, in which the queen used to go at the topmost floor, to have darshan of Narmada river.

Whereas the Panchayat of the village believe that the bagh village was the last village of Gwalior emperor’s kingdom and the Fort marks the entrance to the Kingdom

Fig.2.21 Small Cellular Spaces in caves opening to a common space, this is one of the many caves opening to a common space, this is one of the many caves

Fig.2.22 Some patterns extracted from columns Fig.2.20 Plan of Cave number 2 highlighting cellular spaces in caves

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Spaces In Bagh Fort

Fig.2.23 Existing transition in fort

Fig.2.24 Transition leading to further spaces

Fig.2.25 Small cellular spaces

Material In Batgh Fort

Fig.2.26 Cabin like spaces in fort, which are not internally connected

Fig.2.27 A kund now covered with mud is adjacent to the fort

Motifs Embeded In Fort

3. ADAPTIVE REUSE Fig.2.28 Lower part of fort made of sandstone

Fig.2.29 Upper part of the fort having red brick cladding

Fig.2.30 Godess figure in inverted pattern

Fig.2.31 Random patterns

Elements In Fort

Fig.2.32 Ogee Arch(three centered arch)

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Fig.2.33 Pointed Cinquefoil Arch (5 centered arch)

Fig.2.34 Small several oppening in fort for water drip out purpose or a place to keep guns aimed

Fig.2.35 Carved window openings from some of the cellular spaces looking out into the courtyard

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3.1 Preservation

It keeps the old structure or form of the building intact by repurposing, reserving, and enhancing the place by revitalizing our communities. Preservation is a way by which people can relate to the history and learn more about the culture, systems, structures, lifestyles, and many such things. Basically, it makes a connection with our past in a significant manner.

Fig.3.1Before and after image of an adaptive reuse project

Adaptive reuse is Recycling and Conversion of an existing building, reusing an existing building, with its cultural as well as heritage importance.

This is merely done for the preservation and conservation of cities with rich culture and heritage. When applied to the built environment, adaptive reuse takes derelict structures and breathes new life into them. For instance, an old building’s architectural features can be preserved when converting it into another structure. At the same time, an abandoned stretch of road could be repurposed into a place that sparks social change. It is the fusion of past and present, by identifying needs for the future. It is a journey of the function of space converted wholesomely in some other function, according to the need identified like an old bunker turned into a cafe. It is relating old to new, new forms, new functions.

Adaptive Reuse Architecture or design is a more sustainable method as it enables the use of the existing structure with less new material, conserving natural resources. This process usually happens in four ways that are, Preservation, Rehabilitation, Restoration, and Reconstruction.

3.2 Rehabilitation The process of adding functionality to the old structure by repairing or alterations is rehabilitation. It gives new use to space, yet structure talks about the history and culture of it. Associating individuals with space and past to the present.

3.3 Restoration

It is creating the replica of the place by depicting the form, feature, and character of the space. To give the same experience as it was in the past centuries. Through which people could relate to the history and culture of the place. It also aims at removing the material added in the different time periods to what it originally was in the past.

3.4 Reconstruction

Reconstruction is recreating vanished portions of the building according to the needs of the current situations. Recreation is characterized as the demonstration or procedure of portraying, by methods for new construction, the form, feature, and detailing of a non-enduring site, landscape, building, structure to duplicate its appearance at a particular timeframe and in its historic loction.

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3.5 Methodology Of Adaptive Reuse a) Existing site potential to add new elements to the structure b) Observing the heritage elements on site c) learning about the landscape at which site stands d) Understanding the culture and heritage e) Availability of resources f) Recognizing the need for people living there g) maintaining the cultural and heritage importance of the place

4. CASE STUDY

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Fig.4.1 Spaces in viewing

Fig.4.2 Spaces in vine museum

Fig.4.3 Spaces in workshop

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Fig.4.4 Spaces in Alembic heritage and re-development

5.SITE ANALYSIS

Fig.4.5 Spaces in Pub

Fig.4.6 Spaces in dinner

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5.1 Site Introduction

Fig.5.1 Fort in alightment with the main street of village

Fig.5.2 Having easy access to, cave, print and village through fort

Fig.5.3 Bagh fort marking as entry point to village

Symmetry on site

Fig.5.5 Many trees around the fort but at lower level

Fig.5.4 Fort having overlooking view to village,

Indivisual cells, not connected iternally

Fig.5.7 Top view of site model

Fig.5.6Sectional view of site model

Structure on site

Material on site

Fig.5.8 Structural detail

Fig.5.8 SANDSTONE

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Fig.5.9 RED BRICK

Small cellular spaces

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5.2 Existing Site Drawing

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Fig.5.13

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Fig.5.14

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6.DESIGN PROCESS

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6.1 Design Program

PROGRAMME The idea is to biult a CULTURAL REVIVAL center or an EDUCATIONAL CENTERin the BUILT i.e. Bagh Fort having the heritage value for the town and the region, through the INSPIRATION i.e BAGH CAVES having the religious as well as heritage importance talking about buddhism and how people used to live in those caves and alsothrough PRODUCE i.e. BAGH PRINT

