Architectural Conservation and Urban Regeneration Portfolio

Portfolio Academic & Professional Lakshmi R Conservation Architect

Portfolio Academic & Professional Lakshmi R Conservation Architect

All contents belong to the author unless specified otherwise.

CONTENTS M. Arch in Conservation and Regeneration CEPT University 8

Sacred Identity as a Tool for Urban Regen A case of Madurai’s historic core

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Restoration Toolbox: Cast Iron elements A case of Chettinad Houses/Mansions

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General Post Office: Conservation Case of 20th Century Heritage in Ahmedabad

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Premal Jyoti Complex: A Study Case of 20th Century Heritage in Ahmedabad Junior Architect Beyond Built Pvt. Ltd., New Delhi

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Eco Restoration: Badshahpur Corridor Gurugram, Hariyana B. Arch R.V.S. School of Architecture, Coimbatore

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Ramgram: A space for Ramayana Reinvigorating the epic, Ayodhya, Uttar Pradesh Student Intern CRCI India Pvt. Ltd., New Delhi

Note: Click on the project titles to jump to the specified page

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Heritage Interpretation For sites in Amritsar, Punjab

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Townhall: Adaptive Reuse and Conservation Amritsar, Punjab

Portfolio- Lakshmi R. | July 2021

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Sacred Identity as a tool for Urban Regen

01 SACRED IDENTITY AS A TOOL FOR URBAN REGEN A Case of Madurai’s Historic Zone - I M.Arch I Semester IV I Urban Regeneration Tutors: Dr. Jigna Desai, Jayashree Bardhan Teaching Assistant: Zeus Pithawalla

Historic cities over time have been evolving and it puts further developmental pressures on them. At times the solutions for these pressures prove to be threatening. In such cases how do we uphold the image of the city? What puts the image of the city under threat? And how does it impact its identity?

Identity as a tool!

The study focuses on Madurai’s historic zone -1 demarcated under the City Heritage Developmental Plan 2008. Reading the place’s history along with site observations and existing proposals revealed a gap in recognition of some of the identified assets while two of the proposals pose a major threat to the image of the city on which beholds the city’s significance.

As a response to the issues identified, the eastern axis of the city was analyzed. Elements of sacredness composing of tangible and intangible elements were formulated which could serve as codes in any decision-making process.

Further, these codes have been applied in the chosen area of study, broadly categorized into policy-level suggestions and interventions.

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Tracing the City’s Evolution

6th century AD

13th century AD

Fig 1.1: Siva shrine in the forest, Information Source: Periya Puranam, 500 AD

Fig 1.2: Temple at the centre, Pandyan fort developed Information Source: CHDP Madurai, 2008

17th century AD

20th century AD

21st century AD

Fig 1.3: Destructed city rebuilt by Nayakas as per ancient texts, Information Source: Historic Map; Madurai District Gazetteer, 1906

Fig 1.4: Fort wall demolished, Growth on the N side Information Source: CHDP, 2008; Madurai District Gazetteer, 1906

Fig 1.5: Growth on all sides, Municipal Corporation formed Information Source: MMC Website, 2021

The city’s evolution was understood with reference to the maps and events in literature study and have been presented in 5 stages- of which the first two being conjectural solely based on texts and the rest made overlaying old and present maps.

Sources: 1. (Madurai District Gazetteer,1906); 2. (Tamil eight hundred years ago, 1904); 3. (Periya Puranam, 500 AD); 4. (Madura Country, 1868); 5. (Chowksi, 2012); 6. (City Heritage Development Plan, 2008); 7. (Seventy-five years in the Madura Mission, 1912);

City as a Mandala Designed as per ancient text Manasashilpashastra, Madurai reflects the Rajdhani layout with respect to size. The temple of Siva at the center, the street in concentric pattern reflects the Sarvotabhadra scheme with respect to shape and function.

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Sacred Identity as a tool for Urban Regen

Edge Conditions Primary streets concentric in the pattern have busy vehicular-pedestrian conditions on the outer while inner streets are quiet being pedestrianized zones. Secondary streets have residences - colonial and contemporary.

Tertiary streets are narrow lanes having pre-colonial and mostly contemporary residences. Houses old or new, display strong house-street interaction by its verandahs and, kolams forming the threshold of every household.

Primary Streets (Veedhi)

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Fig 1.6: Inner Pedestrianized street (Chittirai), Avani Moolai street & Masi street edge conditions; Information Source: Site observations

Secondary Streets

Tertiary Streets (Sandhu)

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Fig 1.7: A secondary street (colonial -contemporary) house edge conditions; Information Source: Site observations

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Fig 1.8: A tertiary street edge conditions; Information Source: Site observations

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Layers of Heritage Assets Street Hierarchies

Important Buildings

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Fig 1.9: Street hierarchies; Base Map Source: MMC Survey Plan 2018, Edited by Author

Fig 1.10: Important historical buildings; Base Map Source: MMC Survey Plan 2018, Edited by Author

The primary streets taking the circular pattern - reflect the temple prakarams (circumambulation paths). The secondary streets run perpendicular - mostly commercial with certain parts retaining the residential character. The tertiary roads formed organically over time forms the residential settlements.

Buildings identified as having historical and associative significance with reference to the timeline. Buildings dating from the 7th century as the center Meenakshi temple, 14th-century dargahs, Nayak’s 17th-century buildings, 20th-century churches, and other government institutions.

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Sacred Identity as a tool for Urban Regen

Other Buildings and Spaces

Festival Routes

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Fig 1.11: Other buildings and spaces; Information Source: (Guru, 2017), (Bathsha, 2020) & Author

Fig 1.12: Festival Routes; Information Source: Smith, 1969 and https://www.maduraimeenakshi.org/festivals.html

A typical character of the space was identified based on site visits - linear spaces with residences, open spaces, temples within the community big and small. Further, mapping done with reference of two sources as mentioned above of pre and post 19th century structures.

In Madurai, festivals happen throughout the year starting with the Tamil calendar - Chittirai month. The events are associated with the myths and stories prevalent with the deities Meenakshi and Sundereshwar of the central temple. The concentric streets take a sacred dimension during these times.

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Fig 1.13: East-West Sectional Elevation; Temple Section Reference Source: AMACE, 2020

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Identified Attributes Below is a bricolage of attributes identified upon cultural mapping with reference to the historical timeline, archival research, and site study. These attributes have the associative, technological, spiritual, historical, and scientific

values imbibed in them. These when read together make the collective significance of Madurai’s historic core, elaborated below.

Fig 1.14: A bricolage of Identified attributes Source: Based on cultural mapping

Statement of Significance The city of Madurai developed with the Meenakshi Amman Temple at its center, based on the Mandala layout with its temple towers as cardinal points determining the axial planning and defining the image of the city, concentric streets designed to accommodate festivals, and for the social hierarchical classification. The festive ritual which continues to be practiced till day contributes to the social value along with untwining the myths and histories 12

associated with the place. Madurai is one of the examples that represent a unique urban genotype (NL, Thilagam; Banerjee, 2015) of Tamil Nadu temple towns. This living town with its continuity of usage as a sacred landscape makes it a place for economic activity. Madurai under different time periods is reflected in the buildings exhibiting architectural elements from the Dravidian to colonial architecture.

Sacred Identity as a tool for Urban Regen

Area of Study The pilot area was chosen as per cultural mapping based on : 1. Eastern part forms the start point of a devotee’s experience to the temple with the approach streets (Amman Sannathi and Swami Sannathi); 2. All festivals starts and ends at this part - takes the Amman Sannathi street and diverges from that point

3. Developmental pressures with commercialization; 4. Majority of Smart City Proposals; 5. Cluster of Historical buildings and significant urban relations

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Fig 1.15: Area of Study Information Source: Site Observations and Conversations

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Sacred Buildings and Practices

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Fig 1.16: Mapping Sacred Buildings and their associated practices; Infomation Source: Site Observations and Conversations

Sensory Mapping

Fig 1.17: Sensory Mapping (Smell, Sound, Touch, Visual points); Source: Site Observations and Conversations

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Sacred Identity as a tool for Urban Regen

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Analysis: Sacred and Profane - Amman Sannathi Street Amman Sannathi Street - one of the two approach streets is analyzed as per elements of sensory mapping to understand what contributes to sacred and the profane.

Inferences View of Amman Thermutti, Vittavasal as a frame, View of the gopuram Camphor, sandal, turmeric, kumkum smell from the temple present in the ground floor of Thermutti structure, Pooja articles fragrance from the presence of a small shrine which is worshipped by the locals, fragrance of flowers and pooja articles as one gets closer to the temple.

Fragrance of camphor, flowers by the presence of street vendors and semi permanent shops 16

Sound of pooja bells from the small temple, The sound of temple bells of the main temple Transition from hot to cold felt in the Vittavasal and Nagara Mandapam being a threshold. Flooring pattern contributing to the sense of touch

Sacred Identity as a tool for Urban Regen

Fig 1.18: Serial Vision: Amman Sannathi Street; Information Source: Site Observations

Analysis: Sacred and Profane - Amman Sannathi Street

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Fig 1.19: Amman Sannathi Street- Plan and Sectional Elevation; Information Source: Site Observations

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Analysis: Sacred and Profane - Swami Sannathi Street Swami Sannathi Street - one of the two approach streets is analyzed as per elements of sensory mapping to understand what contributes to sacred and the profane.

Inferences

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View of Amman and Swami Thermuttis, Presence of pooja articles shops, views of Raya gopuram, Pudu Mandapam, Nandi statue and east gopuram behind as one moves forward, Views along the corridors of the Mandapam

Temple bells at the Kanchanamala Temple, Silence felt at the entrance and exit

Pooja articles shops (camphor, sandal, kumkum), Pooja articles smell at the Kanchanamala temple and at the shrine at one of the columns in Raya gopuram

Change in paving from East Masi to Sannathi street, Paving texture, sense of invisible enclosure while passing through Raya gopuram, Sense of coldness

Sacred Identity as a tool for Urban Regen

Fig 1.20: Serial Vision: Swami Sannathi Street; Information Source: Site Observations

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Fig 1.21: Swami Sannathi Street- Plan and Sectional Elevation; Information Source: Site Observations

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Source Codes - Elements of Sacredness Based on the analysis of the area of study - Amman and Swami Sannathi streets, elements/components have been categorized. Within the broader categories of tangible and intangible, it has buildings, textures, smell, sound,

Fig 1.22: Source Codes- Elements of Sacredness; Information Source: Based on analysis of study area

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temperature differences, objects, objects in sacred spaces/buildings as the subcategories.

Sacred Identity as a tool for Urban Regen

Condition Mapping - Along the heritage assets Specific sections along the heritage assets looked at to further understand issues around them.

Fig 1.23: Cross section along Vittavasal; Information Source: Site Observations

Fig 1.24: Cross section along Amman Sannthi street; Information Source: Site Observations

Fig 2.3: Madurai in 17 th century AD, Information Source: CHDP, 2018; Madurai District Gazetteer, 1906

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Fig 1.25: Cross section along Raya Gopuram; Information Source: Site Observations Fig 1.26: Image showing conditions, Information Source: CHDP, 2018; Madurai District Gazetteer, 1906

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Threats within the Smart City Proposal The Raya Gopuram Proposal The proposal by the Smart City intends to utilize the open space above the Raya gopuram, adding green, artist spaces. A bridge is proposed to be built connecting the base of the two gopurams.

