TABLE OF CONTENT

1 TITLE - CULTURAL REVIVAL THROUGH ARCHITECTURE .........................5

1.1 INTRODUCTION OF THE TOPIC ............................................................. 5
1.2 AIM ..................................................................................................................5
1.3 OBJECTIVES ................................................................................................5
1.4 HYPOTHESIS ............................................................................................... 6
1.5 METHODOLOGY ......................................................................................... 6
2.LITERATURE STUDY .............................................................................................6
2.1 INTODUCTION OF THE TOPIC ................................................................6
2.1.1 WHAT IS CULTURE .........................................................................6
2.1.2 IMPORTANCE OF CULTURE ........................................................ 7
2.1.3 EMOTIONAL IMPACT OF CULTURE ........................................... 7
2.1.4 INTERRELATION BETWEEN CULTURE, ARCHITECTURE
AND IDENTITY/COMMUNITY ..................................................................8
2.1.5 INTENTION OF THIS THESIS ....................................................... 9
2.2 DICTIONARY MEANING AND ELABORATION ON THE KEY
WORDS. ............................................................................................................... 9
2.3 ELABORATION ON ISSUE OR PHENOMENON ...........................9
A) CHARACTERISTICS, ASPECTS OF THE ISSUE/
PHENOMENON .......................................................................................... 9
2.3.1 GENERAL CHARACTERISTICS OF CULTURE .........................9
2.3.2 ASPECTS OF CULTURE .............................................................. 10
2.3.3 WHAT IS ARCHITECTURE TO CULTURE? ............................. 12
2.3.4 WHY IT IS NECESSARY TO STUDY THE RELATIONSHIP
BETWEEN ARCHITECTURE AND CULTURE?..............................11
2.3.5 INTERELATIONSHIP BETWEEN CULTURE,
ARCHITECTURE AND IDENTIY/COMMUNITY ..................................12
2.3.6 WHY CULTURE IS IN NEED BE CONSERVED? .....................13
2.3.7 ANALYZING THE IMPACT OF MODERNIZATION .................. 13
B) HISTORICAL ASPECT OF THE PHENOMENON. ................................ 14
2.3.8 ANCIENT PERIOD ......................................................................... 14
2.3.9 MEDIEVAL PERIOD .......................................................................19
2.3.10 MODERN PERIOD ....................................................................... 23
2.4 ARCHITECTURE DEALING WITH THAT ISSUE .................................24
A) CHRONOLOGICAL DOCUMENTATION OF ARCHITECTURE
DEALING IN THAT PHENOMENON. ............................................................24
2.4.1 ANCIENT PERIOD - ARCHITECTURE ...................................... 25
2.4.2 MEDIEVAL PERIOD ARCHIETCTURE ...................................... 28
2.4.3 MODERN PERIOD - ARCHITECTURE ...................................... 30
B) CONTEMPORARY ARCHITECTURE DEALING WITH
PHENOMENON. ............................................................................................... 31
2.4.4 BUILDING A CULTURAL RENAISSANCE: ARCHITECTURE'S
ROLE IN RESTORING IDENTITY ......................................................... 32
2.4.5 SEVERAL STRATEGIES CAN BE EMPLOYED TO STRIKE
THIS BALANCE EFFECTIVELY ............................................................ 33
2.4.6 THE RISE OF CONTEMPORARY DESIGN MOVEMENTS ....35
2.4.7 JAWAHAR KALA KENDRA, JAIPUR .......................................... 36
2.4.8 KALA ACADEMY, GOA ................................................................. 36
 2.5 OPINIONS OF EXPERTS .........................................................................36
3.1 CASE STUDY ............................................................................................. 37
3.1.1 CULTURAL CENTRE L JEAN-MARIE TJIBAOU/RENZO
PIANO BUILDING WORKSHOP ............................................................ 38
3.1.2 MADHYA PRADESH TRIBAL NATIONAL MUSEUM -
BHOPAL ..................................................................................................... 41

REFERENCE .............................................................................................................48
 DECLARATION

I declare that the dissertation report PART 1 entitled "Culture

revival through architecture" has been prepared by me under the
guidance of Prof. Amit Prasadi from the Department of
Architecture, Karnatak Law Society's Gogte Institute Of
Technology. No part of this thesis has formed the basis for the
award of any degree or fellowship previously.

AADITYA ATTIGERI

USN NO- 2GI19AT002

Department of Architecture,

Karnatak Law Society's Gogte Institute of Technology, Belgaum-

590008
 ACKNOWLEDGEMENT

I would like to thank Prof. Ar. Amit Prasadi for his expert, sincere
and valuable guidance. Without his guidance and persistence, this
thesis would not have been possible. I wish to express my sincere
thanks to Prof. Ar. Roopali Kavilkar, HOD of Department of
Architecture. Also, I would like to thank all the other coordinators,
Prof. Ar. Dinkar Oulkar, Prof. Ar. Nishita Tadkodkar , Prof. Ar.
Siddharth Patil, Prof. Ar. Padma Sangoli, Prof. Ar. Vinayak Patil,
Prof Ar. Geetha Sambrekar, Prof Ar. Ashwin Kalmani for all the
discussion and their valuable suggestions. I also record my sincere
thanks to all the faculty members of the Department of Architecture
for their help and encouragement.

This vote of thanks would be incomplete without acknowledgement

of the most important people in my life my parents, for their
unceasing motivation and support and believing in me when times
were difficult. I also express my sincere thanks my friends who
have always been there to support and encourage me in the best
way possible. And lastly, I also thank all my friends who directly or
indirectly, have lent their helping hand in this venture.
1 TITLE - CULTURAL REVIVAL THROUGH ARCHITECTURE

1.1 INTRODUCTION OF THE TOPIC

In the intricate tapestry of Indian culture, the profound influence of folk art
stands as a testament to the vibrant history that has shaped the character of
diverse regions and cities across the subcontinent. These indigenous artistic
expressions, rooted in tradition and creativity, have served as living
testimonies to the rich heritage of various communities. Over centuries, they
have not only given distinct identities to these communities but have also
embodied the essence of cultural diversity.

However, in the contemporary milieu, the authentic expressions of this cultural

wealth find themselves relegated to the margins of public awareness. The
once-celebrated folk art forms, which served as mirrors reflecting the soul of
communities, now grapple with neglect and marginalization. It is against this
backdrop that the urgency of a cultural revival through architecture emerges.
As the tangible embodiment of cultural identity, architecture has the power to
resurrect and revitalize the fading echoes of folk art, breathing new life into
traditions that are at risk of fading into oblivion. This thesis delves into the
intricate relationship between architecture and the revival of folk art, exploring
how the built environment can serve as a dynamic medium for the reclamation
and preservation of India's diverse cultural heritage.

1.2 AIM

This thesis seeks cultural revival of culture through its integration with
structures and architectural expression.

1.3 OBJECTIVES

 Understanding the aspects of Indian culture.

 Study the relationship between culture and architecture.
 Understanding the concepts, characteristics, significance of culture in
general and Indian culture.
 The cultural factors that evokes the need to merge culture and
architecture
 To identify the issues of culture dealing with architectural spaces.
 To use architecture feature in a symbolic way in conveying a India's
identity building, places.
 That would appropriately translate and celebrate Indian cultural diversity.

1.4 HYPOTHESIS

Architecture can act as a catalyst in reviving culture of India.

1.5 METHODOLOGY

 Studying the origination and different types of culture.

 Analyzing the need for revival of culture.
 Study the influence of it on society.
 Analyse the influence of it on architecture.
 Exploring ways to integrate art with architecture.

2.LITERATURE STUDY

2.1 INTODUCTION OF THE TOPIC

2.1.1 WHAT IS CULTURE

Culture is a comprehensive term that encompasses the intricate fabric of

social existence, embodying an array of elements that collectively constitute
the essence of a society. It is a complex amalgamation of customs, traditions,
practices, and ideologies that are inherited and transmitted across successive
generations. Within this framework, culture serves as the foundation upon
which the identity and cohesion of a community are built.
In essence, culture represents the intricate tapestry of human existence,
weaving together the threads of history, tradition, and collective
consciousness. It not only shapes individual identities but also serves as a
repository of shared experiences, wisdom, and aspirations, acting as a
dynamic force that continually shapes and defines the course of human
civilization.
2.1.2 MPORTANCE OF CULTURE

Culture holds significant importance in society as it shapes the way individuals

perceive the world and interact with one another, thereby influencing their
values, beliefs, and behaviors. It serves as a cornerstone for identity formation,
providing individuals with a sense of belonging and fostering a shared
understanding of history, traditions, and heritage. Furthermore, culture plays a
crucial role in promoting social cohesion and harmony by encouraging mutual
respect and empathy among diverse communities. It also serves as a medium
for the transmission of knowledge, art, and customs across generations,
preserving the rich tapestry of human civilization. Embracing and
understanding diverse cultural practices fosters tolerance and appreciation for
different perspectives, facilitating cross-cultural communication and
cooperation in an increasingly interconnected global landscape. As such, the
preservation and celebration of culture not only nurture a sense of collective
pride but also promote inclusivity, mutual understanding, and a shared sense
of humanity.

2.1.3 EMOTIONAL IMPACT OF CULTURE

Culture exerts a profound emotional impact on human beings, shaping their

identities, values, and interpersonal relationships. The emotional connection
to one's culture is deeply rooted and can influence individuals in various ways.

Firstly, culture plays a pivotal role in shaping a person's sense of identity and
belonging. Individuals often find a deep emotional connection to the cultural
heritage they are born into or adopt. This connection provides a sense of
grounding and belonging, contributing to a person's self-esteem and overall
well-being. It helps individuals answer fundamental questions about who they
are and where they come from, which can be a source of great emotional
comfort and security.

Moreover, culture influences the emotional responses to various life events.

Different cultures have distinct ways of coping with challenges, celebrating
successes, and mourning losses. These cultural practices and rituals provide
a framework for emotional expression and support during times of joy and
sorrow. For example, a cultural tradition of communal grieving may provide a
strong emotional support system during times of bereavement.

Culture also plays a role in shaping the values and beliefs that guide human
behavior. The emotional impact of cultural values can be seen in how
individuals prioritize family, community, and social relationships. For instance,
cultures that place a high value on family ties often foster deep emotional
bonds among family members. Conversely, cultures that emphasize
individualism may promote self-reliance and self-expression, leading to
different emotional responses to interpersonal interactions.

Furthermore, culture can lead to the formation of biases and prejudices,

affecting how individuals perceive and interact with others from different
cultural backgrounds. These biases can influence emotions such as fear,
mistrust, or prejudice, often rooted in cultural stereotypes. Recognizing and
addressing these biases is essential for fostering positive intercultural
relationships and promoting emotional well-being.

Culture has a profound emotional impact on human beings, shaping their

identities, values, and emotional responses to life events. It provides a sense
of belonging, influences emotional coping mechanisms, and guides
individuals' beliefs and behaviors. However, it is crucial to acknowledge that
culture can also be a source of biases and prejudices that impact
interpersonal relationships and emotions. Understanding the emotional
dimensions of culture is vital for promoting empathy, inclusivity, and emotional
well-being in a diverse world.