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6.2 Elements

SHADES OF PATTERNS PATTERNS IN COLORS IN FROM BAGH JEWELLERY BAGH PRINT CAVES

6.3 Zoning

MATERIAL NEW AND OLD

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1- RECEPTION 2-LIBERARY 3-TRAINING AREA 4-WORKSPACE 5-CONFERENCE 6-ADMIN 7-EXHIBITION SPACE 8-AMPHITHEATER 9-STORAGE 10-CANTEEN 11-SOUVINERS

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3 Fig.6.1 GF PLAN Adding more playfull floor plates

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Fig.6.2 FF PLAN Adding another floor to let have view outside the fort

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Fig.6.3 SF PLAN Having the exhibition space through the gallery 1- RECEPTION 2-LIBERARY 3-TRAINING AREA 4-WORKSPACE 5-CONFERENCE 6-ADMIN

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6-ADMIN 7-EXHIBITION SPACE 8-AMPHITHEATER 9-STORAGE 10-CANTEEN 11-SOUVINERS

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Fig.6.4 GF PLAN Adding the transition outside the site through ramp

Fig.6.7 GF PLAN Adding a spill over in the site and having transition through it, keeping exhibition at GF to attract visitors

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Fig.6.8 FF PLAN And then makinng them climb the second floor to excess reception and have vie at training area

Fig.6.5 FF PLAN And walking to the canteen and reception through the exhibition

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Fig.6.9 SF PLAN Keeping the SF more private zone for working space and admin

Fig.6.6 SF PLAN Walking trough the ramp and ending to the souviner shops 1- RECEPTION 2-LIBERARY 3-TRAINING AREA 4-WORKSPACE 5-CONFERENCE 6-ADMIN

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6-ADMIN 7-EXHIBITION SPACE 8-AMPHITHEATER 9-STORAGE 10-CANTEEN 11-SOUVINERS

1- RECEPTION 2-LIBERARY 3-TRAINING AREA 4-WORKSPACE 5-CONFERENCE 6-ADMIN

6-ADMIN 7-EXHIBITION SPACE 8-AMPHITHEATER 9-STORAGE 10-CANTEEN 11-SOUVINERS

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6.4 Conceptual Sketches

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Creating floor plans through the pattern in Bagh Prints and extending verticals through the same.

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Giving as an experience of going through the patterns, imagining all the floor plates as a huge piece of cloth and giving experience through itÂ

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Creating a ramp around the fort.

Fig.6.10 GF PLAN keeping the circulation inside the fort, so as the visitor enters directly to reception

Giving an experience of outside as well as inside to the visitors, experiencing scenic beauty along with inside space, this would also define two different circulation for visitors as well as for people working over there.

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Fig.6.11 FF PLAN Training area in the center, to have a common place and the workspace in the edges to keep it more private

Bringing together the three aspects of place the print, caves and the fort. creating them into an organic structure on site, giving a contrast in the language with respect to the site.

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Fig.6.12 SF PLAN Having exhibtion space and canteen on top to 1- RECEPTION 2-LIBERARY have the view with it 3-TRAINING AREA 4-WORKSPACE 5-CONFERENCE 6-ADMIN

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creating central transition in space. giving negativepositive of the same 6-ADMIN 7-EXHIBITION SPACE 8-AMPHITHEATER 9-STORAGE 10-CANTEEN 11-SOUVINERS

Making visitors to look around the whole space.

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Adding a bridge-like structure for transition, creating a drama on site. keeping the leftover spaces as the workspace, giving a strong demarcation of transition

Dividing the whole design into two layers with respect to exsisting structure, first is the add-on structural layer and second is the interior elements layer

6.5 Structural Layer

Curve inspired from the landscape of conturs

Trying to bring the outside kund language inside the fort, connecting the two, creating a curve whhich gives different levels to the fort and area around it.

Fig.6.13 Layer of design

6.6 Elemental Layer

giving an experince to the user to connect outside, giving a playfull levels to the site

Elemental layers inspired from bagh prints

Adding spaces in the site with container boxes, idea is to add the layer of temporary construction in this lofty structure

Respecting the grid of the site and creating various levels through it.