As mentioned in the analysis earlier, Raya gopuram though an incomplete gopuram holds sacredness, and hence building over it would disrespect the sanctity.

The gopurams are the thresholds of the temple and the image of the city and direct one to the sky (God). It is the vertical plane that breaks the horizontal plane.

Thus, gopurams are to be looked at and not from it, and building a recreational space will also harm the heritage value with respect to the image of the city.

Fig 1.27: Rayagopuram area- Existing (left); Interpreting the threat within Smart City Proposal (right); Information Source: Site Observations, Madurai Smart City DPR, Karwin 2018

The Pudhu Mandapam Proposal Smart City proposal intends to shift/relocate the shops to a building adjacent. The issues mentioned are vandalism, material loss/integrity. Unutilized and overutilized spaces As mentioned in the analysis, meanings over time become important, and in the case of Pudu Mandapam also, the local visitors associate and consider objects of sacred value when its bought from the Pudu Mandapam - and hence relocating the shops might affect the existing cultural economy. Apart from the spatial relations- the association shopkeepers hold for selling in this space is important to be maintained.

The issues associated with the material and spatial qualities are- shops along the nave are causing visual hindrance while the ones along the corners have been nailed into the columns.

Fig 1.28: Existing Issues at the Pudhu Mandapam; Information Source: Site Observations, Madurai Smart City DPR, Karwin 2018

Reviewing Existing Bylaws No specific guidelines are specific to Madurai’s heritage core. Hence, Annexure XVI within the Tamil Nadu Combined Development and Regulations, 2019 which is specific for heritage precincts conservation has been reviewed to identify gaps and possibilities for inclusion of guidelines for Madurai’s historic core within the provided points.

1. Listing buildings/precinct description Could also specify the methods on identification of precinct.

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2. Restriction on Development/Redevelopment/ Repairs, etc.

To include specific regulations if under this heading or could be changed to relation to permissions.

3. Preparation of list of Heritage Buildings and Heritage Precincts Important point- considering stakeholder participation in decision making.

7. Maintaining skyline Should also include other elements that might destroy the architectural /other value. Points

related to visual experience can be added here.

10. Grading of the Listed Buildings/Listed Precincts: To extend the considerations of vista/surrounding development for other buildings if it defines the character of the area- could be by adding a special case section.

11. Composition of heritage conservation committee for areas other than Chennai Metropolitan Area.

Inclusion of the temple sthapati in the Heritage Conservation Committee.

Sacred Identity as a tool for Urban Regen

Developing the Proposal Strategies

Aim To enhance the experience of the visitor along with conserving the image of the city that contributes to the quality of life (spiritual)

Approach Using the elements that define the significance in designing/decision making. In this case the source code - elements of sacredness would be used in taking informed decisions.

Fig 1.29: Strategies diagram; Source: Based on elements of sacredness and issues observed on site

Conceptual Proposal With a code specific approach based on sacred elements and the issues studied, the conceptual

proposal is categorized into: 1. Policy level suggestions and 2. Interventions

Fig 1.30: Conceptual Proposal; Source: Based on approach , strategies and scope

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Proposal - Policy Level Suggestions

1. Maintaining the Vista ( Based on visual element of sacredness) a. No new construction to go beyond 6m in the historic core b. No new construction to go beyond the height of the monuments identified as tangible assets up to a distance based on visibility index c. No imitation allowed of elements of the temple/monuments nor other listed buildings should be allowed d. Canopies of the shops not to extend beyond the specified line e. Hoardings to be of standard height and at the specified clear height for contemporary buildings f. Hoarding of specified size to be used for listed buildings g. Restoration of identified heritage structures (listed buildings) and regular maintenance to be followed h. No display of shops to extend beyond the specified line i. Shops with permanent and semi-permanent structures should not appropriate the street j. Street vendors to use the space within the specified line and not allowed in front of structures except Pudu Mandapam and other areas that are prone to affect the temple economy k. Bright colors that would overpower the identified heritage structures should not be done l. Proportions of the buildings should not overpower the identified heritage structures m. Alteration to heritage buildings should be based on conservation guidelines n. All the identified heritage buildings to be well lit with special-purpose lighting during the night

Fig 1.31: Policy Level Suggestions- Maintaining the Vista ( Based on visual element of sacredness); Information Source: Based on site observations and gaps within policies and proposals

2. Based on auditory and olfactory elements of sacredness a. Only one-way traffic permitted on the East Masi street b. Shops- permanent, semi-permanent, and temporary that contribute to the sense of sacred experience should be retained (Pooja articles - kumkum turmeric, sandalwood, flowers). c. Dustbins to be regularly cleaned to retain the sense of the place and well being d. No loading and unloading activities to take place in the pedestrianized streets (Sannathi streets and East Avani Moolai) from 9 am to 12 pm and 1 pm to 7 pm e. No parking allowed in the demarcated eastern precinct Fig 1.32: Policy Level Suggestions- Based on auditory and olfactory elements of sacredness; Information Source: Based on site observations and gaps within policies and proposals

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Sacred Identity as a tool for Urban Regen

3. Based on temple economy element of sacredness a. Shops within Pudhumandapam, and other areas identified to work on the temple economy, should be retained unless their relocation would not disrupt the existing economic generation b. Shops and activities - permanent, semi-permanent, temporary should be considered to be retained during the decision-making process c. Incase of conditions where their presence is a threat to the material fabric and spatial qualities - redesigning of spaces and lines of extension should be specified and considered.

4. Based on threshold element of sacredness

Fig 1.33: Above-Based on temple economy element; Below- Based on threshold element of sacredness; Information Source: Based on site observations and gaps within policies and proposals

a. Special areas be denoted-Vittavassal, Rayagopuram, Pudhumandapam, Nagaramandapam b. No street vendors allowed within thresholds c. No painting, display of any kind of advertisements, or any intervention that on the material fabric is permissible in any of these identified thresholds d. No new construction in and around nor to extend the heights of the identified thresholds within a specified limit e. Even within the spaces permitted for commercial use - requires regularizing the existing encroachments f. Removal of encroachments that are harmful along with detailed survey and alterative proposals and interventions j. No interventions above these thresholds should be permitted. k. All the thresholds to be well maintained as per conservation requirements l. No commercial activities within the identified boundaries up to a specified distance except for Pudu Mandapam and Nagara Mandapam were identified to have existed over a long period and in the case of Pudu Mandapam related to the temple economy m. All interventions should be minimal and reversible

Fig 1.34: Sacred codes and components in decision making

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Proposal- Interventions

The Pudhumandapam holds a special place for citizens of Madurai as well as the devotees who visit here. The articles sold here are majorly related to tailoring, miniature outfits for the deities, and other puja articles. Buying an ‘article from Pudhumandapam’ is a sacred ritual for devotees.

Historically, Pudhumandapam has been a place of gathering and function slowly shifting to temple-related activities as the kingdom vanished.

Thus it is proposed that the vendors within the Pudhumandapam retain their place within the mandapam. The threat to the building can be negotiated by regularizing the placement of vendors and designing a free-standing vending cubicle. The central nave remains empty as a thoroughfare and for festival-related activities whenever required.

Rayagopuram is one of the important markers of the cardinal directions in Madurai. Once visualized to be the largest Gopuram, it forms an important part of the vista on the Easter side. Currently partially covered by rising ground level, archaeological excavation around the Gopuram is proposed.

The adjacent structures to be relocated and the open plot to be connected to the excavation forming an interpretation and exhibition centre which will include the following: 1. Glass panel showing interpretation of complete Gopuram 2. Exhibition panels about the cosmic city plan 3. VR cubicle giving people an experience of walking through the different parts of historic city.

Fig 1.35: Proposal- Interventions at Raya Gopuram; Information Source: Based on site observations and gaps within policies and proposals

Suggestions to the Smart City Plan Vendors from Pudhumandapam should be retained as it contributes to the sacred experience of the devotees and visitors. Structural and Visual integrity of Rayagopuram should be retained. Funds should be instead diverted to archaeological excavation and interpretation centres.

Located on East Masi street, the Thermutti’s location is sacred for its direct connection to the Meenakshi and Sundreshwar shrine. It is here where the chariots start moving during the festivals. As mentioned earlier, the traffic flow is changed to decongest the area, and parking is shifted to the new parking lot. An elevated glass box between the two Thermuttis is proposed where visitors can experience the festive times.

The walls are screens that overlay the festive processions on them through Augmented Reality. In the evening the Thermuttis themselves can be used as a canvas for lights to display a show.

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Fig 1.36: Proposal- Interventions at Thermutti; Information Source: Based on site observations and gaps within policies and proposals

Sacred Identity as a tool for Urban Regen

The Elu Kadal Tank formed an important part of the eastern vista and was a part of the cosmic city plan. This tank is now taken over by a multistoreyed shopping complex. But the shrine at the centre still exists. The position of the tank with respect to the Rayagopuram and its vista is very evident and cannot be ignored. The footprint of the tank stays intact with a shrine in the centre which one cannot ignore as they pass by. Keeping the current building intact, the periphery of the premises is made into softscape to remind one of the change in material that once existed in form of water of the tank.

All shops related to local economy and local souvinier are proposed to be on the ground floor so that the visitors walking into this space can engage into shopping and at the same time go around knowing more about tanks of Madurai displayed on peripheral walls.

Fig 1.37: Proposal- Interventions at Elukadal tank building; Information Source: Based on site observations and gaps within policies and proposals

Way Forward

Fig 1.38: Way forward; Information Source: Based on proposed tasks and stakeholder role analysis

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“Expression of gratitude towards Amman (Goddess Meenakshi) by every person I conversed with brings forth a strong sense of association of the markets with religion working as a complex system of temple economy”

From on-site conversations at central Madurai’s eastern axis

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Sacred Identity as a tool for Urban Regen

Acknowledgements: Tutors: Dr. Jigna Desai, Jayashree Bardhan; Teaching Assistant: Zeus Pithawalla; Officials of Smart City and Madurai Municipal Corporation; Residents and Users of Madurai’s Historic Core; AMACE Students 2020 batch; Architects: Sabrina Khan Patel, Dhrishya V, Sarvesh Alshi, Shrimathi Porche Family: Amma, Achan and Monu

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Restoration Toolbox for Cast Iron elements

02 RESTORATION TOOLBOX: CAST IRON ELEMENTS A Case of Chettinad Houses/Mansions M.Arch I Semester III I Directed Research Program Guide: Aishwarya Tipnis I Studio ATA, New Delhi Tutors: Ashna Patel, Sabrina Khan Patel Teaching Assistant: Zeus Pithawalla

Technological advancement in building materials has led to progress in construction methods and the evolution of built forms. Cast iron, a product of industrialization was used widely for its properties like prototyping, mass production, and creating identical designs. India imported cast iron and these elements are seen in many 19th and 20th century traditional houses and settlements in India, which were a result of trade relations during the British rule. But, with further advancement in steel technology, cast iron- which was once used as a decorative material showcasing columns, brackets, and grills, is currently limited to landscape and outdoor furniture. The historic cast iron used across various building typologies is facing a threat due to deterioration or replacement by other materials. The major reason for this is the lack of understanding of significance and knowledge on the ways to conserve them. The technical know-how and technological advancement in contemporary times have been restricted to non-architectural and non-decorative building elements.