2.1.4 INTERRELATION BETWEEN CULTURE, ARCHITECTURE

AND IDENTITY/COMMUNITY

The culture of each community defines the identity of the community and
architecture as a social phenomenon was originated from the culture and its
effects. Architecture as a matter of fact is a building or structure that gives
human habitat to support their cultural functions and activities. The built form
and human manners have a close relationship and they have prominent effect
on each other. Architecture can shape manner of living and mutual
transmission of resources among users and it displays the historical and
profound role of culture in combining these factors. By just looking at the built
form of a region one can study lifestyle and traditions of the community living
in the respective region.

Architecture has become one of the paramount source to trace and identify
the cultural patterns and social structure during the time. But nowadays
culture is in endanger condition because of globalization. Many museums
were also established to conserve and protect it but the policy of conserving
museum and gallery were not work properly due to lack of design parameters,
elements space and others various reason. Thus the modern globalization
and international practice can be seen that demand of cultural hub that serves
the social organization, encourage daily activity, revitalize the neighbourhood,
etc.
2.1.5 INTENTION OF THIS THESIS

The integration of culturet and architecture carries an immense potential in

preserving heritage, revitalizing communities. The analysis will focus on
exploring how different aspects of culture can be adapted to various
architectural elements, such as facades, walls, ceilings, and floors. Design
experiments will be used to illustrate the potential impact of integrating folk art
into public structures. Provide a platform for continued practice and
appreciation of folk art to revitalize cultural practices.Incorporate local and
traditional materials, local artists give them employment and contribute to the
economic development of the country.Look to seamlessly blend and integrate
traditional art forms with modern architectural elements and push the limits of
architectural aesthetics.

In conclusion, the intentions behind the thesis on the revival of culture through
architecture are multi-faceted and far-reaching. They encompass cultural
preservation, creativity, community engagement, economic growth, education,
cross-cultural exchange, and sustainability. Through architectural
interventions that honor the heritage of India, this thesis aims to not only
safeguard these valuable traditions but also ensure their relevance and
vibrancy in the contemporary world. By exploring these intentions, the thesis
seeks to contribute to the broader discourse on the role of architecture in
preserving and revitalizing cultural heritage.

2.2 DICTIONARY MEANING AND ELABORATION ON THE KEY

WORDS.

2.3 ELABORATION ON ISSUE OR PHENOMENON

A) CHARACTERISTICS, ASPECTS OF THE ISSUE/

PHENOMENON

2.3.1 GENERAL CHARACTERISTICS OF CULTURE

Culture is learned and acquired: Culture is acquired in the sense that there
are certain behaviour which are acquired through heredity. Individuals inherit
certain qualities from their parents but socio- cultural patterns are not inherited.
These are learnt from family members, from the group and the society in
which they live. It is thus apparent that the culture of human beings is
influenced by the physical and social environment through which they operate.
Culture is shared by a group of people: A thought or action may be called
culture if it is shared and believed or practiced by a group of people.
Culture is cumulative: Different knowledge embodied in culture can be
passed from one generation to another generation. More and more
knowledge is added in the particular culture as the time passes by. Each may
work out solution to problems in life that passes from one generation to
another. This cycle remains as the particular culture goes with time.

Culture changes: There is knowledge, thoughts or traditions that are lost as

new cultural traits are added. There are possibilities of cultural changes within
the particular culture as time passes.

Culture is dynamic: No culture remains on the permanent state. Culture is

changing constantly as new ideas and new techniques are added as time
passes modifying or changing the old ways. This is the characteristics of
culture that stems from the culture's cumulative quality.

Culture gives us a range of permissible behaviour patterns: It involves

how an activity should be conducted, how an individual should act
appropriately.

Culture is diverse: It is a system that has several mutually interdependent

parts. Although these parts are separate, they are interdependent with one
another forming culture as whole.

2.3.2 ASPECTS OF CULTURE

LANGUAGE

Communication is a fundamental channel for the dissemination of information

and ideas. Proficiency in the local language is advantageous as it facilitates a
clearer comprehension of the situation at hand. This linguistic competence
grants direct access to the local populace, fostering more meaningful
interactions. Furthermore, a grasp of the local language enables an
understanding of implied meanings, adding a layer of nuance to
communication.

RELIGION

The spiritual beliefs of a society are often so powerful that they transcend
other cultural aspects. Religion affect-
 The work habit of people
 Work and social customs
 Politics and business

NORMS
Cultural norms vary widely, encompassing standards and expectations for
behavior. These norms are commonly categorized as formal or informal.
Formal norms, also referred to as mores and laws, represent the paramount
behavioral standards within a society. Informal norms, labeled as folkways
and customs, pertain to less critical yet influential standards guiding behavior.

SYMBOLS

Each culture abounds with symbols that signify abstract concepts or evoke
specific reactions and emotions. Some symbols serve as nonverbal
communication, while others manifest as tangible objects.

VALUES AND RITUALS

Values encapsulate a society's notions of morality and ethics, shaping

individual responses in diverse situations. Rituals, recurring sets of actions
laden with meaning, are employed in rites of passage or ceremonial events,
such as promotions or retirements.

CUSTOMS AND MANNERS

Commonly practiced activities constitute customs, while manners are the

accepted behaviors in a society, reinforcing notions of right and wrong.

CUISINE

Cuisine represents a distinctive style of cooking associated with specific

cultures or geographical regions. It combines regional techniques, customs,
and ingredients to create unique dishes.

ATTIRE

When clothing represents the cultural identity of an ethnic group, it is often

termed traditional ethnic attire, ethnic dress, or ethnic clothing. It is also
known as ethnic wear or traditional ethnic garments.

MATERIAL CULTURE

Another cultural element is the artifacts, or material objects, that constitute a

society's material culture. It consists of objects that people make. Like-

 Economic infrastructure (transportation, communication, and energy

capabilities)
 Social infrastructure (Health, housing, and education systems)
 Financial infrastructure (Banking, insurance, and financial services)
2.3.3 WHAT IS ARCHITECTURE TO CULTURE?

Architecture, an integral part of human existence, mirrors the cultural essence

within societies, intricately interwoven with structural, historical, political,
economic, and social facets. Across nations, individuals strive to adhere to
their norms and uphold their values in the creation of architectural marvels,
employing tangible elements as a means of expression. The evolution of
cultural and social perspectives within communities profoundly influences
architectural landscapes. Consequently, the pivotal role of culture in shaping
and preserving architectural identity emerges as indispensable.

The fabric of human life finds resonance in architectural choices, reflecting the
dynamic interplay of societal elements. Whether in the choice of materials or
design principles, people across the globe manifest their cultural norms
through the built environment. Notably, transformations in cultural and social
attitudes wield significant influence over architectural narratives. In this
context, the imperative of culture in fostering a distinctive architectural identity
stands as a cornerstone, recognizing the symbiotic relationship between the
two. This exploration delves into the intrinsic connection between culture and
architecture, emphasizing how cultural shifts resonate in the very structures
that define our lived spaces.

2.3.4 WHY IT IS NECESSARY TO STUDY THE RELATIONSHIP

BETWEEN ARCHITECTURE AND CULTURE?

To understand the relationship between architecture and culture, one must

first understand the relationship between space and culture. Space, as culture,
has a social construction that develops over time as peoples alter lifestyles
Because expected function inside a specific place reflects distinct cultural
norms, space plays a significant role in promoting cultural change. The
building of a mental.

2.3.5 INTERELATIONSHIP BETWEEN CULTURE,

ARCHITECTURE AND IDENTIY/COMMUNITY

After re looking the definitions of culture, identity, architecture and their

interaction with each other, The result is that the culture of each community
defines the identity of the community and architecture as a social
phenomenon was COMMUNITY Originated from the culture and its effects.
Society works on architecture. In a nutshell. Culture and Architecture are two
faces of same coin. Architecture and Community have a close relationship
and they have prominent effect on each other. By just looking at the built form
of a region one can study lifestyle and traditions of the communal living in the
respective region.
2.3.6 WHY CULTURE IS IN NEED BE CONSERVED?

• There has been severe cultural neglect during the last few decades. with the
advancement of modern technology, the rush for more modern equipment.
and the frenzy for the embrace of Western culture, The Indian culture is on
the point of extinction. As pushed and encouraged by global Icons, adopting
Western culture is regarded as prestigious and fashionable among this
generation.
• A desire to study adopts & follows our lead so that cultural aspects will rise
around the world as a result of our efforts. Hence there is an immediate need
to educate about culture to us and our people.
• The art forms reflect not just the culture, but also the indigenous intelligence
passed down through the generations. The disappearance of the art form and
artist entails the loss of all knowledge. As a result, they must be protected.

2.3.7 ANALYZING THE IMPACT OF MODERNIZATION

The influence of Western culture on India has been a multifaceted and

evolving phenomenon that spans several centuries. This influence has left an
indelible mark on various aspects of Indian society, from lifestyle and fashion
to language and education.

One of the most noticeable impacts of Western culture in India can be

observed in the realm of fashion and clothing. Traditional Indian attire has
increasingly been replaced by Western-styled clothing, especially among the
urban population. Western fashion trends, such as jeans, t-shirts, and suits,
have become ubiquitous in Indian cities, reflecting a shift in clothing
preferences and a blending of Western and Indian styles. The rise of fashion
globalization through the media and the internet has further accelerated this
trend.

The culinary landscape of India has also seen significant Western influence.
Fast-food chains, international cuisine, and the adoption of Western-style
dining habits have become increasingly popular. The proliferation of American
fast-food, exemplifies how Western food culture has found a place in the
Indian culinary scene. Additionally, fusion cuisine that combines Western and
Indian flavors has gained popularity, demonstrating the adaptability of Indian
cuisine to Western influences.

In the field of education, Western ideals of academic excellence and

curriculum structure have influenced India's education system. The British
colonial legacy left behind a model of education that emphasized English
language proficiency and a structured curriculum. Today, English remains a
critical language for business, education, and communication, with many
Indian students aspiring to study in Western universities. The influence of
Western education can also be seen in the proliferation of international
schools and the adoption of Western teaching methods in India.

In conclusion, Western culture has significantly influenced various facets of

Indian society, from fashion and food to education and entertainment. This
influence is not a one-way street; it represents a dynamic interaction between
cultures, resulting in a rich tapestry of traditions, values, and practices that
continue to evolve in contemporary India. While some view this influence as a
means of embracing globalization and modernization, others see it as a
challenge to preserving India's unique cultural heritage. Regardless, the
impact of Western culture on India is undeniable and continues to shape the
country's social, cultural, and economic landscape.

MONOTONOUS SOCIETY

The rapid pace of industrialization and urbanization in the modern world has
left an indelible mark on the field of architecture and design. This
transformation, driven by technological advancements, mass production, and
evolving societal needs, has reshaped the way buildings are conceived,
constructed, and perceived. In this essay, we will delve deeper into how
industrialization has influenced contemporary architecture and design,
resulting in both remarkable innovation and a growing concern for uniformity
and monotony in our urban landscapes.

B) HISTORICAL ASPECT OF THE PHENOMENON.

The Indian history can safely be divided into ancient, medieval and modern
periods. The ancient period started long ago, as long as humans have lived
on earth. Medieval India i.e. from about the 8th century A.D. and lasted till the
beginning of 18th century. During the last two periods the society, economy,
polity and culture very different from each other. These differences which you
may also call progress, developed, continued and increased at a very fast
pace and had very much deeper impact on our lives.