Fig.6.14 Layer of design

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6.7 Transition

6.10 Circulation Plan

Simplifying the conceptual curve according to the orthogonal structure of fort in such a way to attain the space of curve

Fig.6.15 Layer of Structure

6.8 Additional Floor Plate

Adding floorplates according to the need of design program, as the existing structure is massive vertical walls with alleys

Fig.6.16 Layer of Structure

6.9 Ceiling As the program offers a cultural revival center with exhibition space and working studios spaces it needs to be covered, but partially keeping it uncovered for natural light and to keep the essence of the courtyard

Fig.6.18 Circulation plan

Fig.6.17 Layer of Structure

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7. DESIGN AND VIEWS

Fig.7.1

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Fig.7.2

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Fig.7.3

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Fig.7.4

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Fig.7.5

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Fig.7.6 Reflected ceiling plan

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Fig.7.7 Floded elevation

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Fig.7.8 Exploded design

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Fig.7.9 Detail drawing of sliding door

Fig.7.10 Detail drawing of working desk

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VIEWS

Fig.7.11 Detail drawing of exhibition panel

Fig.7.12 Detail drawing of furniture detail

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Fig.7.13 Entrance to the fort.

Entering into a alley having information about the fort..

The alley of low height gives experience of of caves Fig.7.15 View of Liberary Niches cladded with white concrete to create contrast to red bricks, acting as book shelves

Fig.7.14 View from enterance to the fort.

Entering to the workspace/amphitheater After entering there are two paths one for visitors which leads to exhibition alley. liberary and amphitheater Another one leading directly towards admin space for employes

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Fig.7.16 View of Liberary passage Seatings at various intervals to give short pause to passage

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Fig.7.17 View of Admin area from Library Semiprivate office space under the amphitheater Having an open excess from entry, from the library, from the amphitheater

Fig.7.18 View from side passage of amphitheater to Admin area The easy circulation around the space having a direct excess from the entry of the fort

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Fig.7.19 View of Amphitheater from open central space Amphitheater having a frosted glass staircase to give lightness to space.

The amphitheater steps leading to the first floor and second floor

Fig.7.20 View of central open space from amphitheater sitting The central space act as a stage connected to the library, souvenir shop, and reception

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Fig.7.21 View of the canteen in the morning sun The ceiling inspired from Bagh print pattern creating shadow at the floor Canteen has a central u shaped open kitchen

Fig.7.23 View from the First floor Open space visually connecting the fort

Fig.7.22 View of the canteen in the evening sun The furniture has lightweight concrete countertop with steel legs framework.

The ceiling has a layer of glass and steel framework

Fig.7.24 View from the Second floor Connecting space for exhibition area and viewing gallery along with an amphitheater

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Fig.7.25 View from inside the Artist Studio 1 Linear space having the working desk and storage Play of light by creating the shadow of pattern inspired from bagh print through the sliding door

Fig.7.26 View from inside the Artist Studio 2 L shaped studio space having the working desk and storage Play of light by creating the shadow of pattern inspired from bagh print through the sliding door

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Fig.7.27 View from the gallery in Exhibition space in the morning sun The steel structure act as a track for holding Exhibition panel

Fig.7.28 View from the gallery in Exhibition space in the evening sun

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Fig.7.29 View of Kund Recreating the kund on the site leading to the amphitheater

Fig.7.31 View of Viewing gallery Glass pattern inspired from Bagh print

Fig.7.30 View from amphitheater towards the fort an amphitheater for cultural events in village connecting artist and villagers acting as a community space

Fig.7.32 Axonometric view of whole site

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LIST OF FIGURES CHAPTER 1 Fig.1.1 https://www.canstockphoto.com/map-of-indiaandhra-pradesh-highlighted-9773407.html Fig.1.2 https://www.researchgate.net/figure/Districtswith-a-concentration-of-the-Bhil-Tribe-in-MadhyaPradesh_fig1_334989497 Fig.1.3 https://www.google.com/maps/place/ Madhya+Pradesh/@23.6214854,75.8557058,7.52z/ data=!4m5!3m4!1s0x39667381d35aea05:0xe0106b0d4e701c1e!8m2!3d22.9734229!4d78.6568942 Fig.1.4 https://www.google.com/maps/dir/Bagh,+Madhya+Pradesh+454221/Dhar,+Madhya+Pradesh+454001 /@22.5072742,74.9071182,11z/data=!3m1!4b1!4m14!4m 13!1m5!1m1!1s0x39618dfae4c557bf:0x67eedd7a495cec73!2m2!1d74.7907577!2d22.3583144!1m5!1m1!1s0x3962367c2b90b645:0xfc24379c2506743a!2m2!1d75.302 4655!2d22.6012922!3e0 Fig.1.5 https://www.google.com/maps/dir/Bagh,+Madhya+Pradesh+454221/Rajgarh,+Madhya+Pradesh/@2 2.5183453,74.7289497,11z/data=!3m1!4b1!4m14!4m13!

