Remnants of a Bygone Era: A Guide to Rediscovering Vadodara, Graduation project documentation by Padmaja Amin

GRADUATION PROJECT VISUAL COMMUNICATION (MASTER OF DESIGN)

Vol. 1 of 1

Project Title:

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara Name:

Padmaja Amin (UA1719018) Project Mentor:

Rahul Bhattacharya

2019

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara

Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

The Graduation Project Evaluation Jury recommends PADMAJA AMIN from Visual Communication for the Masterâ&#x20AC;&#x2122;s Graduation Degree of Unitedworld Institute of Design, Karnavati University, Gandhinagar, India herewith, for the project titled Remnants of a Bygone Era: A Guide to Rediscovering Vadodara. The project is complete in every aspect in accordance to the guidelines set by the institution.

Chairperson

Members

Signature

Name

Organization

Signature

Name

Organization

Signature

Name

Organization

Signature

Name

Organization

*Subsequent remarks regarding fulfilling the requirements

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara

Student document publication, meant for private circulation only. All rights reserved. No part of this document will be reproduced or transmitted in any form or by any means including photocopying, xerography, photography and videography recording without written permission from the publisher, Padmaja Amin and Unitedworld Institute of Design. All Illustrations and photographs in this document are Copyright ÂŠ 2019 by respective people and organizations. Written and designed by Padmaja Amin, under the guidance of Rahul Bhattacharya. Printed digitally in Chhaap Digital, Ahmedabad December, 2019.

Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

ORIGINALITY STATEMENT

I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or diploma of any other educational institution, except where due acknowledgment is made in this degree project. Moreover I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this degree project is the product of my own work, except to the extent that assistance from others in the projectâ&#x20AC;&#x2122;s design and conception or in style, presentation and linguistic expression is acknowledged. This degree project (or part of it) was not and will not be submitted as assessed work in any other academic course.

I hereby grant the Unitedworld Institute of Design the right to archive and to make available my degree project/thesis/dissertation in whole or in part in the Institutesâ&#x20AC;&#x2122;s Knowledge Management Centre in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have neither used any substantial portions of copyright material in any document nor have I obtained permission to use copyright material. Student Name in Full: Date:

Student Name in Full: Signature: Date:

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara

Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Remnants of a Bygone Era A Guide to Rediscovering Vadodara Book Design

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara

Acknowledgement I deeply appreciate all the help and support of everyone. I wish it was easy to express the same. With the conclusion of this project, a major part of my journey comes to an end. I would like to express my gratitude to all those who have directly and indirectly helped me in my college years as well as in this project. I would like to express my sincere gratitude to my mentor Mr. Rahul Bhattacharya for guiding me through this project and giving valuable feedback. My heartfelt thanks to him for his genuine observations, sense of clarity and providing me a direction whenever I needed it.

I would like to express my sincere gratitude to my parents, Mr. Siddharth Amin, Mrs. Bhavana Amin, my brother Mr. Devashish Amin, my grandmother Mrs. Viruben Amin (former Offg. University Librarian of MSU) for providing constant support and the opportunity to explore and grow.

I would like to thank UID for providing this platform and giving me this opportunity. I got the chance to learn and discover what I wanted to do and even meet everyone who helped me uplift myself. I would like to thank all my friends and batchmates at UID, who have helped me and contributed to my growth and learning along with their experiences.

Padmaja Amin

M.Des.

Visual Communication

I extend my sincere thanks to Ms. Lolita Dutta, Head of the Department, Visual Communication for providing valuable feedback during the project and helping throughout the college time. I would also like to thank Mr. Titu Mili, Mr. Sambit Pradhan, Mrs. Sudhanya Dasgupta, Mr. Hardik Pancholi, Mrs. Ketki Deolalikar, Ms. Snigdha Banerjee, Mr. Sheshadri Ayengar and all the visiting faculties.