2.3.8 ANCIENT PERIOD

PREHISTORIC TO AD 700
Stone tools held immense significance in the daily lives of Stone Age
communities, serving as crucial artifacts that unlock the mysteries of their
world. Human habitation in India dates back to approximately 500,000 B.C.
Scholars offer varying perspectives on the initial dwelling place of early
humans, with some suggesting the Sewalik hills and others pointing to the
Deccan region, where the oldest stone implements have been unearthed.

As humanity evolved, it traversed distinct phases of the Stone Age, namely

the Palaeolithic, Mesolithic, and Neolithic ages, each characterized by specific
types of stone tools.

PALAEOLITHIC AGE (500,000 years ago)

The Palaeolithic Age, commencing around 500,000 years ago, unfolds in
three phases dictated by changes in tool technology and climate. During this
era, communities were primarily nomadic, relying on hunting and gathering for
sustenance. Permanent settlements were absent, and the Palaeolithic age
further differentiates into Early or Lower Palaeolithic, Middle Palaeolithic, and
Upper Palaeolithic based on fauna changes linked to different tool types.

THE MESOLITHIC AGE (10,000 BC -8,000 BC)

The Mesolithic people lived on hunting, fishing and food gathering and at a
later stage they also domesticated animals. The characteristic tools of the
Mesolithic Age are tiny tools. The evidence from Mesolithic sites suggests
interaction among communities. The evidence from the burial sites confirms
the presence of grave grounds is often taken as an indication of some shorts
of belief after discovered. life. A few engraved bone objects have been
discovered at sites.

NEOLITHIC SITES AND SETTLEMENT (8000 BC-2000 BC)

Neolithic age has settled life, doing animal husbandry and some form of
cultivation which depended solely upon the use of stone. Communities that
practised, animal rearing and agriculture usually continued to hunt and forge
for food. Animal bones were also used to make needles, blades and other
tools. The people of Neolithic age also knew about the art of pottery. People
used variety of colors in pottery. Generally, they covered their bodies with
barks of trees and skin of animals. At a later stage they discovered clothes of
cotton and wool. There was no specific religion. People of Neolithic age
generally worshiped spirits of their ancestors and forces of nature.

THE CHALCOLITHIC SITES AND SETTLEMENT (3000 B.C. and

1000 B.C)
The Chalcolithic Age in India, marking the pre-Harappan phase, witnessed the
utilization of stone and copper tools, concurrently with the introduction of the
advanced bronze alloy, a fusion of copper and tin. This era was characterized
by the cultivation of domesticated animals and the practice of agriculture. A
notable technological leap was observed in the tools of this period, which
were not only superior but also more enduring. The expertise of the
Chalcolithic people extended to various crafts, including coppersmithing and
stone craftsmanship. Proficiency in arts and crafts was evident, with evidence
of weaving and spinning using cotton, flax, and silk threads. Burial practices
were distinct, with the interment of the deceased, accompanied by copper
objects, under house floors in a north-to-south orientation. The people of this
age venerated the mother goddess, and settlements typically emerged along
riverbanks.

Lifestyle and Religion of the Indus Valley People

Mohenjo-Daro, an expansive city along the Indus River spanning 250 acres,
lay dormant beneath the earth for millennia, preserving the remnants of the
ancient Indus Valley civilization. Worship in this civilization centered on female
deities and Pashupati, depicted in seals with a one-horned animal surrounded
by various creatures, suggesting reverence for Lord Shiva or Pashupati, the
Lord of Beasts. Belief in an afterlife was evident in burial practices, with the
inclusion of household items, food, and jewelry, even if the bodies were
cremated.

Clothing in the Indus Valley Civilization

In the Indus Valley Civilization, both men and women adorned themselves in
vibrant robes that could either be worn as skirts or fashioned into pants.
Turbans, fabric lengths wrapped around the head, served as a common male
headdress, while women occasionally adopted this style as well. Cotton and
wool dominated the textile landscape, as silk arrived from China much later,
around the 1st century BC. Preferred materials for adornment included gold,
silver, and precious gems.

Trade and Transportation in the Indus Valley Civilization

Technological advancements during this civilization facilitated trade through

the use of bullock carts. Agriculture, the primary occupation, thrived in the
fertile lands near the Indus River, yielding abundant crops like wheat and
barley. The economy relied heavily on trade, evidenced by seals discovered
in Mesopotamia, indicating commerce with other nations.

VEDIC CIVILISATION (c. 1500–500 BCE):

The emergence of the Vedic Civilization marked a significant cultural
transition in the Indian subcontinent, succeeding the decline of the Indus
Valley Civilization. This era's cultural impact has been profound, shaping the
region in various aspects. The term "Veda," denoting knowledge, is central to
this period, during which four essential Vedas were composed. The migration
of the Aryans, distinguished by lighter skin tones, is believed to have
displaced the Dravidian population to South India, contributing to linguistic
connections between Indian and European languages noted by early
European scholars.
Early Vedic Civilization - Lifestyle and Society:

The Early Vedic period, also known as the Rig Vedic period, was
characterized by a simple nomadic lifestyle. The Aryans worshipped natural
forces, and their belief in an afterlife influenced practices like cremation or
burial with essential provisions. The societal structure featured four main
groups, namely Brahmins, Kshatriyas, Vaisyas, and Shudras, laying the
foundations of the caste system. Women played integral roles in religious
functions, enjoying education and mobility.

Economy in the Early Vedic Period:

Economically, the Aryans enjoyed a comfortable lifestyle, primarily relying on

agriculture. Cattle ownership signified wealth, and occupations like weaving,
blacksmithing, and goldsmithing gained prominence. The barter system
prevailed, gradually transitioning to the use of gold pieces called Mishika for
exchange. The composition of the four Vedas in Sanskrit became the
cornerstone of Hinduism, continuing to hold reverence in contemporary Hindu
practice.

Later Vedic Period - Societal Changes and Epics:

In the Later Vedic Period, the Aryans migrated eastward, leading to the
emergence of tribal groups and kingdoms. Notable epics like the Ramayana
and Mahabharata were composed, covering the entire North India. Society
became more complex, witnessing the rise of kingdoms, solidification of the
caste system, and a decline in the status of women.

Religious Shifts in the Later Vedic Period:

Religiously, there was a shift from nature gods to a belief that yajna and
sacrifices alone couldn't liberate the soul. New methods of repaying debts to
God and Rishis gained prominence, involving yajna and funeral ceremonies.
Ascetics renounced worldly pleasures for 'Nirvana,' and life was divided into
four stages: Brahmacharya, Grihasta, Vanaprastha, and Sanyasi.
Superstitions entered society, reflecting a more intricate and rigid worldview.

Economic and Educational Changes in the Later Vedic Period:

Economically, agriculture remained predominant, with the introduction of

manure to enhance crop yield. Trade flourished, and occupations like
blacksmithing, carpentry, and goldsmithing gained importance. The barter
system evolved into the use of coins, and both land and sea routes were
utilized for trade. Education became a focal point during this period, with boys
learning Upanishads, grammar, law, and languages. Teachers gained high
respect, and education extended beyond royalty. However, women were
excluded from formal education, confined to traditional roles as bearers of
children.
The Maurya Empire (322–185 BCE):

The Maurya Empire, spanning from 322 to 185 BCE, occupies a significant
place in Indian history, leaving enduring imprints on the subcontinent's cultural
landscape. Exploring the cultural dimensions of the Mauryan era involves
delving into the influences of religion, economy, and education, pivotal factors
that collectively shaped ancient India's socio-cultural dynamics.

Religion

Religion played a pivotal role during the Maurya Empire, especially under
Emperor Ashoka's reign. Initially embracing Buddhism post the Kalinga War,
Ashoka propagated Gautama Buddha's teachings, focusing on non-violence,
compassion, and moral conduct. The Edicts of Ashoka, inscribed on pillars
and rocks throughout the empire, stand as testimony to his commitment to
dharma (righteousness) and social harmony. The spread of Buddhism during
this period significantly influenced India's cultural fabric, fostering religious
tolerance and impacting subsequent artistic expressions.

Economy

Economically, the Mauryan Empire witnessed strides in trade and agriculture.

Under Chandragupta Maurya and later Ashoka, the administration
implemented policies to boost economic growth. The creation of an extensive
road network facilitated trade, linking urban centers and rural areas. Ashoka's
rock edicts underscore his concern for his subjects' welfare, indicating a state-
supported economic system geared toward overall prosperity.

Education

Education thrived during the Mauryan period, marked by the emergence of

centers of learning and intellectual discourse. The renowned Takshashila
University, located in present-day Pakistan, attracted scholars from diverse
regions. Students received education across various fields, including medicine,
astronomy, philosophy, and political science. This emphasis on education not
only contributed to the empire's intellectual vitality but also laid the
groundwork for India's future as a center of knowledge and scholarship.

Gupta Empire (c. 320–550 CE)

The Gupta Empire, spanning approximately from 320 to 550 CE, stands as a
golden chapter in Indian history, characterized by significant progress in
various aspects of culture. This era witnessed a harmonious blend of Hindu
religious influence, economic prosperity, and educational advancements,
leaving an enduring impact on the social fabric of Indian society.

Religious Influence:
The Gupta Empire's roots were deeply embedded in Hinduism, with rulers like
Chandragupta II and Kumaragupta I actively promoting Hindu religious
practices. The construction of temples, such as the Dashavatara Temple in
Deogiri, underscores the empire's commitment to nurturing Hindu art and
architecture. While displaying tolerance for diverse religious beliefs, Gupta
rulers notably contributed to the preservation and promotion of Hindu
traditions. The period also marked the compilation of significant Hindu legal
and philosophical texts, such as the Manusmriti and the Puranas, shaping
India's socio-religious landscape.

Economic Prosperity

Economically, the Gupta Empire thrived, with agriculture serving as the

cornerstone of its prosperity. Implementing efficient land revenue systems and
irrigation techniques boosted agricultural productivity. The introduction of a
stable currency, exemplified by gold coins featuring the ruling monarch's
image, facilitated robust trade and commerce. Flourishing trade routes
connected India with the Roman Empire and Southeast Asia, enhancing living
standards and fostering patronage of arts and culture.

Educational Advancements

Education during the Gupta Empire reached unprecedented heights, reflecting

a commitment to intellectual pursuits. The establishment of renowned
universities like Nalanda and Takshashila became hubs of excellence,
attracting scholars and students from across the subcontinent. The curriculum
spanned various subjects, including philosophy, mathematics, astronomy,
medicine, and literature. Influential scholars like Aryabhata and Kalidasa
flourished, making significant contributions. The Gupta rulers played a pivotal
role in supporting these centers of learning, fostering an environment
conducive to intellectual exploration.

Artistic Expression and Cultural Impact

Under the political unity and state patronage provided by the Guptas, cultural
activities experienced a surge. The influence of Graeco-Roman styles waned,
and Gupta art became more creative, portraying Hindu gods and goddesses
alongside Buddhist themes. Coinage and monuments became canvases for
artistic expression, with coins showcasing the king's portrait or relevant deities.
Gupta art found eloquent expression in sculptures, particularly at the Sarnath
school, offering graceful representations of the Buddha. Gupta artists
demonstrated proficiency not only in stone but also in bronze, marking a
flourishing period of artistic ingenuity and cultural richness.