The research attempts to build a relationship between what exists in the industry and what is needed from the conservation perspective especially in terms of techniques and resources. Through a pilot study of Chettinad houses/ mansions, it is attempted to understand various deterioration patterns and feasibility of ways to preserve, restore or reproduce. This culminates into the toolbox answering the questions of what, when, and how to do. The scope of the study is limited to non-structural defects and visual observations based on rapid survey and telephonic/ video conversations, due to restrictions imposed by the covid-19 pandemic.

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Reading together the Indian and World Timeline of Cast Iron The usage peaked in the Mid-18th century which was when the industrial revolution took place. The same reflection can be seen in India with the arrival

of company rule. Even though the peak period of cast iron was short-lived, the progress made during this time was extraordinary which can be seen

Fig 2.1: Cast Iron timeline; Information Source: Raman, 2020; English Heritage, 2012; Calmet, 2017; Maharaj, 2012

Challenges of Built Heritage Conservation in India India’s cultural heritage may be as great as that of any country in the world and the architecture of British India is now a ‘shared heritage’ of classicism, art deco, brick and lime plaster, Minton tiles, and cast iron from Glasgow (Simpson, 2017). Even though the value of heritage is high with multiple

influences, the efforts to conserve have started very recently. Certain challenges to conservation that may exist otherwise are aggravated in the Indian context. This sharing of the timeline is an important aspect that marks a great exchange of culture through the medium of cast iron..

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Restoration Toolbox for Cast Iron elements

in the timeline with many landmark buildings and events. In India, cast iron elements were imported from Europe facilitating the cultural exchange. This

sharing of the timeline is an important aspect that marks a great exchange of culture through the medium of cast iron.

Fig 2.2: 1.,2.Esplanade Mansion, (Jharia, 2020); 3.,4.Messbari’s in Kolkata, (Paul, 2019) (Mukherjee, 2019);5.,6.,7., Cast iron elements being sold at local antique markets in Karaikudi

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Taking reference of Sir Bernard Fieldon’s Conservation philosophy

Fig 2.3: Sir Bernard Fieldon’s Conservation philosophy; Information Source: Conservation of Historic Buildings

Sustenance- Bridging the Gap

‘The maintaining of someone or something in life or existence is known as sustenance.

On looking at the historic and contemporary ironwork through the various parameters- a vast shift in the use of elements can be observed from historic cast iron as a structural and decorative element to current practices limited to decorative railings, lamp posts, garden, and public furniture.

It can also be noticed that the traditional process of sand casting continues to exist, along with newer advancements in technology such as die casting. The traditional process of cast iron making involves a wide array of skills starting with the pattern maker, an ironworker for molding, finishing, and assembly, and the same is seen in contemporary practices. However, since the end of the 19th century, cast iron saw a decline in foundries due to replacement by other substitute materials, leading to loss of craftsmen and transfer of knowledge.

The current status of historic cast ironwork as is under threat and vulnerable to loss while the demand for cast iron continues on a moderate level depending on its need.

Fig 2.4: Sustenance- Bridging the gap; Information Source: English Heritage, 2012; Jessani, 2016

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Restoration Toolbox for Cast Iron elements

Aim The research intends to establish a framework for investigating the practical and cost-effective solutions that are locally sustainable to preserve, restore and reproduce the 19th and 20th-century decorative cast iron elements.

It aims to demonstrate this through the case of Chettinad mansions, Tamil Nadu which is visualised to culminate into a user-friendly toolbox.

Objectives - Assimilate the history of production and application of cast iron in India, focussing particularly on the Chettinad mansions, Tamil Nadu.

- Document the Cast Iron elements as a 19th and 20th-century building material in Chettinad mansions and study their construction techniques.

- Undertake a visual survey of deterioration and damage in the Cast Iron elements on the selected houses.

- Identify compatible, economical solutions for preservation, restoration, and reproduction available in the market within the region, around the region, and within India.

Research Questions

Fig 2.5: Research Methodology flow chart

1. What are the different methods of preservation, restoration, and reproduction of decorative Cast Iron elements?

2. How well do these methods work in the context of Chettinad with respect to proximity, environmental impact, cost-effectiveness, and ease of doing?

3. What are the best/ right methods one can employ?

Scope and Limitations - The study is exclusively focussed on decorative cast iron as a historic building material only in Chettinad Mansions, Tamil Nadu - Study of material science of cast iron is a key component in understanding the pathology of defects, however, it is limited to the knowledge acquired per literature study, interviews, and no prior knowledge on the ground.

- Study of deterioration and damage is limited to non-structural aspects.

- Concerns of structural stability in the elements studied are beyond the scope of this research as it entails the use of NDT, other assessment techniques for providing feasible solutions.

- The study of deterioration/damage is limited to the visual condition mapping only.

- The arrival at the solutions is based on an analysis of literature, different opinions of solutions by experts, vendors - With the travel restrictions imposed by the pandemic situation due to covid19, the entire research is based on available secondary sources and narratives through telephonic/mail interviews and conversations.

- Site visit to Chettinad was a short visit of around 6 hours which covered two clusters of houses as well as an antique market situated at a distance from each other. Thus, the documentation of elements in terms of their physical features and deterioration is restricted to quick visual observations.

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Understanding Cast Iron- Manufacturing A metal is chemically defined as any element that easily loses electrons to form positive ions or cations. It was only in the 17th century that metals started finding their use in architecture, although the art of metalworking dates to much earlier times. Every metal or alloy exhibits different characteristics because of its composition, refining, and formation methods. Thus, it was very common to see the usage of different metals in one building, for its strength and flexible properties.

Iron and its alloys are categorized as ferrous metals. Iron, being one of the abundant materials found in the earth’s crust, found its vast application in buildings. Of which wrought iron was the earliest followed by cast iron, steel, and many others.

The process of cast iron starts with extraction by mining, followed by smelting in the blast furnace to form pig iron, which is remelted in a cupola furnace to get molten iron. This molten iron cast in a sand mould gives cast iron. This, however, tends to go back to the original iron oxide form by corrosion.

Fig 2.6: Cast Iron Cycle

Extraction

Smelting

Iron can be found in iron ores in the purest form. With the establishment of mining, extraction of iron from the ores became easier. Iron ore is found as oxides most commonly in two forms haematite (Fe2O3) and magnetite (Fe3O4)

The smelting process dates back as early as the Iron Age when a spongy molten metal was produced called bloom. Before the Pre-Industrial times, wrought iron saw its application in tools, fasteners, ornamentation which was produced using the bloom from the small-scale bloomeries by bending and hammering.

While Iron has a strong affinity for oxygen, carbon shows an even stronger affinity for oxygen. This resulted in the use of carbon heating at high temperatures to combine with oxygen in the iron ore, leaving metal behind; and is known as the smelting process (Forsyth, 2008)

Fig 2.7: Extraction of Iron Ore

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Fig 2.8: Smelting in a blast furnace from Pig iron

Restoration Toolbox for Cast Iron elements

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Fig 2.9: 1. Pig iron; 2. Coke; 3. Sand; 4. Molasses; 5. Bentonite Powder; 6. Mould box; 7. Pattern; 8. Drawing; 9. Cupola furnace; 10. Molasses mixing machine; 11. Sand mixing machine; 12. Electric grinder; 13. Chisel; 14. Hammer

Traditional Sand Casting Process

Fig 2.10: Traditional sand casting process

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Understanding Cast Iron- Properties Physical Properties Cast iron can be visually identified by its two-dimensional, heavy, and coarse appearance. They are mostly identical and have repetitive sections. The result of flexibility in design is reflected in its ornate and varying thickness along the length of the member. Sometimes, mould lines, porosity, and inclusions from casting processes might be visible. In cast iron, they are joined and connected either by bolted or interlocking systems held in place by a fixing medium and are never welded especially in the case of a traditional grey cast iron.

Mechanical High carbon content is the reason for brittleness in cast iron. Cast iron is a material good in compression and hence is seen in columns. However, they are weak in tension. The brittle nature of cast iron makes it poor resistant to mechanical and thermal shock and they tend to break easily.

Chemical Traditional grey cast iron will have 2-4% carbon. They are crystalline and can be seen as granular flakes when observed under the microscope. Cast iron has good corrosion resistance when compared to other ferrous metals.

However, with time it tends to go back to its original state forming rust and this process is called corrosion

Fig 2.12: Physical Properties; Image Source: English Heritage, 2012; Edited by Author

Fig 2.11: Mechanical Properties; Information Source: English Heritage, 2012

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Fig 2.13: Physical Properties; Image Source: English Heritage, 2012; Edited by Author

Restoration Toolbox for Cast Iron elements

Understanding Cast Iron- Pathology of Defects Pathology meaning diagnosis of causes and their effects, this chapter entails understanding the science behind defects in cast iron, their visual appearance, causes, and probable threat.

Defects in any material are closely linked to its properties. Based on readings from (English Heritage, 2012) (Davey, 2013) (Forsyth, 2008) (Historic Scotland, 2005) (Historic Scotland, 2007) (Waite, 1991) (Mitchell, 2017) the defects have been first categorized into five categories: corrosion, mechanical damage, biological colonization, incompatible interventions, and poor maintenance and casting defects.

These are broader categories, and it is never that the visual signs of deteriorations relate to one particular cause, rather it can be due to multiple causes or a different underlying cause. That is what makes it necessary to understand the science behind the causes, to understand the problems better.

Fig 2.15: Incompatibe Interventions and Poor Maintenance; 2.16: Biological Colonization; Information: English Heritage, 2012; Davey, 2013; Forsyth, 2008; Historic Scotland, 2005; Mitchell, 2017

Fig 2.14: Corrosion; Information: English Heritage, 2012; Davey, 2013; Forsyth, 2008; Historic Scotland, 2005; Mitchell, 2017

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Chettinad - Sample Study

Fig 2.17: Timeline; Base Source: Google Maps

Fig 2.18: Inventory- Railing at S.R.M.M.A.M House, Kanadukathan 2.19: Inventory- Railing at a house in Ananda Nagar, Karaikudi

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Restoration Toolbox for Cast Iron elements

Fig 2.20: Inventory- Column at S.A.R.M. House, Karaikudi

Fig 2.21: Inventory- Staircase at S.R.M.M.A.M House, Kanadukathan

Chettinad constitutes a cultural region sprawling across the seas in the east, Vaigai river in the north, Piranmalai mountains in the west, and Vellaru river in the south. They are a network of 73 villages and 2 towns forming clusters situated in the districts of Sivagangai and Pudukottai in Tamil Nadu.

This region was a part of the Madras Presidency and the Princely state of Pudukottai, during the British rule in India. This new wave of colonization by the European powers like England, France, Belgium, and Portugal triggered the growth of communities like Bohras and Parsis in Gujarat, and Gaundars, Mudaliars, Nadars, Shettys, and Chettiars in South India who, by forming a link between the British and the Indians, flourished their trade and commerce through domestic and overseas markets (Shelat, 2012)

the Chettiars who were primarily traders-maintained trade relations with European countries like the UK, Belgium, and Italy as well as were well connected with South East Asia through Burma (Myanmar). This is reflected in the Architecture and ornamentation where materials and expertise from all over the world were brought in constructing and decorating these mansions/ houses. A few examples are the teak wood imported from Burma, satinwood from Ceylon, marble from Italy and Belgium, cast iron from the UK, and other parts of India (UNESCO, 2014).

The Chettiars who were primarily traders-maintained trade relations with European countries like the UK, Belgium, and Italy as well as were well connected with South East Asia through Burma (Myanmar). This reflected in

A variety of cast iron elements were observed in the Chettinad region. They have been categorized which helps in understanding the material and its usage better. Type of elements have repercussions on defects and decay patterns. Elements in the Chettinad region have undergone a series of indigenous adaptations that give its character. Thus, visual integrity becomes an important aspect of the cast iron work here.