1m5!1m1!1s0x39618dfae4c557bf:0x67eedd7a495cec7 3!2m2!1d74.7907577!2d22.3583144!1m5!1m1!1s0x39617f9292113bf3:0x4a908055d4490b63!2m2!1d74.9463 348!2d22.6785008!3e0

47294,15z/data=!3m1!4b1!4m5!3m4!1s0x39618dfae4c557bf:0x67eedd7a495cec73!8m2!3d22.3583144!

4d74.7907577

Fig.2.18 Author

Fig.1.19 https://www.google.com/maps/place/ Bagh,+Madhya+Pradesh+454221/@22.358311,74.78 47294,15z/data=!3m1!4b1!4m5!3m4!1s0x39618dfae4c557bf:0x67eedd7a495cec73!8m2!3d22.3583144!

4d74.7907577

Fig.2.20 Bagh caves by Marshall, John and others

Fig.1.20 https://www.axismaps.com/blog/

Fig.2.23 Author

Fig.1.21 https://www.axismaps.com/blog/

Fig.2.24 Author

Fig.1.22 https://www.google.com/maps/dir/ Bagh+Print+Workshop,+Madhya+Pradesh+State+Highway+35,+Bagh,+Madhya+Pradesh/Bagh+Caves,+Bagh+Cave+Road,+Naingaon,+Dhar,+Madhy a+Pradesh+454221/@22.3474868,74.7754039,14z/da

Fig.2.25 Author

Fig.1.23 https://www.google.com/maps/dir/ Bagh+Print+Workshop,+Madhya+Pradesh+State+Highway+35,+Bagh,+Madhya+Pradesh/Bagh+Caves,+Bagh+Cave+Road,+Naingaon,+Dhar,+Madhy

Fig.2.28 Author

Fig.1.24 https://www.google.com/maps/dir/ Bagh+Print+Workshop,+Madhya+Pradesh+State+Highway+35,+Bagh,+Madhya+Pradesh/Bagh+Caves,+Bagh+Cave+Road,+Naingaon,+Dhar,+Madhy

Fig.2.19 Author

Fig.2.21 Bagh caves by Marshall, John and others Fig.2.22 Bagh caves by Marshall, John and others

Fig.2.26 Author Fig.2.27 Author

Fig.2.29 Author Fig.2.30 Author Fig.2.31 Author Fig.2.32 Author

Fig.1.6https://www.google.com/maps/dir/Bagh,+Madhya+Pradesh+454221/Kukshi,+Madhya+Pradesh/@22.2 819569,74.7032287,12z/data=!3m1!4b1!4m14!4m13!1m5 !1m1!1s0x39618dfae4c557bf:0x67eedd7a495cec73!2m 2!1d74.7907577!2d22.3583144!1m5!1m1!1s0x3961ed95e 55e5ccf:0x2489bc0c6bc5d800!2m2!1d74.7556518!2d22 .2068295!3e0

CHAPTER 2

Fig.2.33 Author

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Fig2.35 Author

Fig.2.3 Author

CHAPTER 3

Fig.1.7 https://images.app.goo.gl/eJDPJJ26EPQgBXSB6 Fig.1.8 https://www.candafoundation.org/latest/ press/2019/03/organic-cotton-traceability

Fig.2.4 Author

Fig.3.1 http://www.studiobka.com/blog/2018/1/2/ adaptive-reuse-along-historic-corridor-before-afters

Fig.1.9 https://anotherglobaleater.wordpress.com/tag/ dhar/

Fig.2.5 https://www.naidunia.com/madhya-pradesh/ jhabua-bhagoriya-2020-peopel-celebrate-bhagoriya-festival-in-jhabua-ranapur-and-alirajpur-see-pictures-5407054

294,3328m/data=!3m2!1e3!4b1!4m5!3m4!1s0x39618dfae4c557bf:0x67eedd7a495cec73!8m2!3d22.3583144!