2.3.9 MEDIEVAL PERIOD

Delhi Sultanate (1206–1526)

The establishment of the Delhi Sultanate in 1206 by Qutb-ud-din Aibak
marked a pivotal chapter in Indian history, ushering in a cultural fusion shaped
by Islamic traditions. Religion played a pivotal role in influencing the Delhi
Sultanate's culture, with Turkic and Afghan-origin sultans bringing the Islamic
faith that left an enduring impact on various aspects of life. Notable
architectural marvels like the Qutub Minar reflected the fusion of Persian and
Central Asian styles, adorned with intricate calligraphy and geometric designs
inspired by Islamic art.

Economically, the Delhi Sultanate transformed with the introduction of the

'iqta' system, enhancing revenue administration. This period saw a flourishing
of trade and commerce, connecting the Indian subcontinent with the broader
Islamic world and fostering a cosmopolitan nature.

Education witnessed significant changes with the proliferation of madrasas,

Islamic educational institutions. The sultans' patronage of scholars created an
intellectual environment transcending religious boundaries, leading to a
unique synthesis of traditional Indian knowledge and Islamic scholarship,
exemplified in Alberuni's 'Kitab al-Hind.'

The Delhi Sultanate's profound influence on India laid the foundation for a
cultural synthesis that set the stage for subsequent empires, notably the
Mughals, shaping the multifaceted cultural heritage of the Indian subcontinent.

Vijayanagara Empire (1336–1646)

The Vijayanagara Empire, flourishing from 1336 to 1646 in South India, left an
enduring mark on the region's cultural landscape through a vibrant fusion of
Hindu traditions in art, architecture, literature, and religious practices.

Religiously rooted in Hinduism, the Vijayanagara rulers, particularly

Krishnadevaraya, were patrons of the arts and devout followers of the
Vaishnava sect. Temples, exemplified by the Virupaksha and Vittala temples
at Hampi, showcased the empire's grandeur through intricate sculptures and
carvings.

Economically, strategic positioning and efficient administration contributed to

prosperity. Trade and commerce were actively encouraged, turning
Vijayanagara into a bustling trade center attracting merchants globally.
Economic affluence, in turn, fueled patronage for artists and scholars,
fostering cultural flourishing.

Education, closely linked to religious institutions, saw the rulers supporting

schools and knowledge dissemination in Sanskrit, literature, philosophy, and
the arts. The emphasis on education aimed not only for practical purposes but
also to preserve and propagate the rich cultural heritage.

Vijayanagara's profound cultural impact resonates in South India's fabric,

influencing subsequent dynasties and serving as a template for future
developments in temple architecture, education, and the arts.
Bahmani Sultanate (1347–1527)
Established in 1347, the Bahmani Sultanate played a pivotal role in shaping
the cultural, religious, economic, and educational landscape of India, leaving
an enduring legacy until 1527.

Religiously characterized by a blend of Hindu and Islamic cultures, the

Bahmani rulers fostered a syncretic environment that tolerated diverse
religious practices. This cultural amalgamation is evident in architectural
marvels like the Bidar Fort and Gulbarga Fort.

Economically, the Sultanate thrived due to its strategic location, with trade and
commerce flourishing under their rule. Economic policies, including a
standardized currency system, contributed to increased prosperity and the
establishment of market towns.

Educationally, the Bahmani Sultanate became a patron of learning and

education. The court attracted scholars, creating a cosmopolitan atmosphere.
The promotion of Persian as the court language facilitated cultural exchanges
and the dissemination of scholarly works.

The Bahmani Sultanate's influence extended beyond the Deccan, contributing

significantly to India's cultural diversity. Their syncretic approach to religion,
economic policies, and educational patronage left an indelible mark on the
historical narrative, shaping subsequent cultural developments in the region.

Mughal Empire (1526–1857)

The Mughal Empire, spanning from 1526 to 1857, left an enduring impact on
India's cultural tapestry, influencing religion, economy, and education. The
Mughals, hailing from Central Asian Turkic-Mongol origins and practicing
Islam, intricately melded their cultural heritage with India's rich traditions,
resulting in a distinctive synthesis.

Religious

Religiously, the Mughal emperors played a pivotal role in shaping India's

cultural landscape. From Babur to Akbar, Jahangir, and Shah Jahan, policies
of religious tolerance were implemented. Akbar's policy of "universal peace"
promoted harmonious coexistence among people of different faiths, fostering
cultural exchange and flourishing of art, architecture, and literature.

Economic

The Mughal Empire's economic influence was profound, establishing a

centralized administration and a uniform taxation system for enhanced
stability. It became a trade hub, connecting the Indian subcontinent with
Central Asia and Europe. The empire's prosperity was reflected in
architectural marvels like the Taj Mahal, showcasing the opulence of the
ruling elite.

Educational

In education, the Mughals played a pivotal role in patronizing learning and the
arts. Akbar's Ibadat Khana facilitated religious and philosophical discussions,
and he supported the translation of Sanskrit works into Persian, fostering
cross-cultural knowledge exchange. The emphasis on education extended to
the establishment of madrasas and the promotion of Persian, contributing to a
Persian-influenced intellectual and literary tradition in India.

The Mughal Empire's cultural impact was multi-faceted, shaping religion,

economy, and education. The synthesis of Central Asian and Indian traditions
under the Mughals created a unique cultural amalgamation that continues to
influence India's diverse heritage.

Maratha Empire (1674–1818)

The Maratha Empire, spanning from 1674 to 1818, significantly shaped India's
cultural landscape. Emerging from the Deccan region, the Marathas, led by
Chhatrapati Shivaji, not only established a formidable political entity but also
left an indelible mark on the socio-cultural fabric of the Indian subcontinent.

Religious

The Maratha Empire was marked by a predominantly Hindu cultural milieu,

with rulers being patrons of Hinduism. Temples, especially in Maharashtra,
experienced a renaissance with intricate sculptures and paintings. The
Marathas promoted religious tolerance, allowing various communities to
practice their faiths freely, while the predominant religious landscape
remained Hindu.

Economic

Economically, the Maratha Empire thrived on agrarian prosperity. Policies

under Chhatrapatis and Peshwas fostered agricultural development, and
trade and commerce flourished, contributing to a vibrant economic landscape
with key trade routes passing through Maratha territories.

Educational

In education, the Marathas recognized the importance of knowledge,

establishing educational institutions in Pune and Satara. These institutions
focused on imparting traditional knowledge, including Sanskrit literature,
philosophy, and astronomy. Educational reforms were strategic, nurturing a
skilled administrative and military class.
The Maratha Empire's cultural impact resonated beyond its boundaries,
setting precedents for future socio-cultural developments in India. The legacy
endures in the prominence of Marathi language and culture, architectural
marvels in Maharashtra, and intellectual contributions shaping India's cultural
tapestry. The Marathas' multifaceted influence enriched India's cultural
heritage.

2.3.10 MODERN PERIOD

Colonial Period (1600–1947):

The Colonial Period in India, spanning from the early 17th century to 1947,
marked a significant epoch of transformation across various facets of Indian
society, encompassing culture, religion, economy, and education. The advent
of European powers, notably the British East India Company, played a pivotal
role in shaping India's cultural landscape during this transformative era.

Religious

Religiously, the Colonial Period witnessed the coexistence and occasional

clash of diverse faiths. Despite India's historical religious pluralism, the
colonial era introduced Christianity on a larger scale. Missionary activities
gained momentum, leading to the establishment of Christian educational
institutions and churches. This interaction influenced social practices,
occasionally leading to tensions and conflicts as colonial policies sometimes
favored specific religious groups.

Economic

Economically, the Colonial Period left a profound impact on India. Initially

rooted in trade, the British East India Company transformed India into a
significant source of raw materials and a market for finished goods.
Exploitative economic policies, such as the drain of wealth, adversely affected
India's economy. Changes in agrarian systems, the introduction of cash crops,
and the establishment of railroads for resource extraction significantly altered
traditional economic structures, exacerbating poverty and causing lasting
impacts on the socio-economic fabric.

Education

In the realm of education, the colonial period saw the establishment of a

Western-style education system. English became the medium of instruction,
creating a societal divide where those educated in English gained superior
opportunities. Traditional Indian education systems, including vernacular
languages and indigenous knowledge, were marginalized. This shift had long-
term consequences, shaping the intellectual landscape and contributing to the
emergence of a new, anglicized elite.
The Colonial Period in India was characterized by cultural amalgamation,
economic exploitation, and educational transformation, leaving enduring
legacies that continue to influence contemporary India.

Post-Independence India (1947 Onwards)

Since gaining independence in 1947, India has undergone a dynamic
evolution of culture, shaped by the intricate interplay of religion, economy, and
education. This transformation is deeply rooted in the country's diverse
historical and cultural fabric, reflecting a synthesis of traditions and modernity.

Religious

Religion continues to play a pivotal role in shaping India's cultural landscape,

with Hinduism being the predominant faith. The coexistence of multiple
religions fosters a pluralistic society, celebrated through festivals like Diwali,
Eid, Christmas, and Baisakhi. However, religious differences have, at times,
posed challenges to maintaining secularism in this diverse nation.

Economic

Economically, India has shifted from a predominantly agrarian society to a

rapidly growing industrial and service-based economy, profoundly impacting
its culture. Economic liberalization in the 1990s opened doors to globalization,
introducing new ideas, consumerism, and cultural influences. Urbanization
and the rise of the middle class have reshaped lifestyles, resulting in a fusion
of traditional and contemporary elements in areas such as fashion, cuisine,
and entertainment.

Educational

Education has been a catalyst for social change and cultural development in
post-independence India, emphasizing empowerment and leading to
increased literacy rates. Educational institutions serve as hubs for cultural
exchange, fostering creativity and critical thinking. The global rise of English
as a language has connected India to the world, influencing literature, media,
and communication.

The cultural landscape of independent India is a vibrant tapestry woven with

the threads of religion, economy, and education. The nation's commitment to
secularism, coupled with economic growth and educational advancements,
has created a dynamic and evolving cultural mosaic, showcasing the
resilience and adaptability of its people.

2.4 ARCHITECTURE DEALING WITH THAT ISSUE

A) CHRONOLOGICAL DOCUMENTATION OF ARCHITECTURE

DEALING IN THAT PHENOMENON.
2.4.1 ANCIENT PERIOD - ARCHITECTURE

Architecture is not a modern phenomenon. It began as soon as the early cave

man began to build his own shelter to live in. Man first began to create and fix
his own shelter when he stepped out from the natural habitat of dense jungle
covers. With the artistic faculties of man awakened in the search for larger
and better-sheltered spaces, he began to build, with inherent aesthetic sense,
shelters that seemed pleasing to the eye. Thus emerged architecture which is
a combination of needs, imagination, capacities of the builders and
capabilities of the workers.