I would also like to thank The Gaekwad Royal Family and Lukshmi Vilas Palace Estate for guiding me through the Navlakhi Vav and allowing me to experience its tangible and intangible heritage. I would also like to thank Mahendrasinh Chauhan, Mr. R.C. Sood, and Mrs. Harshita Mane for helping me obtain the permissions for the same.

Graduation Project 2019

A special thanks to Pallavi Brahmbhatt, Parul Shetty, Dinesh Rana, Circulation Dept. Of MSU and Prakash Shah, Circulation Dept. Head for providing me with reference materials which I couldn't have obtained otherwise. I would also like to thank INTACH (Indian National Trust for Art and Cultural Heritage) and CUS (Center for Urban Studies, Maharaja Sayajirao University) for organizing the Symposium Seminar on "Smart Futures- Past: Layers and Legacies of Baroda's Heritage and Cultural Histories". I would like to express my sincere thanks to all the esteemed speakers and panellists for sharing their knowledge, research findings, observations and all the minute details which one could have simply missed out. A special thanks to Vadodara Smart City Development Ltd (VSCDL) for organizing heritage walks along with INTACH, Vadodara as a part of People's Heritage Festival to celebrate the 508th anniversary of Vadodara.

Preface As a part of UID curriculum, the graduation project is the final academic project for the student which marks the end of the studentsâ&#x20AC;&#x2122; academic tenure at the college. It is an extensive research-based project which can be a self-initiated or an organizational one. The student is expected to generate professional design assignments with the application and implementation along with substantial investigation in the respective field of discipline that has been pursued by the student. The project should lead to new knowledge creations and align with broader objects of the institute. It exposes the student to real-life situations and helps them demonstrate their expertise as independent practitioners of design. The student picks up a topic which is later studied in detail to develop a design perspective towards it.

Along with the design, the project also focuses on presentation skills, time management, communication, handling of practical constraints and improving ourselves as a whole. The following project is self - initiated, without any kind of sponsor support. It was completed over a course of three months with three reviews conducted to check the progress in the fields of concept, design and execution. My graduation project, Remnants of a Bygone Era: A Guide to Rediscovering Vadodara is about the hidden treasure trove of Vadodara. This document aims to provide a comprehensive and reflective study of the process of research, concept-building, visualization, ideation and execution of the publication design project. It contains detailed records of thoughts, ideas, decisions, discoveries and more.

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara

Contents

10 Padmaja Amin

M.Des.

Visual Communication

8 Acknowledgements

Introduction

9 Preface

14 16 17 18

Design

Final Design

104 105 106 108 114 116 128 130 132

138 The book

Colour palette Illustration styles Book format and size Typeface explorations Illustration style for the book Layout explorations Map design Book title Cover design

Graduation Project 2019

Institute Project mentor About student The course

The Project

Research

Ideation

22 23 24 25

28 30 36 41 51 52

74 75 76 77 78 86 87 88 90

About the project Design brief Timeline Project scope

Symposium seminar Literature study Maps of previous eras Categorization of places Insights from interviews Field study

Stakeholder mapping Target audience Before starting the book Why this book? Case studies Skeleton of the book Content flow Key elements of the book Content generation

07 Promotional Design

150 Conclusion

146 Postcards 149 Bookmarks

151 Sources 153 Colophon

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 11

Introduction

12 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Institute Project mentor About me The course

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 13

Unitedworld Institute of Design Unitedworld Institute of Design (UID) is one of the premier Design institutes of India. The institute aims to create globally sought after professionals who can exhibit their creativity and trigger novel trends. UIDâ&#x20AC;&#x2122;S pursuit for excellence has made its name shine with an extraordinary record of success in a short span. UID was founded in 2012 as a constituent college of Karnavati University which was built on a strong foundation of teaching, learning, innovation and research excellence in design education. UID offers a diverse range of UG and PG courses in the area of design; Visual communication, Animation and Motion Graphics, Fashion Design, Textile Design, Lifestyle and Accessory Design, Interior Design, Industrial Design and Automobile and Transportation Design. These programs are designed with strong professional emphasis and in close partnership with the industry. Every course has been structured to deliver insights into the importance of individual and collective creativity, be it a theoretical assessment, design practice, curatorial evaluations or artistic considerations.