Note: Only a small part of the inventory showcased here.

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Analysis Matrix This analysis has been performed by grouping the treatment methods based on (Mitchell, 2017) (English Heritage, 2012) (Davey, 2013) (Forsyth, 2008) (Jessani, 2016) in literature study and analyzing them through the Note: Only a small part of the analysis showcased here.

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four parameters of proximity, cost, ease of doing and environmental/human life impacts. The analysis also takes into information received upon Expert interviews, Market surveys, and India Mart, 2020

Restoration Toolbox for Cast Iron elements

Fig 2.22: Analysis Matrix; Information Source: (Mitchell, 2017) (English Heritage, 2012) (Davey, 2013) (Forsyth, 2008) (Jessani, 2016)

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Case Studies Glossary of defects understood upon literature study from English Heritage, 2012; Davey, 2013; Forsyth, 2008; Historic Scotland, 2005; Historic

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Scotland, 2007; Waite, 1991; Mitchell, 2017 was used in mapping the defects in selected case studies in Chettinad.

Further the analysis matrix has been applied to arrive at the solutions.

Defect : Mild rust stains Extent : Localized Intervention : Preservation Cause : Corrosion Solution : Cleaning by one of the following methods in order of preference.

1. Emery paper and brass wire brush 2. Warm water washing.

3. Mild detergent.

4. Cream polish.

Defect : Discoloration Extent : Localised Intervention : Preservation Solution : Step1- Test the composition of paint.

Step 2- Cleaning with emery paper and brass wire brush.

Step 3- Painting and primer application with same composition.

Defect : Missing component Extent : Entire element Intervention : Replication Cause : Repeated painting over rust.

Solution :Step1-Document similar component Step 2- Making of pattern using traditional method.

Step 3- Casting the missing part using traditional sand casting method.

Step 4- Re inserting using same joinery details

Defect : Obscured details Extent : Element intact Intervention : Preservation Cause : Repeated painting over rust.

Solution : Step1- Cleaning forpaint and rust using any of following: 1. Emery paper & brass wire brush; 2. Needle gun Step 2- Filling using any of following: 1. Filling/ jointing 2. Reprofiling; Step 3- Repainting.

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Restoration Toolbox for Cast Iron elements

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Fig 2.23: 1. Staircase of S.R.M.M.A.M House; 2. Roof Ridge and Railing of S.A.R.M. House; 3. Gate of P.L.V.N.N House; 4. Compound Wall Railing of S.R.M.M.A.M House

Defect : Pores (Small) Extent : Localized Intervention : Preservation Cause : Casting defect Solution : Step1- Cleaning for rust if any Step 2- Filling by any of following methods 1. Filling/ jointing 2. Reprofiling using M-seal 3. Reprofiling using polysulphide sealant.

Defect : Missing Part Extent : Less than 70% of the component Intervention : Restoration Cause : Corrosion/ Mechanical damage Solution : Step1- Cleaning forrust if any.

Step 2- Making ofpattern using traditional method.

Step 3- Casting the missing part using traditional sand casting method; Step 4- Welding in place using flame welding.

Defect : Pores (Small) Extent : Localized Intervention : Preservation Cause : Casting defect Solution : Step1- Cleaning for rust if any Step 2- Filling by any of following methods 1. Filling/ jointing 2. Reprofiling using M-seal 3. Reprofiling using polysulphide sealant.

Defect : Missing Part Extent : Less than 70% of the component Intervention : Restoration Cause : Corrosion/ Mechanical damage Solution : Step1- Cleaning forrust if any.

Step 2- Making ofpattern using traditional method.

Step 3- Casting the missing part using traditional sand casting method; Step 4- Welding in place using flame 45

Portfolio- Lakshmi R. | July 2021

Toolbox This toolbox can be used in isolation for the application to preserve, restore, reproduce, and maintain cast iron elements. Categorized into five sections of Overarching principles, Identification and Prescription, Treatment Procedures, Maintenance Guidelines and Directory of Resources.

The answers or solutions to the sections of the toolbox have been arrived from the previous part of the study and analysis.

References used: NHIG, 2013 for Overarching Principles; 1.1.3 and 5.6 for Identification and Prescription; 5.5 for Treatment Methods, 4.1; 5.6 and NHIG, 2013 for Maintenance Guidelines; 4.4, 5.5 and Market Surveys for Directory of Resources.

Toolbox will be published on Jugaadopolis as an open source for everyone.

https://jugaadopolis.com/research/lakshmi/

Hence, only samples are shown here as part of the portfolio.

Fig 2.24: Toolbox sections explained

Section I: Overarching Principles To record the object as found and at all stages of work An historic object, and all work related to it, must be recorded before, during and after conservation to enable the successors to: current condition, changes

implemented, nature and rate of deterioration the object over a long period, make wise and informed decisions on the on-going care of the object.

1. Click photographs and make 2. Maintain a record of all the cast iron 3. Digitalisation of the records along sketches supported by notes and elements in the building in a separate with continuous physical record. dimensions. log book classified as per element or floor. The same log should be updated with every intervention.

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4. Since cast iron elements are wide spread across the region and have inter relationship, a common record of Chettinad region is advisable in form of a digital inventory.

Restoration Toolbox for Cast Iron elements

To care for and maintain the object to halt or minimize ongoing deterioration Maintenance should be carried out at different intervals for different elements as per their locations and vulnerability. Maintenance schedules are necessary

1. Daily regular maintenance guides.

2. Annual maintenance plans.

to minimise the potential deterioration and damage to historic ironwork. And the danger to those who use or come into contact with the ironwork.

3. Five yearly maintenance plans.

4. Regular inspection, audit and survey

Protecting the surfaces becomes very important for cast iron where it is vulnerable to rusting and damage. Following measures should be adopted:

1. Past coatings should be retained 2. Only the defective portions should 3. Paint samples should be analysed 4. Original colour of the paint should wherever possible. be treated with new coatings. before repainting and the original be retained wherever possible. composition to be reused unless found incompatible or hazardous.

5. Non-intrusive and paint removal 6. Any badly done paint job previously 7. If a modern specification paint is techniques not harming the surface should be rectified to maintain the applied, it should be tested prior to to be used where removal of paint is shape and condition of the elements. application for its compatibility.

Fig 2.25: Overarching Principles

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Section II: Identification and Prescription

Fig 2.26: Identification and Prescription Table

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Restoration Toolbox for Cast Iron elements

Section III: Treatment Methods Brazing/Soldering Tools: Stainless steel (316L) plate or cast-iron plate, Insulation/filler medium (Nylon/Polytetrafluoroethylene/two pack epoxies), Stainless steel bolts/ Countersunk screws, Drilling machine, Paint

Step 1: Step 3: Step 4: Step 2: Paint the stainless steel/cast iron plate. Use drilling machine to drill holes in a Fill the surface to be plated using an Use stainless steel bolts to fix the staggered manner insulating medium. stainless steel/cast iron plate in place.

Brazing/Soldering Tools: Cloth, Fibreglass mat, Acetone, Fibreglass resin, Catalyst, Knife/Blade, Roller/Brush

Step 1: Cloth dipped in acetone..

Step 3: Step 4: Step 2: Use the dipped cloth to wipe the Cut the fibreglass mat to the desired Mix resin and catalyst together for 20 surface and let it dry. size of the section. minutes.

Step 5: Place the fibreglass matrix and apply the resin solution over it using brush.

Step 6: Repeat until fibreglass hardens and finished with a paint.

Fig 2.27: Treatment Methods

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Section IV: Maintenance Planning maintenance of all cast iron work in a building: - Condition Survey to be carried out - Appropriate budget should be allocated as per the amount of cast iron work present.

- All phases of maintenance should be planned in the beginning and a review should be taken after every annual maintenance activity in order to overcome any gaps in the plan.

Fig 2.28: Maintenance table

Section V: Directory of Resources

Fig 2.29: Directory of Resources

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- Chettinad houses being culturally significant, maintenance plan of the house should include a separate section for maintenance of cast iron elements.

- A logbook for all elements should be maintained to record all activities carried out.

- Awareness among all stakeholders involved in maintenance activity is important for successful maintenance.

Restoration Toolbox for Cast Iron elements

Cast Iron Manufacturers

Metal Cleaning Service

Repair Services

Pattern Makers

Labs Fig 2.30: Resource Map; Source: Creating using Google My Map feature

To view the map: https://bit.ly/3ilBmYS

Conclusion and Way Forward Workability in the local context

Way Forward

Appropriate methods that are concluded in chapter 6 are based on the four issues (cost, ease of workability, proximity, and threat to environment/human) earlier. These methods are a conclusion of a step-by-step analysis in the context of Chettinad which may be used by the residents to take forward the preservation, restoration, or reproduction. From the analysis, it can be concluded that the best practices and methods are contextual to a particular place and a certain degree of adaptations need to be made in different places based on the resources available as well as local philosophical challenges.

This also has certain repercussions on the principles which may be interpreted based on variable constraints that differ from place to place. While principles may remain constant, their interpretations transforming into good practices will be contextual. This varying degree of applicability is also a resultant of the shift that has taken place in terms of demand in the cast iron market.

Appropriate applicability then becomes of utmost importance to transform or adapt the available techniques to be applicable for conservation scenarios.

Thus, the toolbox becomes an important method to propagate and imbibe sensitivity into the general public and users where local cultural heritage of value is under threat.

This toolbox has been the result of a pilot study based in Chettinad. The analysis framework can be further be applied in different contexts across the country to create a local-level toolbox. Constraints will change as per the context and will lead to a more area-specific list of solutions that can become a ready reckoner for all users and stakeholders. This toolbox could also pan across different building materials providing specific guidelines at different levels which collectively contributes to the conservation of the built heritage. It can also be concluded that analysis of local resources and issues is necessary for any conservation efforts to be successful where at times even the constraints may differ.

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“The study was a first hand opportunity for an independent research. It exposed me to an overall understanding of research methods and challenges, narrowing down into the depths of a topic. Indulging in a study of a specific material- cast iron opened up nuances of not only material conservation but various ethical discourses in conservation.”

Physical Model of the GPO - understanding the structural system

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Restoration Toolbox for Cast Iron elements

Acknowledgements: Guide: Aishwarya Tipnis; CEPT University; Tutors: Ashna Patel, Sabrina Khan Patel; Teaching Assistant: Zeus Pithawalla; Experts: Khushi Shah, Kirtida Unwalla, A.K. Das., Khushroo Kalyan Wala, Deepak Paunikar, Geoffrey Wallis, Nityaa Iyer Manufacturers and Craftspersons: Thangaraj, Senthil Kumar, Vidhyanand Reddy,S.Abiram,Prabhakar,Saravanan,Siva,Shakthi, Pandya Rajan, Venkatesan, Muthuswamy, Kamala Kannan, Kannan Kanadukathan (Chettinad) Township President: Chidambaram Architects: Sivagami Sundari, Sarvesh Alshi, Maniyarasan R, Aadhi, Jai Kanth, Friends: Sneha Gireesh, Dhrishya V Family: Amma, Acha and Monu

Click here to jump back to contents

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General Post Office: Conservation

03 GENERAL POST OFFICE: CONSERVATION Case of 20th Century Heritage, Ahmedabad M.Arch I Semester III I Architectural Conservation Tutors: Ashna Patel, Mrudula Mane Teaching Associate: Sarvesh Alshi Documentation Group Members: Mitali Gondaliya, Neha Chandel, Satyajeet Chavan, Sneha Gireesh, Uravi Dholaria Note: Only the on-site documentation and condition mapping were performed as a group.