ARCHITECTURAL FORMS AND CONSTRUCTION DETAILS

Architecture accommodated the local and regional cultural traditions and

social requirements, economic prosperity, religious practice of different times.
Hence, the study of architecture reveals to us the cultural diversities and helps
us understand the rich traditions of India.
Indian Architecture evolved in various ages in different parts and regions of
the country. Apart from these natural and obvious evolutions from the pre-
historic and historic periods, evolution of Indian architecture was generally
affected by many great and important historic developments. Naturally, the
emergence and decay of great empires and dynasties in the sub-continent,
each in their way influenced the growth and shaped the evolution of Indian
architecture. External influences have also shaped the nature of Indian
architecture and so has the influence of different regions of the country. Let us
have a look at the process of evolution of Indian Architecture.

PREHISTORIC AGE

They lived in caves and hollows of Trees. Their shelters were made of rock,
branches, grass, leaves or reeds. There was no permanent settlement. They
tend to mobile or nomadic to some extent, moving from one place to another
in search of food. The people lived either in rock-shelters or in huts with
thatched roofs. From Burzaham in Kashmir valley pit dwelling are found.
There are also traces of mud-brick houses a number of burials with skeletons
have been found. The people lived in stone houses. Large mud houses with
ovens and circular pit houses have been discovered.

HARAPPAN PERIOD

The excavations at Harappa and Mohenjodaro and several other sites of the
Indus Valley Civilisation revealed the existence of a very modern urban
civilisation with expert town planning and engineering skills. The very
advanced drainage system along with well-planned roads and houses show
that a sophisticated and highly evolved culture existed in India before the
coming of the Aryans. The sites of the Indus Valley Civilization were
excavated under the Archaeological Survey of India established by the British.
The Harappan people had constructed mainly three types of buildings-
dwelling houses pillared halls and public baths.

Main features of Harappan remains are

The settlements could be traced as far back as third millennium BC. Some
important settlements were excavated on the banks of the river Indus
particularly at the bends that provided water, easy means of transportation of
produce and other goods and also some protection by way of natural barriers
of the river. All the sites consisted of walled cities which provided security to
the people. The cities had a rectangular grid pattern of layout with roads that
cut each other at right angles. The Indus Valley people used standardised
burnt mud-bricks as building material. There is evidence of building of big
dimensions which perhaps were public buildings, administrative or business
centres, pillared halls and courtyards, there is no evidence of temples. Public
buildings include granaries which were used to store grains which give an
idea of an organised collection and distribution system. Along with large public
buildings, there is evidence of small one roomed constructions that appear to
be working people's quarters.
The Harappan people were great engineers as is evident from the public bath
that was discovered at Mohenjodaro. The 'Great Bath' as it is called, is still
functional and there is no leakage or cracks in the construction. The existence
of what appears to be a public bathing place shows the importance of
ritualistic bathing and cleanliness in this culture. It is significant that most of
the houses had private wells and bathrooms. At some sites a dominant citadel
was excavated in the western part containing the public buildings including
the granaries. This can perhaps be treated as evidence of some kind of
political authority ruling over the cities. There is evidence also of fortifications
with gateways enclosing the walled cities which shows that there may have
been a fear of being attacked.
Another remarkable feature was the existence of a well-planned drainage
system in the residential parts of the city. Small drains from the houses were
connected to larger ones along the sides of the main roads. The drains were
covered and loose covers were provided for the purpose of cleaning them.
The planning of the residential houses was also meticulous. Evidence of stairs
shows houses were often double storied. Doors were in the side lanes to
prevent dust from entering the houses.

Harappan Civilization

The origins of settlements in India can be traced back to the third millennium
BC, with significant excavations along the banks of the Indus River,
particularly at bends that provided water, transportation, and natural barriers
for protection. Walled cities characterized these sites, reflecting a concern for
security. The cities followed a rectangular grid layout with intersecting roads,
utilizing standardized burnt mud-bricks as building material. Notably, while
large public buildings like granaries showcased organized systems for
collecting and distributing grains, there was an absence of evidence for
temples.
The Harappan people demonstrated engineering prowess, exemplified by the
functional 'Great Bath' at Mohenjodaro. This public bathing place emphasized
the cultural significance of ritualistic bathing and cleanliness. The meticulous
planning extended to private wells, bathrooms in most houses, and citadels,
hinting at potential political authority. A well-planned drainage system and
thoughtful residential house layouts, often double-storied with doors in side
lanes, reflected the advanced urban planning.

The Vedic Aryans, in contrast, utilized perishable materials like wood for their
predominantly rural dwellings. Fire altars emerged as a significant
architectural feature during this period, retaining importance in contemporary
Hindu rituals. With the advent of Buddhism and Jainism, stupas became
prominent, constructed with mud mounds and burnt bricks. Monasteries and
congregational halls also appeared, marking the influence of religion on
architecture.

The Mauryan period witnessed architectural achievements, with

Chandragupta Maurya's palace carved out of wood. The polished monolithic
stone pillars of Ashoka, adorned with animal figures, and the stupas of Sanchi
and Sarnath exemplified Mauryan architectural prowess. The blending of
Greek and Indian art gave rise to Gandhara art, characterized by life-like
statues of Buddha and Bodhisattvas. The Gupta period marked the beginning
of free-standing Hindu temples, illustrated by examples like the temples at
Deogarh and Bhitrigaon.

CAVE ARCHITECTURE

The development of cave architecture is another unique feature and marks an

important phase in the history of Indian architecture. Famous among these
were Ajanta and Ellora caves of Maharashtra, and Udaygiri cave of Orissa.
These caves hold Buddhist viharas, chaityas as well as mandapas and
pillared temples of Hindu gods and goddesses.

ROCK-CUT TEMPLES

Temples were hewn out of huge rocks. The earliest rock-cut temples were
excavated in western Deccan in the early years of the Christian era. The
chaitya at Karle with fine high halls and polished decorative wall is a
remarkable example of rock-cut architecture. The Kailash temple at Ellora
built by the Rashtrakutas and the ratha temples of Mahabalipuram built by the
Pallavas are other examples of rock-cut temples. Most probably the stability
and permanence of rocks attracted the patrons of art and builders who
decorated these temples with beautiful sculptures.

FREE-STANDING TEMPLES

The temple building activities that began during the Gupta rule continued to
flourish in later periods. In southern India the Pallavas, Cholas, Pandyas,
Hoyshalas and later the rulers of the Vijaynagar kingdom were great builders
of temples. The Pallava rulers built the shore temple at Mahabalipuram.
Pallavas also built other structural temples like Kailashnath temple and
Vaikuntha Perumal temples at Kanchipuram. The Cholas built many temples
most famous being the Brihadeshwara temple at Tanjore. The Cholas
developed a typical style of temple architecture of South India called the
Dravida style, complete with vimana or shikhara, high walls and the gateway
topped by gopuram. Magnificent temples were built at Belur, Halebid where
the stone engravings reached even greater heights.
In north and eastern India magnificent temples were also constructed and the
style followed by them is referred to as the Nagara style. Most of them
consisted of the shikaras (spiral roofs), the garbhagriha (sanctum) and the
mandap (pillared hall). Orissa has some of the most beautiful temples such as
the Lingaraja temple built by the Ganga rulers and the Mukteshwara temple at
Bhubaneshwar and the Jagannath temple at Puri. The sun temple at Konark
was built in thirteenth century by the eastern Ganga ruler Narshimha Deva I.

The temple is dedicated to Surya (the sun god) and has been designed as a
twelve-wheeled chariot. The temple complex at Khajuraho was built by
Chandella rulers between the tenth and eleventh centuries in the
Bundelkhand region of Madhya Pradesh. Most important among them is the
Kandariya Mahadev temple. Mount Abu in Rajasthan is known for the Dilwara
temple dedicated to Jain tirthankaras. These were built in pure white marble
and adorned with exquisite sculpture. These were built under the patronage of
Solanki rulers. Somnath temple at Gujarat, Vishwanath temple at Banaras,
Govinda temple at Mathura, Kamakhya temple at Guwahati, Shankaracharya
temple at Kashmir and the Kali temple at Kalighat of Kolkata are some other
important temples which bear testimony to temple building activity of the
Indian sub-continent.

2.4.2 MEDIEVAL PERIOD ARCHIETCTURE

DELHI SULTANATE

With the arrival of Turks during the came a new technique of architecture- the
architectural styles of Persia, Arabia and Central Asia. The engineering
features of these buildings were the domes, arches and minarets. The
palaces, mosques and tombs built by the rulers had these features which
were blended with the features of the indigenous architecture. This happened
because the Turkish rulers of Delhi utilized the services of the local Indian
craftsmen who were very skillful and had already constructed beautiful
buildings. In the buildings that came up we find the simplicity of the Islamic
structure as well as the detailed sculptures and designs they made on their
own indigenious structures. The earliest building of this period is Quwatul
Islam Mosque at Delhi and the Qutub Minar. There are beautiful engravings of
calligraphy both in the mosque and on the tower. Ala-ud- din Khalji enlarged
the Quwat-ul-Islam mosque and built a gateway to the enclosure of the
mosque. This gateway is called the Alahi Darwaja and is one of the most
beautiful architectural designs.
During these years, the Turks were still in the process of settling down. The
rulers were threatened the world. All these buildings vary in design and style
from the buildings of north India. In Bengal by the Mongols, who made sudden
invasions from the north. Gol Gumbaz has the largest dome in the oblong
shape of many structures and the peculiar style of roof construction were
some of the distinctive features of the regional architecture of Bengal like the
Adina mosque and the tomb of Jalial-ud-din at Pandua, Khil Darwaza and
Tantipara mosque at Gaur. In Jaunpur, the Atala mosque build by the Sharqui
rulers had a gigantic screen covering the dome while the tomb of Hoshang
Shah at Malwa is made entirely of marble and is made of yellow and black
marble inlay work beautifully done by craftsmen. The rulers of Vijayanagar, an
empire which was established during this period also erected many beautiful
buildings and temples and had a number of achievements to their credit.
Though only ruins remain but the temples of Vithalswami and Hazar Rama at
Hampi are good examples.

BAHAMANI

The Bahamani sultans borrowed from the styles of Persia, Syria, Turkey and
the temples of Southern India. The Jama Masjid at Gulbarga is quite well
known. The courtyard of this mosque is covered with a large number of
domes and is the only mosque in India which has a covered countryard.

MUGHALS

The advent of the Mughals brought a new era in architecture. The architecture
of Mughal style started during Akbar's rule. The first building of this rule was
Humayun's Tomb at Delhi. In this magnificent building red stone was used. It
has a main gateway and the tomb is placed in the midst of a garden. Many
consider it an ancestor of the Taj Mahal. Akbar built forts at Agra and
Fatehpur Sikri. The Bulund Darwaza reflects the grandeur of the mighty
Mughal empire. This building was made following Akbar's victory over Gujarat.
The Arch of the Buland Darwaja is about 41 m high and is perhaps the most
imposing gateway in the world. The tomb of Salim Chishti, Palace of Jodha
Bai, Ibadat Khana, Birbal's House and other buildings at Fatehpur Sikri reflect
a synthesis of Persian and Indian elements.