14 Padmaja Amin

M.Des.

Visual Communication

Founded to outclass the top design colleges in India with its state of the art labs and hands-on creative learning, it seeks to create trendsetters and ideators whoâ&#x20AC;&#x2122;ll lead the future of design schools in India. It stands apart from other colleges in India in exposure it offers to students which are unmatched by top design colleges in India. Precisely why its popularity grew among design institutes in India in a short period. UID aims to offer design education and promote design awareness and application to make the quality of life more efficient and to created designers of excellence to help meet the diverse need of the people. Since its inception, the institute has made it a point to lay emphasis on earning and to pursue innovation-led design through the development of the mind and skills. It facilitates the students in getting involved in real-life situations and problemsolving which in turn tests their ability to work under tight deadlines and real situations.

Graduation Project 2019

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 15

Project mentor Rahul Bhattacharya is an educationist, art historian and a curator; currently Associate Professor at the Department of Visual Communication, Karnavati University. He has been pursuing independent writing, curating exhibitions, art education spaces and large scale public art projects. Over the last 15 years, he has been associated in teaching in various capacities in institutions such as GNLU, NIIFT, MS University of Baroda, Pearl Academy, WUD amongst others. He has also been designing communications for events, exhibitions, and artworks as well as consulting private collections. He was the Managing Editor of Art&Deal Magazine and the founding Conveyor MATI. Co-founder of ‘Regional Arts Performance and Events’. Since 2014 he is a part of the NINE Schools of Art collective working towards developing workshop based teaching methods for art.

Rahul Bhattacharya Associate Professor School of Visual Communication Unitedworld Insitute of Design

16 Padmaja Amin

M.Des.

Visual Communication

He has written extensively various journals and publication. He maintains his blog http:// theblackyellowarrow.blogspot.in/. He is a founding member and currently Joint Secretary of Performers independent and the founder organiser of Kolkata International Performance Art Festival.

Graduation Project 2019

A few of his previously held positions are: • Curator | Director Public Outreach – He designed the outreach program, implemented media tie partnerships, built partnerships with local artists. • Conveyor MATI (Management of Art Treasures of India), January 2013- June 2013. He was responsible for setting up the NGO, drawing its Charter and curating the nature of programming. He also looked after MATI fundraising show and was focused on building its financial sustainability within the programming structure. • Managing Editor - Art&Deal magazine. Since October 2009-November 2011 he was responsible for repositioning the magazine as a quarterly and then to rebrand the magazine for the advertisers, was responsible for their conceptualising, redesigning and launch of India’s first monthly art magazine. Other than the above mentioned works, he also actively engages with contemporary Indian art, teaching, research, writes papers for seminars and workshops and much more.

About student Hello World! Well, that's what I would have said to you a few years back, but there was something else in store for me. Who knew I would be drawn towards Visual Communication when I first started my Computer Engineering undergraduation. Let's just say the stars aligned for me on this one.

anticipated it, who knows? :P). Since I already knew the basics of the softwares, I grasped on easily. Working on those monthly issues, designing pages, making covers and enjoying the whole process with everyone made me realize that this was something I wanted to do. This is how I began my design journey.

In school, I was this punctual kid, always listening to my teachers and even had good grades. But there was something which held me back. I always played safe and stayed within the boxes defined for me. That always stopped me from growing as a person.

After the completion of my undergradution, I started applying for masters in design and eventually I joined UID in 2017. My nature of being in boxes and playing safe like I did in school was broken free. Learning new things related to design and everything around it made me happy. It felt like this was something I should have done long ago. A few people considered my crazy for shifting into design discipline. But I had all the support I needed around me and they have helped me in every step.