The General Post office of Ahmedabad was studied as a part of the studio. It is a twentieth-century building with Grade II/A, designed by George Wittet in 1920 and built in 1928.

The studio process started with recording the building followed by condition mapping and assessment. The significance of the building that was understood in course of time is that the building is an important example of the amalgamation of British architecture with Indian elements and the use of then-new material, Reinforced Cement Concrete. The addition of a new extension to the building in recent years and the continuous rearrangement of the spaces with thoughtless additions is a threat to significance.

The proposal intends to revive the spatial quality by suggesting structural repairs and working out a spatial reorganization that lies hidden within. It aims to uphold the significance of the building’s aesthetics and structure through a holistic approach.

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Understanding the Site Context Site within the Old City of Ahmedabad

Site and its Components

General Post Office (Building of Study)

Situated in the UNESCO World Heritage City of Ahmedabad, GPO stands at a significant location adjacent to the relief road which also hints us of the location to be a strategic decision.

The site consists of GPO Old Building (1), New Extension (1a), Mail Mortar Service Office (2), Dispensary (3), Aadhar Verification Waiting Area and P and T Society (4), Union Office, and Tiffin Room (5), Ladies Toilet and Ladies Room (6).

Grade II/A Composite Structure. Designed by Sir George Wittet in 1916. The building’s construction started in 1928 and came into use in 1931. An extension of the G+2 structure was added later and stands attached to the old building on its west

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Fig 3.1: Site in the context of the World Heritage City of Ahmedabad; Base Map Source: Ahmedabad District Dossier, Edited by Author

Fig 3.2: GPO Ahmedabad Site Complex; Documentation and Base Drawing Source: Group, Edited by Author

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Fig 3.3: GPO- Ground Floor Plan; Documentation: Group; Drawing Source: Satyajeet Chavan

North Elevation

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General Post Office: Conservation

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8. Column, 9. Slab and Beam connections 10. Old and New Elevation 11. The corridor space between old & new building, 12. The old and new from the terrace, 13. New Building 14. New Building as seen from the old building

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Cross section along the atrium

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Fig 3.6: Measure Drawing- Cross section along the atrium; Documentation: Group

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Condition Mapping Overall Building Conditions

Fig 3.7: Building Conditions Infographic; Drawing Source: Group

This diagram is an attempt to represent and analyze all the conditions of the building together. It comprises mainly of the ground floor plan, reflected ceiling plan, east, south, north elevations, and west elevation passage between the old and the new.

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Growth of Vegetation

Flaking of Paint

Missing/Loss of Material

Crack

Biological Colonization

Nail Punctures

Deterioration of Material

Spalling

Decay of Material

Blocked Openings

General Post Office: Conservation

Building Conditions Mapped in the Cross section

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Building Conditions Mapped in the North Elevation

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Fig 3.9: Building Conditions - North Elevation; Documentation: Group, Drawn and Condition Mapped by Author

Fig 3.10: Building Conditions - Images

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Condition Assessment With reference to the condition mapping, they are assessed based on the material, the element and location of the condition, source/issue, and the

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underlying cause. The underlying cause becomes important to be assessed to prevent the further occurrence of such conditions.

General Post Office: Conservation

Fig 3.11: Condition Assessment; Information Source: Condition mapping on-site as a group, Assessment by Author

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Arriving at the Statement of Significance Site Evolution Siting and location of the General Post Office in the historic core of Ahmedabad city make it a relevant landmark in terms of location and historic timeline.

Construction Techniques The structure is an early R.C.C. construction and an attempt to create framed space with load-bearing walls, which makes it a composite structure.

Load is transferred from one element to the other Material New material of that time: R.C.C which was a new material at that time has been used here to achieve longer spans for concrete has good compressive strength and steel is good in tensile strength. R.C.C. has been used in the slabs, beams, and chajjas Use of Local Materials: Sandstone is used in the columns and bands in the exterior. Stone facilitated the use of local aesthetics.

Brick as a module: Brick of size 230x115x80 mm is used and follows an English bond. Brick defines the dimensions between the cornices and the various layers in the exterior Usage The building’s function/use has remained the same since its inception in 1931.

The building was conceived as GPO of Ahmedabad Madras and Calcutta were some of the first GPOs to come up. Soon a need to have planned buildings for Post offices were felt. Ahmedabad was from the first batch of GPOs to be specifically designed to serve this function.

Architectural Idiom One of the buildings designed by George Wittet: George Wittet designed many important buildings in British India, and this building in Ahmedabad gets its added value for being designed by him Looking at the examples of built heritage in Ahmedabad (merlons in Sarkhej Roza or the columns in a mosque) indicate that the GPO has been influenced by the local architecture. It also falls amongst the group of buildings designed in that era which was influenced by the local architecture being designed by him (GPO group, Jan 2020) Architectural Principles: Spatial planning follows bilateral symmetry, proportions giving it a distinctive architectural character.

Fig 3.12: Exploded view showing building elements and form;

Statement of Significance Aesthetic, Historic, Evidential, and Social values have been identified in this building. General Post Office located in the World Heritage Site stands in an important location which makes it a landmark to locate as well as in the historic timeline. Ahmedabad GPO is one among the few GPO’s that was planned with a view for its specific function. The building’s use/function has remained the same since its inception in 1931. The building was conceived as the GPO of Ahmedabad. It has also elements influenced by the local architecture and it belongs to a group of other buildings that have also been influenced by this architecture. The spatial configuration exhibits the principles of proportions 62

and symmetry. A composite structure with R.C.C slabs and beams used for larger spans, stone columns to imitate Indian elements, and load-bearing brick masonry walls. The early use of R.C.C and the combination of stone and R.C.C as a material in the structural member signifies a transitional period in technological advancement. Though an extension was added to the building in recent years, the integrity of the original building has not been severely compromised.

General Post Office: Conservation

User Analysis Activity and Spaces Interrelationship Flowchart

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Fig 3.13: Plan showing movement pattern and spatial organization (existing); Base Drawing: Mitali Gondaliya; Edited by Author

Fig 3.14: Activity-space interrelationship - Flowchart; Information Source: On-site observations

Inference The activities can be grouped based upon the broader functions they fall under. Another hierarchy that can be identified is the functions that require direct interaction with the customers and the functions that work as backoffice areas. Also, booking counters in the new building have been taken into

consideration as they form the primary public areas.

Overall, the current organization does not follow any chronology in the hierarchy and has been provided, as to makeshift functional spaces.

Fig 3.15: Activity-space interrelationship - Images

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Spatial Analysis Architectural analysis is done in an attempt to understand the original intent of spaces in the building, which is compromised as a result of the insensitive

arrangement. Upon analysis, the following parameters which define the spaces and that play a major role in the spatial quality have been identified.

1. Directionality generated by points The columns here are the points, that generate a sense of direction for the user at every junction. The series of space between the successive columns

forms a colonnade hinting at the direction.

Fig 3.16: Directionality generated by points - series of diagrams; Base drawing source: Satyajeet Chavan, Edited by Author

3. Axis and Symmetry

2. Grid Form

The major axis lying in East-west direction governs the access to the building along with the presence of important areas like the atrium. It also becomes a focal entity for the building.

The form is achieved through a grid. The spaces are arranged in the manner of a grid and the grid can have a heavy influence on the organisation of functions.

The user can experience bilateral symmetry in every element and experience starting from the facade which is now hidden to the planning.

Fig 3.17: Grid form; Base drawing source: Satyajeet Chavan; Edited by Author

Fig 3.18: Axis and Symmetry; Base drawing source: Satyajeet Chavan, Edited by Author

4. Space within a Space

5. Rhythm The GPO building functions as a singular space in its entirety with a free plan. However, the architect has successfully introduced spatial variations leading to the prominence of certain spaces within the entire space. A mere increase in the volume of the central area creates the double-height atrium acting as a distinct space.

Fig 3.19: Space within a Space

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Repetition of elements - columns, beams, slabs in the grid pattern creates a visual rhythm.

Fig 3.20: Rhythm

General Post Office: Conservation

Attributes of analysis were decided upon thorough reading of Francis D.K.Ching’s Form, Space, and Order.

6. Degree of Enclosure Space encloses the user within itself often creating a series of connections for physical movement which passes through a semi-open space and

maintaining a visual connection with the outside all the time. The skylight also gives a sense of connection to the outside.

Fig 3.21: Degree of Enclosure; Base drawing source: Sneha Gireesh; Edited by Author

7. Volume and Scale

Play of volume allows the user to experience the different scales. Double height atrium, Arch being the elements or spaces generating the scales.

The volumes guide the user through a series of experiences as one enters creating a climax.

Fig 3.22: Volume and Scale; Base drawing source: Group; Edited by Author

8. Articulation

9. Integration of Form

The brick facade is used to enclose space within itself which is further broken down by horizontal stone bands making the surface less heavy for the user to perceive.

Fig 3.23: Articulation; Base drawing source: Group; Edited by Author

The plan is a combination of rectangles and squares. Further, several of these together form cuboids and cubes. The same transformation is observed with dimensional changes in elements.

Fig 3.24: Integration of Form

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Removal Plan

Fig 3.25: Removal Plan- Proposed; Based drawing source: Satyajeet Chavan; Edited by Author

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General Post Office: Conservation

Fig 3.26: Spatial issues- Photographs

Removal Sections AA’ and BB’

Fig 3.27: Removal Section AA’- Proposed Base drawing source: Sneha Girish; Edited by Author

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Treatment - Structural, Surface and Underlying Causes Solutions for the local conditions - structural and surface conditions proposed.

Solutions for the underlying causes are also proposed to prevent further

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conditions on the repair. The table also covers the level of the conditions - its threat to the values and the priority of treatment required.

General Post Office: Conservation

Fig 3.29: Treatment table; Information source: Based on condition assessment

Zoning Idea - Reorganization Zoning for spatial reorganization is done keeping in mind the analyzed parameters of the buildings.

The experiential qualities direct a person’s

movement. This generates pause points which are considered for displaying postal exhibits. Front of house functions to be accommodated in the

old building to allow users to appreciate the space as they use unlike the current public access being mostly in the new extension.

a. Entrance lobby b. Booking counter and Queing c. Rear lobby

a. Postal history

a. Stores, b. Treasury, c. Nodal delivery centre, d. Aadhar verification centre

a. Cheque process branch, b. Sub accounts office c. Office (Shifted from new building - old ) d. NSC Branch

a. Chief postmaster room, b. Speed post delivery MO paid branch, c. Postman seating area with stamping and sorting area, d. Changing room

a. Invertor room, b. Electrical room, c. Store, d. Waiting areas

Fig 3.30: Zoning Development; Base drawing source: Satyajeet Chavan; Edited by Author

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Final Zoning- Proposed with Circulation Pattern The movement of the public users and the post office staff were drawn to arrive at the revised zoning. The counters are placed along the width of the

columns themselves following the grid. Three important idea concepts are visualized on the right side.