Shahjahan was the greatest builder amongst the Mughals. He used marble
extensively. Decorative buildings. The Red Fort and Jama Masjid of Delhi and
above all the Taj Mahal are some of the design in inlay work, (called pietra
duro) beautiful arches and minarets were the features of his buildings built by
Shahjahan. The Taj Mahal, the tomb of Shahjahan's wife, is built in marble
and dome, four elegant minarats, gateway, inlay work and gardens
surrounding the main building. The reflects all the architectural features that
were developed during the Mughal period. It has a central Mughal style of
architecture had a profound influence on the buildings of the later period. The
buildings showed a strong influence of the ancient Indian style and had
courtyards and pillars. Next came the British who ruled the country for 200
years and left behind a legacy of colonial style
architecture in their buildings.

2.4.3 MODERN PERIOD - ARCHITECTURE

COLONIAL ARCHITECTURE AND THE MODERN PERIOD

The Modern Indian architecture was inspired by the Europeans who brought
with them a plethora of architectural styles, which can be observed in the
various structures they built. The arrival of European colonists coincided with
the collapse of the Mughal empire, igniting a power war between the
Portuguese, French, Dutch, Danish, and British that lasted until 1947.

PORTUGUESE INFLUENCE

The Portuguese carried the Iberian architectural style with them. They began
by constructing trading terminals and warehouses along the coasts, which
were subsequently transformed into fortified cities. They also imported the
notion of 'patio homes' and the 'Baroque style,' which were established in
Europe in the late 16th century to symbolize the Church's strength. To
produce a dramatic impact, it featured an extensive, complex, and theatrical
design. It necessitated the employment of clashing colors. Some of the
prominent construction of this period includes, Sé Cathedral in Goa, which
was built in 1619 AD, is one of the most prominent structures. It was
constructed in the Late-Gothic Portuguese style. It contains a big bell that is
known as the "Golden
Bell, "
Basilica of Bom Jesus, Goa is a UNESCO World Heritage Site that was
finished in 1604 AD in the Baroque style. It houses the relics of St. Francis
Xavier. Mumbai's Castella de Aguada. St. Paul's Church in Diu was finished in
1610 AD and is built in the Baroque style. On the shore of Diu island, Diu Fort
was erected in 1535 AD. There is a lighthouse on the fort's walls, as well as
canons.

Within the fort complex, there are three churches: St. Thomas Church, St.
Paul's Church, and the Church of St. Francis of Assisi. Talaulim's St. Anne's
Church (Goa) was created in the Baroque style
and completed in 1695 AD.

FRENCH INFLUENCE

The French brought with them the notion of urban city planning. The
Cartesian grid layouts and scientific architectural designs were used to build
the French colonies of Puducherry and Chandernagore (now Chandannagar,
West Bengal). As a display of authority, they constructed massive structures.
They also established the notion of faceless architecture, which is
characterized by a basic facade devoid of embellishment or design, similar to
modern structures. The coastal cities of Mahe (Kerala), Karaikal (Tamil Nadu),
and Yanam were also established by the French (Andhra Pradesh).
Puducherry's Sacred Heart Church and Chandannagar's Sacred Heart
Church are two examples.

BRITISH INFLUENCE

The Gothic style of building was introduced by the British.

It fused with Indian architecture to create the Indo-Gothic architectural style.
After 1911, a new architectural style called as Neo-Roman architecture
evolved.

INDO-GOTHIC STYLE

It is also known as the Victorian style; it was a unique combination of Indian,

Persian, and Gothic architectural elements. The structures were
extraordinarily huge and intricately constructed. The arches were pointed,
unlike the curved arches of the Indo-Islamic era. One of the distinguishing
elements of the Victorian design was the use of wide windows. It followed
sophisticated structural engineering requirements in Britain and featured a
crucified ground design.

Steel, iron, and poured concrete became popular. Victoria Memorial in

Kolkata, Gateway of India in Mumbai, and so on are some examples.

NEO-ROMAN DESIGN

Following World War I, the British Raj built in the Neo-Roman or Neo-
Classical styles. The best examples of this style were the buildings of New
Delhi, designed by Edwin Lutyens and Herbert Baker. It is commonly referred
to as the "Rome of Hindustan. "The structures were unremarkable and without
any distinguishing traits. It was a mash-up of all architectural styles, resulting
in a style that was crowded and limited the area for creative expression.
Because of the composite character of the buildings, simplicity, modernism,
and usability were severely harmed. A special emphasis was placed on
circular structures. The usage of eastern themes to realize western
architectural styles was overdone. During this time, the notion of an upturned
dome was developed, as seen on the top of the Supreme Court and
Rashtrapati Bhavan.

B) Contemporary architecture deals with phenomenons.

2.4.4 Building a Cultural Renaissance: Architecture's Role in
Restoring Identity

The concept of a "Cultural Renaissance" is a powerful notion that embodies

the idea of rejuvenating and revitalizing a society's cultural essence and
identity. Architecture emerges as a fundamental agent in this trans formative
process, serving as a tangible and symbolic expression of a community's core
values, rich history, and inspirational outlook. By employing thoughtful design
principles and dedicated preservation efforts, architecture assumes the crucial
role of not only restoring but also reinforcing a profound sense of identity
within a society.

Historical buildings and structures frequently carry profound cultural

significance, acting as repositories of collective memory. The meticulous
restoration and repurposing of these architectural landmarks offer a unique
opportunity to breathe new life into a community. Converting, for example, a
derelict factory into an art gallery or a disused church into a vibrant community
center not only safeguards architectural heritage but also catalyzes a
revitalized connection between the past and the present. These revitalized
spaces become hubs for cultural and social activities, fostering a renewed
sense of identity and cohesion among community members.

In addition to preserving the cultural past, innovative architectural designs

have the power to shape the future of a culture. By harmonizing traditional
aesthetics with contemporary functionality, architects create structures that
embody a sense of continuity and pride. These modern yet culturally resonant
buildings often function as landmarks, attracting attention and admiration from
both residents and visitors. They not only celebrate a community's unique
character but also serve as magnets for tourism and investment, bolstering
the local economy and cultural vitality.

Architecture's role in a Cultural Renaissance extends beyond the realm of

construction; it serves as a guardian of history and a catalyst for progress.
Through the careful preservation of architectural heritage and the visionary
creation of culturally significant spaces, architecture becomes the tangible
embodiment of a society's evolving identity, fostering unity, pride, and an
enduring connection between the past and the future.
2.4.5 SEVERAL STRATEGIES CAN BE EMPLOYED TO STRIKE
THIS BALANCE EFFECTIVELY

 Adaptive Reuse: Adaptive reuse involves re-purposing historic

buildings for modern functions. Rather than tearing down old structures,
cities can encourage developers to renovate and adapt them for new uses.
This strategy not only preserves architectural heritage but also promotes
sustainable development by reducing waste and energy
consumption.Example: The High Line in New York City is a prime
example of adaptive reuse. This former elevated railway was transformed
into a lush, linear park while preserving its industrial-era character.

 Historical Documentation: Create comprehensive records of

historical sites and structures through documentation, including
photographs, blueprints, and oral histories. This documentation serves as
a valuable resource for future restoration efforts and ensures that the
history of a city's built environment is not lost.Example: The Historic
American Buildings Survey (HABS) in the United States has documented
thousands of historic structures, providing a wealth of information for
preservationists and researchers.

 Tax Incentives: Offer tax incentives and financial support to property

owners who undertake restoration and preservation projects. These
incentives can help alleviate the financial burden of maintaining historic
properties.Example: The Federal Historic Preservation Tax Incentives
program in the United States provides tax credits to property owners who
rehabilitate historic buildings for income-producing purposes.

 Public-Private Partnerships: Collaborate with private entities, non-

profit organizations, and community groups to fund and manage heritage
preservation projects. Public-private partnerships can bring together
resources, expertise, and community involvement to effectively protect
cultural assets.Example: The restoration of the historic Rialto Theatre in
Montreal, Canada, was made possible through a partnership between the
city government and a local non-profit organization.

 Heritage Education Programs: Develop educational programs and

initiatives that raise awareness about the historical and cultural
significance of a city's heritage. These programs can target schools,
residents, and tourists, fostering a deeper appreciation for heritage
preservation.Example: The Heritage Education Trust in the United
Kingdom offers educational resources and activities to engage students
and the public in heritage conservation.

 Creative Place-making: Use creative placemaking to integrate art

and culture into urban development projects. By incorporating public art,
 cultural installations, and interactive spaces, cities can infuse creativity
and a sense of place into their neighborhoods.Example: The "Before I
Die" public art project by Candy Chang has been implemented in cities
worldwide, allowing residents to share their aspirations and create a
sense of community engagement.

 Incentive Small-Scale Development: Encourage small-scale

developers and businesses that align with the character of historic
neighborhoods. Promoting small businesses and artisans crafts can
enhance the local economy while preserving the unique identity of an
area.Example: Cities like Charleston, South Carolina, have zoning
regulations that support small-scale development and protect the
historical character of their neighborhoods.

 Cultural Conservation Districts: Establish cultural conservation

districts that prioritize the preservation of cultural and architectural
heritage. These districts can have specific guidelines and regulations that
protect the unique character of the area.Example: The Historic Centre of
Vienna, Austria, is a UNESCO World Heritage Site that encompasses an
entire district dedicated to preserving the city's historical and cultural
heritage.

 Virtual Heritage Preservation: Leverage technology to create

digital replicas of historical sites and buildings. Virtual heritage
preservation allows for interactive experiences that educate and engage
the public in the city's history.Example: The Palace Museum in Beijing,
China, offers virtual tours and digital exhibitions that provide a glimpse
into the history and culture of the Forbidden City.

 Historical Conservation Easements:Establish conservation

easements that legally bind property owners to preserve the historical and
architectural integrity of their buildings. This approach ensures long-term
protection of heritage sites.Example: Historic New England, a non-profit
organization, holds conservation easements on numerous historic
properties, safeguarding their preservation in perpetuity.

Balancing urban development and heritage preservation is an ongoing

challenge faced by cities worldwide. While modernization and growth are
essential for a city's vitality, it is equally crucial to protect its cultural identity
and architectural heritage. The strategies outlined in this essay, including
heritage preservation, cultural promotion, community engagement, mixed-use
development, affordable housing, sustainable development, and additional
approaches such as adaptive reuse, historical documentation, tax incentives,
public-private partnerships, heritage education programs, creative place-
making, incentivizing small-scale development, cultural conservation districts,
virtual heritage preservation, and historical conservation easements, offer a
comprehensive toolkit for cities to navigate this delicate balance successfully.
By implementing these strategies thoughtfully and collaboratively, cities can
continue to evolve while preserving their unique character, fostering a sense
of belonging and pride among residents, and ensuring that future generations
inherit a cultural heritage that reflects the rich tapestry of human history and
creativity.

2.4.6 The Rise of Contemporary Design Movements

In response to the perceived monotony of modern architecture, there has

been a resurgence of interest in contemporary design movements that seek to
break free from the constraints of industrialization. These movements aim to
reintroduce creativity, diversity, and a sense of place into architectural design.

One notable movement is "Neo-vernacular" architecture, which draws

inspiration from local building traditions and cultural contexts. Neo-vernacular
designs prioritize the use of regional materials and construction techniques,
celebrating the uniqueness of each location. This movement seeks to counter
the generic aesthetics of many contemporary buildings by embracing regional
identity and cultural heritage.

Additionally, sustainability has become a central theme in contemporary

architecture and design. Architects are increasingly incorporating eco-friendly
materials, energy-efficient technologies, and green design principles into their
projects. The focus on sustainability not only addresses environmental
concerns but also adds a new layer of innovation to architectural practice.