At the end of the school, the dreaded decision came forth. Which line to select for undergraduation. As a kid, I was always interested in computers and at that time it seemed a clear choice to pursue Computer Engineering. I am glad it didn't work out that way. I didn't want to end up like one of those people beating their heads up over finding errors or writing a new piece of code.

Padmaja Amin M. Des School of Visual Communication Unitedworld Insitute of Design

In the 2nd semester of my undergraduation, I came across the inhouse magazine of my college, DDU CONNECT. It was a spontaneous decision to enrol in its design department. In school vacations, my dad enrolled me for design software classes just so that I learn something (well he might have had

Starting my journey with magazine design, it got me interested in publications altogether. While learning with the various aspects of design, it also made me a better person. Someday I want to do something which would make the world a better place, even if it means doing the smallest thing for anyone. So these are my stepping stones and I will keep striving to achieve it.

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 17

Visual Communication at UID At its core, Visual communication is the transmission of information and ideas using symbols, imagery, infographics, illustrations, photographs, charts, gifs, videos and countless more. Visual communication can be considered as an amalgamation of a wide range of disciplines. Looking at words merely can make a person find it cumbersome and at some point, even useless. With the help of the visual aid, it is easier to picture the information. A human mind can only take in limited information at a time. With the help of the visual aid, even the cognitive overload is reduced for the user and it becomes easier for him/her. The PG program is aimed at the students, which empowers them through a learner-centric practice. The structure is based on studio design learning, which challenges the student through concept development, history, critical thinking, design research and methods, ethnography etc. along with cross-disciplinary collaborations and social responsibility. The pedagogy allows the student to explore their ability, and imbibe a design culture through relevant contexts and experiences. It prepares them to work in multi-disciplinary environments, in a global scenario.

18 Padmaja Amin

M.Des.

Visual Communication

In-depth studio-based learning is centred towards, the current pertinent trends in Visual Communication. UIDâ&#x20AC;&#x2122;s course on Visual Communication educates students to produce most apt, creative and comprehensive solutions to visual communication needs. Students are equipped with technical and conceptual skills to articulate and express ideas, think conceptually, conduct research and critically evaluate the process. The student is exposed from visual ethnography to the understanding of brands, social communication, and UI/UX, among several other conventional forms of communication like publication design, advertising, illustration, and film. The course involves imparting skills and knowledge about typography, creating visual structures, drawing, colour and composition, image generation, photography, visual ergonomics, narratives, research methodologies, design process, systems thinking, lateral thinking, etc. It includes assignments that focus on problem-solving with an all-round systemic approach.

Graduation Project 2019

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 19

The Project

20 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

About the project Design brief Timeline Project scope

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 21

About the project Why Vadodara

Why this project

Born and brought up in Vadodara, I have always been fascinated with what the city has offered us all till now. Situated on the banks of river Vishwamitri, it has been the amalgamation of various people, customs, ideas, art and cultures. One can also be fascinated with the architectural forms from the different reigns which prevailed in the city. Once a princely state, it has been culturally groomed by its royal patrons. Doing this project is my way of giving it back to the city.

Vadodara is a thoughtfully designed city that has thrived under the Gaekwad dynasty. It has earned its title as the cultural capital(â&#x20AC;&#x153;Sanskari Nagariâ&#x20AC;?) of Gujarat. Although there are a lot of places in Vadodara which are historically and culturally significant to us, there are also places which whisper tales into our ears but are unheard. While we all know about the famous places in our cities, there are also many places of significant value which are neither documented nor publicised.

2.1 Vadodara railway junction

22 Padmaja Amin

M.Des.