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Fig 3.31: Final Proposed Zoning Base drawing source: Satyajeet Chavan, Edited by Author

Legend: 1. Entrance lobby 2. Speed post delivery branch and MO paid branch 3. Chief post master’s room 4. Electric room 5. Invertor room 6. Store 7. Postal history exhibit 8. Cheque process branch and money transfer office 9. Treasury 10. Sub accounts department 11. Nodal delivery centre 12. PR department and Inspection officers room 70

13. Rear lobby 14. Aadhar verification centre 15. Mail data entry 16. Store 17. National savings certificate branch 18. Office - shifted from new building ground floor 19. Registered parcel distribution branch 20. Postman seating area with stamping and sorting area 21. Changing room 22. Booking counters with queing 23. Form filling counters 24. Waiting area

General Post Office: Conservation

Fig 3.32. Conceptual Sketches - Proposed Reorganized Spaces

Site Zoning - Proposed Shifting the current entry of the public to the old building from the east along the axis. This decision at the site level together with the decision of

reorganization will enable the user to experience the spatial qualities of the building. Defines zones for movement are proposed to ensure the same.

Legend: 1. General Post Office 2. Mail Van Parking 3. Electrical Room 4. Ancillary Building 5. Mail Van Parking 6. Servicing Area 7. Staff Room 8. Dispensary 9. Temporary Shed Parking (Four and Two Wheelers) 10. Garage 11. Store Room 12. Garage 13. Aadhar Centre Waiting Area 14. Aadhar Centre 15. Toilet (Male) 16. Tiffin Room and Union Office 17. Tank 18. Toilet (Ladies)

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Fig 3.33: Site plan- Proposed

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Spatial Reorganization- Proposed

Reorganization Plan

This spatial reorganization is an outcome of the process of assessing the significance leading which further inspired zoning and understanding of usage and characteristics of space. Overall it’s an open floor plan making complete use of the framed structure on the column grid.

It is envisioned to work as a bank with public functions at the focus of the building and semipublic arranged around them. The back of house areas is moved to the new building away from the circulation. As one enters they witness the original facade and then pass through the arches which have the postal history exhibits. Further, they enter the main hall where the primary function of the post office takes place.

Fig 3.34. Spatial Reorganization Plan- Proposed

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Fig 3.35. Spatial reorganization Section BB’ - Proposed;

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Reorganization- Section AA’

Fig 3.36. Spatial Reorganization Section AA’ - Proposed

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Fig 3.37. Spatial reorganization 3D model- Proposed

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“GPO Ahmedabad brought forth a multifaceted understanding of heritage including the amalgamation of styles, the advent of new materials and systems, the importance of institutions in defining the architecture and creating various discourses in history.

A new dimension of spatial and architectural intentions embedded in the building governed by the unfolding of events and technology in the 20th century invoked an interest in buildings of this period.”

Physical Model of the GPO - as part of understanding the structural system

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General Post Office: Conservation

Acknowledgements: Tutors: Mrudula Mane, Ashna Patel; Teaching Associate: Sarvesh Alshi; Officials and other staffs of the GPO; Group members: Mitali Gondaliya, Neha Chandel, Satyajeet Chavan, Sneha Gireesh, Uravi Dholaria Midterm Reviewers: Khushi Shah, Srivathsan Aravamuthan Guest Lecture and Inputs: Dr. Arun Menon

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Premal Jyoti Complex: A Study

04 PREMAL JYOTI COMPLEX: A STUDY

Premal Jyoti (Former Newman Hall) located in Ahmedabad was studied as part of the Foundation Studio in the M. Arch programme.

Case of 20th Century Heritage in Ahmedabad

Documentation was performed of the site complex as a group with an outcome of hand-drawn measure drawings. Each student took an area of analysis to arrive at the statement of significance for that aspect as of the exercise.

M.Arch I Semester I I Foundation Studio Tutors: Khushi Shah, Mrudula Mane Teaching Assistant: Ashka Vyas Documentation Group Members: Dhrishya V, Mitali Gondaliya ,Sarjan Dalal, Sakshi M Note: Only the on-site documentation were performed as a group.

The building complex is a residence and administrative headquarters designed by Architect Hasmukh C Patel for the Society of Jesus. The building complex with its introvert H-shaped hostel building, Chapel, Administrative block, etc follows a rhythmic pattern with its simple and repetitive elements. The cloister plan with its form adapted to suit the openness of the training hostel and the design program was understood on analysis to be developed as a response to Jesuit’s way of life - includes both spaces for community living and spaces for solitude. Thus, the building’s form has been derived as a response to these functional and socio-cultural requirements.

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Measure Drawings (Hand-drawn) As the foundation studio, techniques of measure drawing were introduced.

The building was documented starting with choosing a benchmark, fixing the datum, followed by noting measurements with datum as reference.

The exercise was performed keeping in mind “To draw only what you see”.

Fig 4.1: First Floor Plan- Premal Jyoti Main Building and Chapel; Documentation: Group

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Through this process, the building’s grid format and the module combinations were identified. The entire documentation drawings are hand-drawn. Only the drawings made by the author have been showcased here.

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Fig 4.2: Sectional Elevation facing North; Documentation: Group

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Materials in the building Exposed Brick Reinforced Cement Concrete Metal Timber Glass Design principles observed Precision Rhythm Proportion Repetition

Fig 4.3: Module and Combinations, Documentation: Group

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Understanding the Spatial Configuration of Jesuit Houses in India and the World To understand the spatial configurations as a response to functional and socio-cultural requirements, few Jesuits houses in India and abroad were

analyzed. The elements understood on analysis were then looked at in parallel in the case of Premal Jyoti (which also included on-site conversations).

Place of Worship- Church/Chapel Enclosed Space Partially Enclosed Space

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Fig 4.5: 1. Corridor Spaces; 2. The chapel as seen from the second floor; 3. From an open area on the west overlooking the corridor; 4. Courtyard Space; 5. Parking and Guest House Building; 6. From the corridor showing the staircase leading to the basement.

Place of Worship- Church/Chapel On analysis, place of worship is a mandatory element seen in all cases and it acts as the focal point around which the other buildings are planned. This probably is also to ensure its visibility from all parts of the complex/building.

Cloister/Introvert Space/Courtyard Every complex showcases an introverted plan with courtyards/cloisters at the center. These could also be places for community gatherings and activities.

Design Programme- Premal Jyoti

It is seen that the form has evolved as a response to the spatial configuration required for its functions of the Jesuits.

Statement of Significance Purpose Jesuit Studies

Provincial Curia (Administration)

Community Spaces

Admin and Office Areas Individual Spaces

Fig 4.6: 1. Spaces within the main Premal Jyoti building; Documentation: Group

Form

Chapel Dining Area Corridors Library TV room

Rooms, Corridors

Premal Jyoti (Former Newman Hall) is a residential cum administrative headquarters designed by Architect Hasmukh C Patel for the Society of Jesus. The building complex with its introverted nature has an H-shaped hostel building, Chapel, Administrative block, Guest building, and basketball court. The cloister plan with its form adapted to suit the openness of the training hostel and the design program which is a response to Jesuit’s way of life - includes both spaces for community living and spaces for solitude that constitutes the social and communal values. Thus, the building’s form has been derived as a response to these functional and socio-cultural requirements. A rhythm is observed throughout the building, with its simple, repetitive, proportionate spaces adding to the aesthetic values.

Fig 4.4: 1. Rachol Seminary, Goa, 1609; 2. St. Joseph’s Seminary, Mangalore, 1879; 3. Pappal Seminary, Pune 1893; 4. Ananta Jyoti Novitiate, Guntur, 1963; 5. Dhyana Ashram, Kolkata, 1975; 6. Roman College, 1551; 7.

Pontificial Major Roman Seminary, 1565; 8. Pontificial Roman Scotts College, 1600; 9. Newman College, Thodupuzha, 1963; 10. Christ Hall and Xavier Sadan, Kolkata; Base Map Source: Google Maps

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“It was the first time that I was introduced to a 20th century building from the perspective of being a heritage building. I was fortunate enough to indulge in process of documentation and significance assessment of this building as it broke stereotypes for me as a young architect.

This helped in understanding the historicity and significance of a building with respect to its values, history, character(here spiritual), scientific contributions, social connections, and many other discourses..”

Group during the documentation process; Image Source: Group

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Premal Jyoti Complex: A Study

Acknowledgements: Tutors: Khushi Shah, Mrudula Mane; Teaching Assistant: Ashka Vyas; Group Members: Dhrishya V, Mitali Gondaliya, Sarjan Dalal, Sakshi Mittal Father Shekhar and other residents of the Premal Jyoti Building Complex

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Image Source: IamGurgaon, May 2020; Edited by Author

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Eco Restoration: Badshahpur Corridor

05 ECO RESTORATION: BADSHAHPUR CORRIDOR Gurgaon, Haryana Junior Architect I Jul 2018 - May 2019 Beyond Built Pvt. Ltd.,New Delhi Role: Conceptual Ideas for Interventions I Material Palette and Patterns Development I Construction Drawings I Site Execution I As Built Documentation Mentors: Nupur Prothi Khanna, Nidhi Madan Team Members (at different stages): Shailja Kumari, Bhawna Jha, Arvind Kumar, Rajit Singh, Shivalika Kanwar, Muhammad Husain, Priyanka Gautam, Urfa Ansari, Divyanshi Bansal, Jai Kanth, Uttam Narang, Bharati Tripati

Located in Gurgaon, spanning approximately 5 kilometres the site had a structured drain bifurcating it. The site is bound by walls of surrounding housing projects, fences, and/ or open spaces with some bounding developments that have drain outlets into the site area. The site was observed to have significant dumping of earth, construction, and domestic waste on the site, making the site level hard to determine.

With the concept of a green lung for the city of Gurgaon, the project was perceived as a forest corridor with designed spaces for a varied range of activities – sit, play, walk, performances. Apart from the transitory activities, the corridor with the planting executed intends to attract migratory and local birds. The project for its interventions has used materials/construction waste and topsoil available on site and surrounding areas. Grading of the site and bioswales were created to facilitate the groundwater recharge (Beyond Built Pvt. Ltd., 2018; Edited by Author) I was involved in the first phase (1.2 km) of this project from its inception working on conceptual diagrams, design drawings, construction details to the execution on site.

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Nahar to Nala (Green to Grey) The Badshahpur drain was originally a Nahar. Due to rapid concretization over the past decade, it was gradually converted into a box drain. It has lost the natural flow of rainwater into the stormwater drain which has led to problems like flooding, ponding, and neglecting of spaces. (Beyond Built, 2018)

Vision (Grey to Green) It is envisioned to make an urban greenway corridor that will create accessible and equitable public open space for the residents of Gurgaon (Beyond Built, 2018)

Material Plan Material concepts were developed as a group and further detailed based on materials received upon call for waste materials.

Fig 5.1: Material Plan- Part 1 of 750 m stretch

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Eco Restoration: Badshahpur Corridor

The Design The design utilizes the existing elements in creating spaces around it. The space names were decided by the team to be a mix of native and English and to be interactive as well as convey the design intent. For eg: Pani Point - is a stepped-down space that would act as a space for groundwater recharge.

Fig 5.2: 750 m- stretch Rendered Plan; Drawn by Shailja Kumari, Arvind Kumar, Author; Rendered by Muhammad Husain, Priyanka, Author

Below are two conceptual visualizations of spaces showing the pedestrian pathways, cycle track, jogging area, play, and seating areas.

Fig 5.3: Visualizations- Photo Montages

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Sections Cross sections showing the designed levels- swales, mound, pathways.