Industrialization has undeniably reshaped the field of architecture and design,

ushering in an era of unprecedented innovation, efficiency, and functionality.
The introduction of new materials, construction methods, and technological
advancements has allowed architects to push the boundaries of what is
possible in architectural design. However, this progress has also raised
concerns about the uniformity and monotony that can result from the
widespread adoption of industrialized building practices.

As we move forward, it is crucial for architects and designers to strike a

balance between innovation and individuality. The legacy of industrialization
should not erase the unique identities of cities and the cultural richness of
architectural heritage. Contemporary architecture has the opportunity to
incorporate elements of tradition, sustainability, and regional identity into
designs, creating spaces that are both functional and aesthetically meaningful.

Ultimately, the evolution of architecture and design is an ongoing process that

reflects the changing needs and aspirations of society. Industrialization has
been a powerful catalyst for change, and it is up to architects and designers to
shape the future of our built environment while preserving the distinct
character of our cities and landscapes.

2.4.7 Jawahar Kala Kendra, Jaipur

Jawahar Kala Kendra (JKK) is an Indian multi-arts centre in Jaipur. The

Rajasthan government built it with the goal of preserving Rajasthani arts and
crafts. Charles Correa is the architect who designed it. The centre is divided
into eight blocks, each housing a museum, an amphitheatre, a closed
auditorium, a library, arts exhibition rooms, a cafeteria, a small hostel, and an
art studio. There are also two permanent art galleries and three other galleries
on the premises. Each year, it hosts its own
theatre festival.

2.4.8 Kala Academy, Goa

Kala Academy (Academy of the Arts) is a well-known cultural centre in Goa,

India, run by the Government of Goa. It was founded in February 1970 and is
registered as a society in Campal, Panjim. Charles Correa's Kala Academy in
Goa has been a building of historic architectural, cultural, and social
importance in the entire country, being the only diverse cultural academy to
offer western, classical, and mixed arts courses. It serves as an apex body for
the development of music, dance, drama, fine art, folk art, literature, and other
forms of art, in order to promote Goa's cultural unity. The centre, which is
funded by the Goa government, provides training and hosts festivals,
competitions, exhibitions, workshops, seminars, and other events related to
various forms of local art.

2.5 OPINIONS OF EXPERTS

Balkrishna Doshi - India:

Balkrishna Doshi, a renowned Indian architect and the recipient of the Pritzker
Architecture Prize, has been a fervent advocate for the revival of culture and
folk art through architecture. Doshi's work is deeply rooted in the principles of
sustainability, tradition, and cultural revival. He once stated, "Architecture is
not just about making buildings; it's about creating spaces that reflect the spirit
and culture of a place."

In his iconic project, the Aranya Low-Cost Housing in Indore, India, Doshi
demonstrated his commitment to cultural revival. Here, he incorporated
traditional Indian architectural elements such as courtyards, verandas, and
intricate jali screens. These elements not only paid homage to local culture
but also promoted community interaction and a sense of belonging. Doshi's
philosophy is deeply influenced by his mentor, Le Corbusier, and his own
experiences growing up in an environment rich in Indian art and culture.

Luis Barragán - Mexico:

The celebrated Mexican architect Luis Barragán had a profound influence on

the revival of culture and folk art through his architectural designs. He once
said, "I believe in an architecture that reflects the soul and culture of a place."
Barragán's work often drew inspiration from Mexican traditions, incorporating
vibrant colors, local materials, and traditional forms.

His masterpiece, the Casa Estudio Luis Barragán in Mexico City, showcases
his principles. In this project, he integrated elements of Mexican folk art, such
as talavera tiles and traditional textiles, into the design. These elements not
only celebrated Mexican culture but also created a deeply immersive and
emotionally resonant experience for occupants. Barragán's reverence for his
country's culture and history was deeply ingrained in his design philosophy,
and he believed that architecture could be a vessel for cultural revival.

Alvar Aalto - Finland:

Finnish architect Alvar Aalto, known for his human-centered approach to

design, also held strong opinions about the role of architecture in reviving
culture and folk art. He once said, "Architecture is art when one consciously or
unconsciously creates aesthetic emotion in the atmosphere and when this
environment produces well-being."

Aalto's incorporation of Finnish folk art traditions is evident in the Paimio

Sanatorium, where he designed not only the building but also the furniture,
textiles, and lighting fixtures. These elements reflected the rich heritage of
Finnish craftsmanship, promoting a sense of national identity and pride.
Aalto's immersion in Finnish culture and his belief in the harmonious
integration of art, architecture, and nature deeply influenced his work.

3.1 CASE STUDY

3.1.1 CULTURAL CENTRE L JEAN-MARIE TJIBAOU/RENZO
PIANO BUILDING WORKSHOP

Located: Peninsula off of

Nouméa, New Caledonia
Architect: Renzo Piano Construction: (1991-1998) Erected in honor of
assassinated political leader.
Reason of choice: Pays homage to Kanak culture by intertwining local ancient
building traditions with modern techniques.

QUALITATIVE STUDY

HISTORY KANAK PEOPLE

Origin

The Kanak are the native Melanesian inhabitants of New Caledonia, an

overseas collectively of France in the southwest Pacific. The earliest traces of
human settlement in New Caledonia go back to Lapita culture, about 3000 BP,
i.e. 1000 BCE. In addition, Polynesian seafarers have intermarried with the
Kanaks over the last centuries.

The Kanak population is traditionally contrasted with two other groups of

European descent:
1. the Caldoche, who were born in New Caledonia; and
2. the Zoreille, who live in the territory yet were born in metropolitan France.

Early colonial rule

The Europeans arriving on these islands is when Captain James Cook of the
Kingdom of Great Britain landed in these islands in 1775. Cook gave the
name "New Caledonia" to these islands, after Caledonia, a traditional name
for his Scottish Highlands. The Protestants of London Missionary Society
came to New Caledonia, which was followed by entry of the French Catholics
to the island, in 1843.

Culture

Although ancient Lapita potteries date back to 1000 BC, and the people of the
island have long been involved in the arts, since the establishment of the
ADCK, Kanak arts and crafts have become more popular in New Caledonia.
Music, dance and singing are part of many a Kanak ceremonial function and
dances are performed during the traditional Kanak gatherings with the
objective of cementing relationships within the clan and with ancestors.
INSPIRATION OF STRUCTURE

Inspired by the traditional conical hut, called grande case, which is the heart
of the villages of New
Caledonia and the home of their chieftain.
Unlike traditional huts, which are semi- temporary structures normally made of
plant elements collected on site, the pavilions were made of durable materials,
including iroko wood, laminated
wood, aluminium, steel and glass

INTRODUCTION OF TJIBAOU CULTURAL CENTER

The Jean-Marie Tribaou Cultural Centre is located on a narrow strip of land in

New Caledonia, a former French colony in the South Pacific. The small island
enjoys a temperate Climate, with temperatures ranging from 61°F in August
and 86 °F in January/December (the mean temperature is a balmy 73 °F).
Humidity ranges throughout the year, but stays around 70%. There are four
distinct seasons in New Caledonia, two rainy seasons at the equinoxes and
two drier transition seasons. The hot season lasts from December to March
and is the time when the island receives torrential rain and winds, sometimes
cyclones.

The climate of New Caledonia is best suited for natural ventilation. A

combination of moderate-to-high temperatures and high humidity make air
movement the most efficient way to keep a space cool and dry. Natural
ventilation was a natural choice for Renzo Piano in his design, which sought
to incorporate elements of Kanak architecture, the native people of New
Caledonia. The structure and performance of the Caledonian cabins was
reproduced and adapted, both architecturally and socially.

The main challenge of the project was to pay tribute to a particular culture
from the respect of its history and traditions, of its past, present and future, as
well as its sensibility. This involved placing technology and European methods
at the service of traditions and expectations of the Kanak people. It needn't be
a parody or imitation of this culture, but neither could it be a completely
foreign model. Instead of creating a historical reconstitution or a simple replica,
it was preferable to make an effort to reflect the native culture and its symbols,
which, even though very old, were still very much alive.

QUANTITY STUDY

EJ LEVEL AND MASSING

The complex is composed of ten circular pavilions, of three different sizes.

The height of the pavilions varies from 20 to 28m, with an area ranging from
55 to 140 square

ZONNING
The ten pavilions are connected by a sort of "backbone", that is a covered
passageway 250 meters long, slightly curved giving access to the functional
spaces principal of the complex. It is an actual village with its own paths,
vegetation and public spaces, and that is in direct contact with the ocean.
From the beginning of the process there was a thorough study of the air
currents and a search for the way to express the tradition of the Pacific with a
modern language.

CONSTRUCTION AND MATERIALS

The architectural concept and ventilation strategy generated the centre's

overall form. The two concentric wall are set out from common centre and
occupies two third of the circle.

The main structural requirement was to withstand the cyclonic wind, that gust
up to 65m/s. The main element of both the walls are glue laminated timber
sections. In the outer wall the timber are curved into arc, for the inner wall
they are vertical columns. To provide overall wind resistance bracing was
provided into walls to form stiff shells.

The timber was braced together with tubes at 2.25m spacing vertically, with
single diagonal ties in each bay. To prevent the wall distorting from circular
plan geometry the inner and outer wall linked together with horizontal belt
trusses.

VENTILATION IN THE PAVILIONS

The walls of the cases where comprised of two concentric rings creating a
double skin or a hybrid system. This screening element is used to control the
amount of heat, solar gain, and ventilation in the cases. The roof also has a
double skin system made of corrugated aluminium sheets and glass. Wind,
orientation, and passive cooling. When there are no breezes coming off the
water, the unique shape of the shell creates a Venturi Effect.

To maximize cooling, the cultural centre takes advantage of a passive cooling

system enabled by its unique conical shape and a system of operable roof
skylights, screen of laminated wood, louvres, and fixed windows. The building
primarily uses two effects to push hot air out of the top, The Venturi effect and
the Stack effect.

When there is a light to moderate the building uses the Stack effect. Simply by
opening the series of horizontal louvres at the base of the interior façade, cool,
moist air is allowed to blow in off of a nearby lagoon into the interior spaces.
These louvres automatically open and close in tandem and are controlled by
an integrated computer system which constantly regulates the speed of the
wind. The exterior shell wall will then work in combination as its orientation to
the South allows the sun to beat down on it causing the air between the two
layers of the double- skinned to heats up and rise out of the cavity.
SWOT CRITICAL ANLYSIS

STRENGTH Letting nature into building. Pavilions

open to Nature.
Distribution of art and culture all
around learning.
WEAKNESS All the clusters are placed at a
distance.

The people of the village can display

OPPORTUNITY their talents.An opportunity for the
visitors to learn more about different
type of arts and also culture of the
particular village.

CONCLUSION

1. Each Pavilions in the clusters allow different types of learning.

2.Use of traditional method of construction, that pays homage to Kanak
culture by intertwining local ancient building traditions with modern techniques.
3. Corridor acts as a visual connection.