4d74.7907577 Fig.5.2 https://www.google.com/maps/dir/Bagh+Fort,+Bagh,+Madhya+Pradesh/Bagh+Caves,+Bagh+Cave+Road,+Naingaon,+Dhar,+Madhya+Pradesh+ 454221/@22.3430882,74.7754039,14z/data=!3m1!4b 1!4m14!4m13!1m5!1m1!1s0x39618dfb5fa0e275:0xd843960407f5e4e6!2m2!1d74.7909291!2d22.3625818!1m 5!1m1!1s0x39618d0a8e3c14b7:0x7beb7d6130406eee!2 m2!1d74.8055273!2d22.3235965!3e0 Fig.5.3 Author Fig.5.4 Author Fig.5.5 Author Fig.5.6 Author Fig.5.7 Author Fig.5.8 Author Fig.5.9 Author Fig.5.10 Author Fig.5.11 Author Fig.5.12 Author Fig.5.13 Author Fig.5.14 Author

CHAPTER 6 Fig.6.1 Author

CHAPTER 4

Fig.6.2 Author

Fig.4.1 https://www.archdaily.com/931697/ adaptive-reuse-4-projects-giving-new-life-to-architectural-heritage/5e1345bc3312fd5855000295adaptive-reuse-4-projects-giving-new-life-to-architectural-heritage-image

Fig.6.3 Author

Fig.4.2 https://fmlink.com/articles/iida-2017-interior-design-competition-winners/

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Fig.1.10 https://www.alamy.com/stock-photo-women-during-the-chili-harvest-madhya-pradesh-indiaasia-48789669.html

Fig.2.6 Author

Fig.1.11 https://www.tripoto.com/dhar/places-to-visit

Fig.2.8 Author

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Fig.2.10 Author

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Fig.4.3 https://www.archdaily.com/795982/reframe-alexandru-fleseriu-plus-peter-eszter/57e741c9e58ece9e1d000219-reframe-alexandru-fleseriu-plus-peter-eszter-photo

Fig.1.15 Author

Fig.2.12 Author

Fig.4.4 Author

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Fig.1.16 https://www.youtube.com/watch?v=MuoM79OaKno

Fig.2.13 Author

Fig.4.5 https://rsagoa.in/soro.php

Fig.6.11 Author

Fig.2.14 Author

Fig.4.6 https://www.alamy.com/stock-photo/duskbaradari.html

Fig.6.12 Author

Fig.1.17 https://www.youtube.com/watch?v=MuoM79OaKno Fig.1.18 https://www.google.com/maps/place/ Bagh,+Madhya+Pradesh+454221/@22.358311,74.78

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Fig.2.7 Author

Fig.2.15 Author Fig.2.16 Author Fig.2.17 Author

CHAPTER 5 Fig.5.1 https://www.google.com/maps/place/ Bagh,+Madhya+Pradesh+454221/@22.358311,74.7847

Fig.6.4 Author Fig.6.5 Author

Fig.6.7 Author Fig.6.8 Author Fig.6.9 Author

Fig.6.13 Author Fig.6.14 Author

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REFRENCES Fig.6.15 Author

Fig.7.30 Author

CHAPTER 1

Fig.6.16 Author

Fig.7.31 Author

Fig.6.17 Author

Fig.7.32 Author

https://www.explorationscompany.com/asia/experience-asia/india/central-india/architectural-and-cultural-marvels-of-madhya-pradesh-in-central-india

Fig.6.18 Author

Fig.7.33 Author

https://en.wikipedia.org/wiki/Kukshi

CHAPTER 7

http://jainsite.in/jain-tirth/talanpur-tirth/

Fig.7.1 Author

https://www.cleartrip.com/india/dhar

Fig.7.2 Author

https://en.wikipedia.org/wiki/Bagh,_Dhar

Fig.7.3 Author Fig.7.4 Author Fig.7.5 Author Fig.7.6 Author Fig.7.7 Author

CHAPTER 2 Bagh caves by marshall, John and others Bagh caves in Gwalior State Art Of Ancient India: Budddhist, Hindu, Jain

Fig.7.8 Author

CHAPTER 3

Fig.7.9 Author

https://blog.dormakaba.com/adaptive-reuse-paving-the-way-for-a-more-sustainable-construction-industry/

Fig.7.10 Author Fig.7.11 Author

https://fg.primsk.ru/27

Fig.7.12 Author Fig.7.13 Author Fig.7.14 Author Fig.7.15 Author Fig.7.16 Author Fig.7.17 Author Fig.7.18 Author Fig.7.19 Author Fig.7.20 Author Fig.7.21 Author Fig.7.22 Author Fig.7.23 Author Fig.7.24 Author Fig.7.25 Author Fig.7.26 Author Fig.7.27 Author Fig.7.28 Author Fig.7.29 Author

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