Cross section showing the pathway, cycling track and the mounds

Cross section at the Pani point

Cross section showing a typical section with pathways, cycling tracks and jogging tracks, along with areas for activities and play

Cross section along the typical grit pathways with gabion wall behind

Fig 5.4: Cross sections showing the various elements of the project, Drawn by: Shailja Kumari, Author

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My Site experience- Photo blog

Fig 5.5: The site as in September 2018

“I believe that the most insightful part of my job was site engagement. This photoblog is an attempt to convey my learnings on site which have stayed with me till date and have contributed to my practical experience. My engagement on site started with addressing some discrepancies that occurred on-site on account of a surveying error that had led to a gap between design and execution.”

Transferring the design from drawing to site opened up many challenges and acted as an eyeopener. This was my first experience in dealing with the process of setting out the extents on site and getting the proportions.

The overall process was very exciting and at the same time taught me the importance of site awareness while designing.

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Fig 5.6: 1. 2. Pathways and cycle tracks marked on site; 3. Concrete laying process; 4. Concrete left to cure; 5. Pathways post grit concrete layer with beading created for expansion; 6. Finished pathways and cycle tracks - yellow tactile bands

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One of the most important lessons taught by this experience was that of being open to learning.

There was a subtle exchange of skills from Mr. Ram Kishnan who was the contractor, to me in terms of technical know-how. Hands-on engagement with the thread (line-dori) and chuna was a perfect basic to start with to not only learn but to understand how much is left to learn, along with getting the dimensions right.

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The symbiotic relationship with the site team was truly enriching not only in terms of exchange of vocational knowledge but also for me as an individual to understand the trade. Along with maintaining a healthy site environment it also taught me about my role and manner of maintaining my position in this relationship.

One step-up was marking the amphitheatre since along with the more site constraints to be considered what also increased was the scale.

What sounded simple with a rod at the center and thread radiating, turned out to be quite a different experience with no access to a view of it in a plan.

Fig 5.7: 7. Intersections formed after pathways were created; 8. Construction of concrete rubble masonry boundary wall; 9. Trench for boundary wall- foundation; 10. Pilkhan point with grit laid, Source: Uday Singh, 2019;

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11. Amphitheatre during marking process, Source: Uday Singh, 2019; 12. Amphitheatre during seat walls construction; 13. Amphitheatre post-construction- steps and seat walls 14. Coping on seat wall of Amphitheatre

Eco Restoration: Badshahpur Corridor

A call for waste materials was put out in Gurgaon, which was to be recycled and used on site. This call had met with an overwhelming response and quite a useful collection of what was thought to be literally ‘useless’. Apart from preparing the construction details for the design, I was fortunate to get an experience of sampling for:

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Gabion wall with concrete rubble infill Coping using broken tiles Material for Amphitheatre Grit color Laying of grit with bedding for allowing for concrete expansion Various junctions and intersections Pilkhan point edging Seating

Site experience taught me beyond architecture.

One of the biggest challenges for a non-Hindispeaking person like me in Delhi was a mode of communication. Not only was I successful in communicating but also in learning basic Hindi on-site.

One peculiar issue was that of the concrete chambers with manholes that needed to be incorporated in the design. This added insight on dealing with unexpected discoveries on site and finding a way around it.

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Fig 5.8: 15. Waste materials received; 16. Concrete blocks - construction waste; 17. Grit Sampling; 18. Concrete blocks used as pavers, Source: Uday Singh, 2019;

19. Marking the design of an intersection; 20. Construction of seat wall at an intersection; 21. Constructed play interactive space within an intersection 22. Constructed Entry Point- 2, 750 m stretch

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“Badhshapur project has been the first project which I worked on and that has got completed. It feels rewarding to see people actively using what you once got a chance to visualize. It becomes a part of learning people’s response to interventions.”

Site as in December 2020; Image Source: Bhawna Jha

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Acknowledgements: Founder and Principal Architect, Beyond Built Pvt. Ltd: Nupur Prothi Khanna Senior Landscape Architect: Nidhi Madan Team Members: Shailja Kumari, Bhawna Jha, Arvind Kumar, Rajit Singh, Shivalika Kanwar, Muhammad Husain, Priyanka Gautam, Urfa Ansari, Divyanshi Bansal, Jai Kanth, Uttam Narang, Bharati Tripati Contractors: Ram Kishnan, Arjun All workers on site Bhawna Jha’s family

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Ramgram: A Space for Ramayana

06 RAMGRAM: A SPACE FOR RAMAYANA Reinvigorating the Epic Ramayana B.Arch I Semester X I Thesis Internal Guide: Rajagopal Kumaraguru

The project located in Ayodhya, Uttar Pradesh intended architecture as a tool for conserving intangible heritage related to ‘Ramayana’. The idea was to create a space that celebrates the epic which has propagated orally over centuries and has developed multiple versions in different regions within India as well as abroad. The design intended to create interactive built and open spaces showcasing stories and concepts from Ramayana.

External Guide: Charles Raja

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Aim Using the building as a tool to conserve the intangible heritage ‘Ramayana’.

The project intends to create a space to celebrate the epic Ramayana which is known/heard by words of the mouth as stories in different regions within

India and abroad. Taking on a most common narrative, creating built and open interactive spaces that showcase the story and concepts of Ramayana.

Objectives

Why Ramgram?

While various intangible associations exists about Ramayana, a space to bring these aspects together, which will also act as a place of recreation and knowledge.

Fig 6.1: Objectives diagram

Fig 6.2: Ramayana and its intangible associations

Design Approach Approach 1: Achieving interactive spaces through the play of open and built spaces, Approach 2: Bringing in the theme of Ramayana in every space, Approach 3: Incorporating the various art forms in conveying the story of Ramayana, Approach 4: Using storytelling as a concept to convey knowledge and providing alternative spaces in a single space.

Fig 6.3: Design approach

Methodology Narratives Existing Research

Ramayana storyline, Narratives in India, Narratives in other parts of Asia, Ramayana relaed artforms Fig 6.4: Project Methodology

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Literature and Context Study

Area Development

Conceptual Ideas

5. Design Development and Model

Guidelines for Design, Site Analysis, Case Studies, Special studies of interpreting narratives in built environments

User Analysis, Scenes in order of occurence within the chosen narrative, Creating the area programme upon analysis

Major Zoning (Site level) Minor Zoning (Within the major zones) Choosing the material palette

Detailing out the concept arrived at, Development of room size physical block model

Ramgram: A Space for Ramayana

Background Study

Ramayana - Versions and Artforms

Ramayana- Definitions

Artforms related to Ramayana were looked at from within India and the World

Various definitions of Ramayana were looked at, a couple of them here: A Sanskrit epic usually attributed to Valmiki, that concerns the banishment of Rama from his kingdom, the abduction of his wife Sita, by a demon and her rescue, and Rama’s eventual restoration of the throne.....

One of the two great epics of the Hindus, composed c.300 BC. It describes how Rama, aided by his brother and the monkey Hanuman; rescued his wife Sita from Ravana, the ten-headed demon king of Lanka...

Abstract

Fig 6.6: Ramayana and various art forms; Base Map Source: Google Maps

Reamker- Cambodian epic poem based on the Sanskrit Ramayana adapted in the Buddhist theme. Reamker is popular among the Khmer group of people especially for its association with Khmer dance theatre, which is considered an integral part of Cambodian culture Nang Yai is a form of shadow play found in Thailand expressing the narratives of Ramayana Wayang is a form of puppet theatre found in Indonesia and other parts of Southeast Asia

Fig 6.7: Art forms - Photographs; Source: https://www.gocambodia.tours/cambodian-traditional-dances-history-features/ https://www.thetraveljunkie.org/nang-yai-shadow-puppet-drama-at-wat-khanon-temple-ratchaburi-

Indian Versions India has various versions..few are listed below: Tamil Nadu- The Tamil Kambharamayanam Andhra Pradesh- Sri Ranganatha Ramayanam Karnataka- Kumudendu Orissa- The Oriya Dandi Ramayana Assam- Saptakanda Ramayana Valmiki Ramayana The most common narrative is that of Valmiki Ramayana- hence that’s followed in the thesis: The seven kandas 1

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Fig 6.5: Ramayana narrative in abstract- yellow indicates good, red - bad, in some -good and bad exists together; Source: The Ramayana, Swaminarayan Aksharpith, 2014; Edited by Author

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Online Survey The survey was conducted online with a sample size of 100, covering the architecture students, architects, and their family members’ responses.

Fig 6.8: Survey data- Pie charts

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Site Study Ayodhya has a significant mention in the most known version of Ramayana- ‘The Valmiki Ramayana’. Site studies also revealed every space

in Ayodhya reflecting on the Ramayana- mostly spiritual associations. The Ghats are named after the characters or significant events within the

narrative. The site was chosen along the cultural corridor along the Raj Ghat.

Fig 6.9: Site in the context of Uttar Pradesh, India; Base map source: Google maps

Fig 6.10: Site in the context of Ayodhya and Faizabad twin towns; Base map source: Google maps

Fig 6.11: Site in the context of Ghagra river and its urban form; Base map source: Google maps

1. Ram Lila performance; 2. A contemporary building with elements from Ramayana; 3. A sculpture workshop space near Ramayana

Sangralay; 4. Ghat in Ayodhya; 5. Approach to a Mandir and market space; 6. Inside- Ramayana Sangralay; 7. Workshop space with built elements

made that can be assembled to make the complete structure.

Fig 6.12: Site study -photographs

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Site Analysis

Fig 6.13: Site area with contours

Fig 6.14: Permissible developments

Fig 6.15: Sunpath diagram

Fig 6.16: Windpath diagram

Fig 6.17: Contours

Fig 6.18: Rainfall and slope

Fig 6.19: Soil

Fig 6.20: Sound

Fig 6.21: Visible views

Strengths

Opportunities

Threat

Being situated along the cultural landscape corridor, it has a great impact for a space like Ramgram to be acknowledged With its location along the parikrama routes- it would attract religious tourism With one of a kind space for Ramayana- it could attract visitors from other regions Apart from being a recreational space, it would also perform as an institutional space

Will trigger a positive development of the surrounding area Employment opportunities A bigger established space for the local artists to establish art forms

Acceptance of the people of Ayodhya as a recreational and institutional space apart from spiritual associations people are associated with.

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Weakness With the current condition of no development around- it might take some time to gain attention

Ramgram: A Space for Ramayana

Developing the design programme The area programme was developed based on the site’s, region’s user analysis and majorly based on the categories- Chapter, Scene, Building space, location

within that building/space, area required, usage, and activities (interpretation) Five of 100+ scenes are shown here to explain the process.

Fig 6.22: Design area programme development

Conceptual Zoning The major zoning of spaces arrived at from the chapters, services, entry/exit which were then further zoned for scenes within that based on the narrative.

Fig 6.23: Conceptual Zoning

The entrance arena conceptual diagram based on the Dasavatarams.

Fig 6.24: Conceptual diagram- entrance arena

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Proposed Site Plan The proposed plan as mentioned earlier formulated based on the scenes within the chapters of Ramayana functions with an idea for alternate/multifunctional spaces. These uses are contemporary interpretations that would aim one in

the process of valuing stories within Ramayana. The proposed trees are also carefully thought and decided based on the narrative.