3.1.2 MADHYA PRADESH TRIBAL NATIONAL MUSEUM -

BHOPAL

An incredible exhibit of the vast cultural and traditional customs of notably

seven tribal communities indigenous to Madhya Pradesh and its neighboring
states in India, the museum showcases multidimensional displays of art,
architecture, lifestyle, and rituals of the tribal communities. The structure that
spans across seven acres of land largely reflects and responds not only to the
micro-climatic prospects of the region but is also well informed of its aesthetic
caliber.

Project: Tribal Museum

Location: Bhopal, Madhya Pradesh
Area: 7 acres
Site Area - 10,200 sq.ft
Year of completion: 2013
Building typology: Cultural
Architect: Kamath Design Studio

Major Tribes of Madhya Pradesh

Madhya Pradesh has a rich population of tribal groups that enhance its
cultural diversity. Each tribal sect follows a unique lifestyle. The lifestyle of
these tribes of Madhya Pradesh ensures the preservation of the environment,
for generations to come. The tribes are grouped based on cultural beliefs,
heredity, economic structure, speech and lifestyle. Out of the many tribal
sects, the Bhil tribe one of the most populous. The second-largest tribe is the
Gond, which is followed by Baiga, Bheel,
Kol, and Korku.

Tribes of Madhya Pradesh

The Bhil tribes of Madhya Pradesh are found in huge concentrations in

Jhabua, Khargone, Dhar and wani districts. They create handicrafts, carpets,
ornaments and fabrics that popularised the state. designs are influenced by
their ancient traditions, making the prints unique and ravishing. The this have
a distinctive lifestyle that is defined by their beliefs. The Bhils of Jhabua are
also known for their exquisite Pithora wall paintings. The tribe is also quite
well-versed in archery and agricultural

Qualitative study

Basic concept of the case study as envisaged by architect.

The museum is designed to create a built fabric which the tribal communities
could identity with,extend,and evolve, to represent, them and express their
own ideas and way of life with ease and spontaneity.

The site is developed on the contours of Shyamala hills, Bhopal.

User behavior and activity patterns.

Circulation:

After entering person has 2 choices whether to go to the museum display or to the warehouse.
After entering the main museum circulation path has been defined to make visitors go to through
the same passage and experience the whole museum.A separate passage way has been defined for
the peoples with the office related work.Special care has been taken for the movement of the
physically challenged visitors.A central area for seating for the fatigue.Central area was created
around the small man made lake with ducks. Making the view quite relaxing.

CRITICAL ANALYSIS
.

SWOT EXPLAINATION

STRENGTH  Safeguards the preservation of

 the environment and lifestyle.
 Landscape has been designed
very artistically in order to attract
the visitors. Galleries next to each
other will forcefully binds the
visitor to the exhibits.
 Letting nature into building.
 Delivery of art and culture all
around the ite for proper
understanding and learning.

WEAKNESS  Built form does not involve use of

local materials and techniques.
 Dormitory does not reflect any
identity of the tribes. Yet they are
placed away from the museum
building maintain the privacy of
the artisans.

OPPORTUNITIES  Main strategy is to utilize the skill

sets of the various tribal artisans
to develop the displays.
 An opportunity for the visitors to
learn more about different type of
arts and also culture of the
particular village.
 The Tribes of the village can
display their talents which also
helps in growth of economy.

Quantitative Study

All Architectural drawings- Plans, Elevations, Sections.

Site Plan

Floor plans

The well planned campus is divided into 6 galleries depicting Cultural Diversity, Tribal
Life, Tribal Art, Tribal Mythology, and Tribal's of Chhattisgarh and Tribal Games. It
also has Art Exhibition Gallery and Open Air Theatre. All the artifacts in Galleries are
majorly taken from 7 major and most important tribes of state namely Gond, Bheel,
Korku, Kol, Bharia, Baiga and Saharia. The main entrance was at First floor and it
connect Ground floor through ramps.
Cultural Diversity (Gallery One)

It features the geographical importance of the state and its multi-dimensional

culture through a contoured map of Madhya Pradesh right in the middle of the
gallery. Also, it displays the topography containing mountains, plateaus,
forests, and the holy, divine lifeline of the state, the river Narmada. Amidst the
map, is a Banyan tree (the state’s tree and emblem) whose branches reach
up to the double-height space of the gallery with its roots touching the floor.
However, a staircase leads to a ramp above through which one can get a
holistic view of the map representation.

Also, the upper walls of the gallery exhibit symbols of tribal communities from
around the world and the walls down depict elements showing the life and
culture of the tribes from the state and its bordering states.

Tribal Life (Gallery Two)

This gallery is a representation of the dwellings of five tribes – Gond, Korku,
Bhil, Baiga, and Saharia creating a perfect neighborhood. Also, the tribal
communities use natural materials that are locally available to build their
houses, being mindful of the regional temperature. Moreover, the museum
has attempted to create architectural replicas with the same materials as used
in the tribal homes along with recreating a similar ambiance of the
surrounding landscape.

Tribal Aesthetics (Gallery Three) of Tribal Museum

This gallery comprehends the aesthetics of the community and reveals their
artistic perception even towards the most ordinary things. However, their
rituals and practices symbolically represent and impart a clearer
understanding of art.

Marriage rituals are engraved on trees, while death is represented in the form
of terracotta images. Also, a large bamboo installation was created based on
a mythical story of reincarnation and is believed to be used for special
occasions. Which displays varieties of bamboo products of daily use.

A double-storeyed octagonal wedding pavilion has its pillars carved by their

respective tribes and is veiled by four trees. The lower portion displays
traditions and customs that take place during the wedding. The first floor
depicts activities of seasonal events and festivals. A larger-than-life
ceremonial bangle represents motifs of standing crops, well, and trees as a
symbol of fertility and life cycle that presents to the bride.

Tribal Spiritual World (Gallery Four)

Tribal communities view the spiritual realm in an abstract configuration. They
do not worship deities in concrete form or build shrines and temples. However,
the divine presence of Gods characterizes by stones, sticks, pillars, mounds,
tridents, earthen lamps, terracotta offerings. In addition, this gallery represents
the good and evil spirits that reside in nature. However, the visitors have
portrayed the expression of faith in spiritualism, as perceived by the tribal
community. Souls of ancestors, wandering spirits, spooks, and ghosts, believe
to protect and cure the inhabitants of all sorts of harm and trouble.

Chhattisgarh State (Gallery Five) of Tribal Museum

Chhattisgarh, once a part of M.P, now stands as an independent state.
Gallery five dedicated to the spiritual aspects of the tribal culture of Bastar in
Chhattisgarh. A replica of a huge gateway to the temple of Bastar is recreated
with an emblem on top. And also lion motifs on both sides of the upper portion,
representing them guarding of the city. Dussehra festival is celebrated in full
grandeur and lasts for about 75 days. Also, the Dussehra chariot installs in
the central portion of the gallery. Apart from these, the gallery features few
other elements of the Chhattisgarh tribal communities.

Rakku (Gallery six)

Various kinds of tribal games and sports activities are in this gallery. Children
use wood, stones, bamboo pieces to make sporting equipment. Materials like
iron, clay, and terracotta use to demonstrate various games and figures. Also,
these games are a way for children to educate themselves on the importance
of nature. It also improves their physical fitness and teaches them activities
like fishing, hunting, singing, and dancing in the process.

Galleries have pitch roofs over steel trusses and painted and decorated by
tribal communities based on their various styles. The site was a rocky stratum
and was filled with soil during construction. However, vegetation within the
site was re-plant with shrubs that were indigenous to Madhya Pradesh. A
natural contour in the site used to create the centrally placed amphitheater.
And all gardens and terraces use rainwater for irrigation.

Tribal communities utilize natural resources to build their community. And

treat their land and its assets with the utmost respect while striking a balance
between the built and unbuilt environment. The architecture of the museum
sees this as a model while creating a contemporary structure keeping the
tribal aesthetics and sustainability facets in mind.

Elevations

The museum elevation has been beatifuly depicted through tribal paintings
and carvings to relate it to the tribal huts.

Sections

The contours on the site play an important role in the vertical zoning of the
museum. The roof truss is made up of long span steel structures.
The ceiling has a hut type structures which supports and incorporates the
display in the museum.

Photographic documentation

Chart of program and area

Building Construction and Technology.

Structure

Built on a site of seven acres, the galleries are raised above the ground on
columns,forming a continuous, multi leveled veranda, following the contours of the
sloping,rocky terrain.

The structure is built of steel tubes, castellated girders, and steel rods fabricated into
intricate trusses.Steel seemed to be a natural choice in the land & location of ancient
Iron Age& Bronze Age civilizations, and the contemporary truck body building industry.

The roofs are made of half-round tiles, galvalume sheets and concrete with a topping of
grass and ground cover.

Materials of building

Walls were made up of local stone left exposed.Other walls were made up of brick
plastered with crushed stone on the outside and mud plaster on the inside.The roofs are
made of half-round tiles, galvalume sheets and concrete with a topping of grass and
ground cover.
The plant material is composed of largely local forest species.The landscape is
designed to collect and store rain water,to be used for both cooling and irrigating the
green roof, and gardens.

Lighting

Courtyards puncture the build mass, bringing in light and air ,while enabling
the roof forms to establish modulated scales and composition. Perforated
lighting is also used to illuminate the spaces. Bamboos are used for proving
shades in corridor.
Artificial lighting is used strategically in the tribal museum. Spot lighting and
task lighting is used particularly rather then ambient lighting. To balance
shadows and luminance is easily checked by artificial lighting in the museum.

ZONING

The museum is segregated between public and administrative spaces.

Continuity of the spaces is maintained to integrate spaces throughout
horizontal zoning. Administrative and workshop is placed at lower levels while
public area like exhibitions galleries, auditorium and restaurants are placed at
upper level in vertical zoning.

OBSERVATIONS
The architecture of the museum, integrates seamlessly into a continuum, the
outside with the inside, the natural with the human construct, the tribal with
the urban and the viewer with the viewed.
The landscape is designed to collect and store rain water, to be used for both
cooling and irrigating the green roof, and gardens. The plant material is
composed of largely local forest species.ith the viewed. However, the
landscape is not such design that visitors can use the area.
The workshop and administrative are is not properly segregated and any
visitor can reach these area. Local available materials are used to exhibits the
tribal life.

DESIGN ANALYSIS

Spaces have been integrated according to the user need and activities; the
display area has been designed at the upper level while the administrative
area workshop area is placed at the lower level. Main entrance is also placed
at upper level while the exit is at the lower level.
Balance between natural and artificial lighting is well maintained. Natural
lighting has been checked through shading devices. Artificial lighting is also
designed strategically.
The Museum is designed to create a built fabric which the tribal communities
could identify with, extend, and evolve, to represent them and express their
own ideas and way of life with ease and spontaneity. While the architecture of
the Museum is inspired by tribal rhythms, geometries, materials, forms,
aesthetics and spatial consciousness.

CONCLUSION
The Tribal Museum in Bhopal ensures the preservation of the environment,
lifestyle of these tribes of Madhya Pradesh for generations to come.
There is Reflection of art, Culture, myths and habitation of major tribal groups
found in the Tribal Museum, Bhopal, Madhya Pradesh.
Inspiration for the display materials being created by tribal artisans, supported
by anthropologists, sociologists and social workers helps to create an
environment for the visitors to study the lifestyle of Tribes in Madhya Pradesh.

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