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Fig 6.25: Final proposed site plan

1.Battery operated vehicle service parking - 400 sqm 2.Parking lot - 20298 sqm

3.Driver’s Retiring room- 198 sqm 4.Drop off zone - 500 sqm 5.Garden Lobby - 1980sqm 6.Information kiosk - 30 sqm 7.Baggage room - 474 sqm 8.Security Check - 122sqm 9.Ayodhya Townscape - 5372 sqm 10.Temporary exhibition space - 9100 sqm 11.Ticketing Counter - 308 sqm 12.Ayodhya Palace- 16580 sqm 13.Gurukul-3088 sq m 14.Vishavamitra’s Ashram- 1734 sqm 15.Mithila Palace -960 sqm and garden -5356 sqm 102

16.Parking for visitors of wedding and conference - 5300 sq.m 17.Nishad Raj’s hut - 394 sqm 18.River zone - 1493 sq m 19.Ashram- 257 sqm 20.Ashram Zones - 1800 sqm 21.Forest zone Restaurant - 1760 sqm 22.Panchavati zone - 5834 sqm 23.Berry garden - 1416 sqm 24.Tungabadra river zone - 1692 sqm 25.Cave - 1810 sqm 26.Battlefield dispaly- 1200 sqm 27.Kishkinda Place - 126 sqm 28.Garden - 1982 sqm 29.Lanka Palace - 4710 sqm 30.Off to Lanka - 620 sqm and few others

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Interventions Zoning for spatial reorganization is done keeping in mind the analyzed parameters of the buildings. The experiential qualities direct a person’s movement. This generates pause points which

Fig 6.26: Vishwamithra Ashram to Mithila kingdom

Fig 6.28: Mithila Palace- Ground Floor

Fig 6.30: Elevation of the Ayodhya town

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“Ayodhya stands as a physical manifestation of the popular Hindu belief system with an amalgamation of spiritual, mythical, and imaginative representation in reality. It has also been a center of political controversies over the years and has been used/ misused for various narratives.

But what remains to be the fulcrum is the epic itself with its numerous interpretations which need to be a part of mainstream discourse in developing an understanding of Ram and his ‘Ramayana’.”

Physical Model of the project

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Acknowledgements: Internal Guide: Rajagopalan Kumaraguru; External Guide: Charles Raja; Cultural Georgaphist: Sarvesh Kumar; Govt. Official: Saji Kumar; People of Ayodhya; Family: Amma, Achan and Monu

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Heritage Interpretation: Amritsar

07 HERITAGE INTERPRETATION For Sites in Amritsar, Punjab Student Intern I Dec 2016 - Mar 2017 Cultural Resource Conservation Initiative (CRCI), New Delhi Role: Base Maps for 24 sites in Amritsar I Inventory of existing signages Mentor: Komal Potdar

An interpretation project collaborated with Sue Hodges Productions with a scope of developing a heritage interpretation for a range of heritage sites from prehistoric sites to the independence of India and partition of Punjab.

Five districts Amritsar, Attari, Tarn Taran, Baba Bakhala, and Khadur Sahib were the districts considered for the same.

I particularly worked on the sites in Amritsar. A strategy of analyzing interpretative significance was developed Outstanding Value of the site+Market appeal+Robusticity.

Sites were looked at under: 1.Themes, 2. Sub-themes and 3. Trails Based on interpretative readiness, sites were categorized into three tiers for intervention (CRCI, 2016)

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Fig 7.1: Map showing the 24 sites within Amritsar; CRCI, Dec 2016

Base Maps for Sites in Amritsar Apart from understanding the various assets, their elements, and urban connections. The whole exercise helped in understanding the associated values, significance, and terminologies.

Target Site/ Building

Open Space

Vacant/ Barren Lands

Pathway

Rail Track

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Green Space /Garden

Legend: 8. Heritage Village 9. Shaheedi Borh 10. Hall Gate 11. Hathee Gate 12.Hakeeman Gate 13. Gol Bagh 14. Khalsa College 15. Gobindgarh Fort

1. Harmandir Sahib, 2. Rambagh Garden 3. Rambagh Gate, 4. Ram Tirath Temple 5. Jalianwala Bagh 6. Durgiana Mandir 7. Townhall Habitation

Parking

Agricultural Fields

Water Bodies

Fig: 7.2: Maps of 15 sites within Amritsar district; CRCI, Dec 2016

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Heritage Interpretation: Amritsar

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Adaptive Reuse and Conservation of Town Hall

08 TOWN HALL: ADAPTIVE REUSE & CONSERVATION Amritsar, Punjab Student Intern I Dec 2016 - Mar 2017 Cultural Resource Conservation Initiative (CRCI), New Delhi Role: Condition Mapping I Proposal Options Mentor: Ruchita Belapurkar

The nearly 150-year-old Town Hall building is located in the heart of the walled city of Amritsar and is accessed through the most significant road of the walled city of Amritsar, the Hall bazaar. This road leads to the Jalianwallah Bagh and Sri Harimandir Sahib. The building houses the office of Municipal Corporation today and several other offices of the local government including a police station, the Fire Brigade office, and the Municipal Library (CRCI,2016) As an intern, I was engaged in the site work for the Amritsar Town Hall’s South wing. The project was part of the Infrastructure development investment programme for tourism with Punjab Heritage and Tourism Promotion Board (PHTPB) as the client.

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Portfolio- Lakshmi R. | July 2021

The nearly 150-year-old Town Hall building is located in the heart of the walled city of Amritsar and is accessed through the most significant road of the walled city of Amritsar, the Hall bazaar. This road leads to the Jalianwallah

Bagh and Sri Harimandir Sahib. The building houses the office of Municipal Corporation today and several other offices of the local government including a police station, the Fire Brigade office and the Municipal library (CRCI,2016)

Documenting the Existing Slab/Floor Materials

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Fig 8.1: Reflected Ceiling Plan- Ground Floor of South Wing; Base Drawing: Consultants for CRCI, Material Mapping by Author, CRCI, Feb 2017

Condition Mapping Condition mapping provided unique learning of various defects in the building in different materials and elements of the structural system.

1. Loss of plaster, Moss and Fungal infestation 2. Dampness, Corroded metal purlins 3. Dampness, Loss of Plaster 4. Loss of plaster, Dislodged masonry 5. Loss of plaster, Stains 6. Cracks, Missing Masonry

7. Cracks, Missing Masonry 8. Cracks, Fungal Infestation 9. Dampness, Cracks, Loss of plaster 10. Cavity 11. Corroded metal purlins, Peeling of Plaster, Dampness, Cracks 12. Cracks, Moss growth Fig 8.2: Right- Photo Documentation of Conditions, Information Source: Site Observations, Feb 2017

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Fig 8.3: Southern elevation showing both North and South wing; Base Drawing: Consultants for CRCI; Proposal by Author, Feb 2017 Elevation of the townhall showing the northwing and the proposed southwing

The town Hall structure is built with glazed bricks. There are numerous small features built in brick with intricate details. The bricks are cut and moulded in various shapes to achieve various profiles for cornice, overhangs, parapet, details of capital of columns, opening arches etc. (CRCI, 2016) The structure has an extensive drainage system to clear all roofs of rainwater.

There are 30 cm wide drains built within the walls of the top floor of the structure which drain all the water on the terrace level. This drain is beautifully built and finished with lime plaster and lime finish on the inside. (CRCI, 2016) Owing to the extreme climate of Amritsar city, the structure was built on principles of passive heating and cooling. Various features of design make the habitat comfortable even in peak summer and winters. (CRCI, 2016)

Elevation of the townhall showing the proposed southwingwith the arcade in the first floor and the existing parapet wall in the terrace

CONSERVATION & ADAPTIVE REUSE OF TOWN HALL INFRASTRUCTURE DEVELOPMENT INVESTMENT PROGRAMME FOR TOURISM, PUNJAB HERITAGE AND TOURISM PROMOTION BOARD

Fig 8.5: Ground Floor Plan Proposed Option 1 - South Wing; Base Drawing: Consultants for CRCI, Proposal by Author, CRCI, Feb 2017

Fig 8.4: View of Proposed Option 1- South Wing; DATE :29/03/2017

Source: Model created by Author, CRCI, Feb 2017 PROPOSED SCALE :1:50 DRAWN :LAKSHMI R All discrepancy in the drawings to be brought to the notice of the Conservation Architect.

CHECKED BY :RUCHITA BELAPURKAR Dwg No: TOWN HALL/CRCI/2017/SW/PRO/04

CRCI (India)Pvt. Ltd. 2A 1091/A Ambawatta Complex Near Mehrauli Bus Stand Mehrauli, New Delhi 110030

Fig 8.6: First Floor Plan Proposed Option 1 - South Wing; Base Drawing: Consultants for CRCI, Proposal by Author, CRCI, Feb 2017 Fig 8.8: View of Proposed Option 1- South Wing; Source: Model created by Author, CRCI, Feb 2017

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KEY PLAN

Adaptive Reuse and Conservation of Town Hall

The proposed parapet wa

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Fig 8.7: Section of Proposed Option 1 - South Wing; Base Drawing: Consultants for CRCI, Proposal by Author, CRCI, Feb 2017

Today it is very essential as almost all open and or public spaces from within the walled city are encroached. The absence of public space within the walled city for a very high density of visitors gives rise to several issues. Given these issues, government is unable to generate revenue from high visitor footfall.

E REUSE OF TOWN HALL

MME FOR TOURISM,

PROPOSED

Developing Town Hall as a public space will not only provide a justified use for historic structures but also cater to public/ tourist demands. The proposed project through its museums and recreational spaces shall help in increasing the visitor stay within the walled city. (CRCI, 2016) CRCI (India)Pvt. Ltd. DATE :29/03/2017 SCALE :1:50 DRAWN :LAKSHMI R

All discrepancy in the drawings to be brought to the notice of the Conservation Architect.

CHECKED BY :RUCHITA BELAPURKAR Dwg No: TOWN HALL/CRCI/2017/SW/PRO/02

2A 1091/A Ambawatta Complex Near Mehrauli Bus Stand Mehrauli, New Delhi 110030

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“After working in Amritsar, a new perspective of understanding of buildings as a part of larger cultural heritage developed. The first-hand experience of culture and conservation as a fresher in the field of heritage was the most rewarding and further inclined me towards specializing in heritage conservation.”

Source: Ruchita Belapurkar and Author at Ram Bagh Gate, Gobindgarh Fort, Summer Palace, 2017

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CRCI India Pvt.Ltd.

Acknowledgements: Director- Cultural Resource Conservation Initiative (CRCI): Gurmeet S. Rai; Conservation Architects: Komal Potdar, Ruchita Belapurkar, Priyanka Singh, Ipsita Shah; Co-Intern: Mohit; People of Amritsar in and around Townhall and Ram Bagh Gate

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Source: Material Lab- Foundation Studio; M. Arch in Conservation and Regeneration, CEPT University batch 2019-2021; 1.Hot Lime Mix - Lime placed on the sand mound; 2. Conc. HCl Test Lime - Kept for results; 3. Brick Making - Creating surface of the prepared mixture placed in the mould; 4. Identifying the colour of lime using Munsell colour chart; 5. Lime aggregates; 6. Mud mortar and plaster making process- slaking; 7. Timber- during flexure test; 8. Brick Making- Sieving for fine sand; 9. Bricks kept for room temperature drying; 10. Mixing the sand, clay mixture for mud mortar preparation; 11. Taking measurements of the lime sample; 12. Lime slaking

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At General Post Office, Ahmedabad Image Source: Sarvesh Alshi, 2020

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Lakshmi R Portfolio I July 2021 ar.lakshmiravikumar@gmail.com +91 9952188354