Visual Communication

As withered as they may be, many places in Vadodara are in dire need of some love by the people. With the modernisation drive in full swing many monuments and places of interest are torn down, only to be lost in the urban jungle. Not just places, but the experiences and memories are alive in the hearts of the people themselves, waiting to tell us some tales from the past. Through this project, I would like to go back to the roots of my banyan city.

2.2 Sur Sagar lake at night

Graduation Project 2019

Design brief Hidden Treasure Trove of Vadodara To design a book which will showcase the hidden heritage of the city. The concept of the book is to show a few selected places which are either lesser known, in ruins or even demolished. The book will be informational along with illustrations of the places. This information will help the reader know about the place and even know how to visit the place, the important things to be considered while visiting the place and also things which are not to be missed during the visit.

The book will also include a few stories which would help the reader discover unknown facts about the city. This book will also provide the information in a user-friendly way. These places have a phenomenal aspect of history attached to them. Apart from the architectural and natural beauty, these places have a lot to offer to us. Through this project, I would like to bring out these hidden aspects of the city.

Making this book will also help me to add visual and functional layers to the book. The fundamental reason for choosing this medium of output was for me to do a big project in publication. I have always been interested in publication since the start of my design journey. This project will help me achieve the same and execute it on a big level.

2.3 Lukshmi Vilas Palace

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 23

Timeline

24 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Project scope Photography Information communication Layouts Publication design Typography Illustrations Creating maps Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 25

Research

26 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Symposium seminar Literature study Maps of ancient times Categorization of places Insights from interviews Field study

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 27

Symposium seminar by INTACH & CUS, MSU A symposium seminar on “Smart Futures- Past: Layers and Legacies of Baroda’s Heritage and Cultural Histories” was organized by INTACH (Indian National Trust for Art and Cultural Heritage) and CUS, MSU (Centre for Urban Studies, Maharaja Sayajirao University, Vadodara) from 1st September to 12th September at the Premanand Hall of the Faculty of Arts. There were many eminent speakers and stalwarts, each shedding light on varied subjects of their expertise. The subject matters included the historical, cultural, economic, social, educational, ecological, tangible and intangible heritage of Vadodara. Various insights were gathered from this seminar. The journey from Ankotakka to Vatpadraka, then from Chandanavati to Kile - E - Daulatabad, then from the Mughal city to Badoda and finally to Vadodara was beautifully laid out. This seminar has helped me a lot as it has set a foundation for my project. The whole purpose of the seminar was also to bring different people together, pass on the knowledge and the stories, and also to create an awareness on how these heritages are losing their charm and becoming forgotten day by day. Along with the symposium seminar, there was also a re-exhibition of Robert Fellowes Chisholm

28 Padmaja Amin

M.Des.

Visual Communication

Centennial Exhibition 2015. He was one of the architects who reshaped and reinvented the city having designed several important buildings in the then Princely State of Baroda. Along with that, many manuscripts, letters, government bonds, handwritten letters which are being preserved by CUS were also showcased there.

•

6th Sept. 2019: Prof. Vibhuti Parikh on “The Hajira: A Symbol of Emerging Mughal Power in Gujarat”

•

7th Sept. 2019: Panel Discussion on “Ecological Heritage of Baroda” Panel Members: Prof. Shishir Raval, Landscape Architect & Ecological Planner Ar. Neha Sarwate, Urban Planner Dr. Jitendra Gavali, Botanist and Director, Community Science Center Dr. Ranjitsinh Devkar, Zoology Dr. Deepa Gawli, Director, Gujarat Ecological Society Mr. Shakti Bhatt, Water Conservation Expert

•

8th Sept. 2019: Prof. Rabindra J. Vasavada to deliver Keynote-address

Seminars attended: •

1st Sept 2019: Prof Adhya B. Saxena on “Preservation of Past: Vadpatrak to Vadodara”

•

3rd Sept 2019: Prof. Parul Shah on “Cultural Heritage of Baroda”

•

5th Sept. 2019: “Intangible Heritage Panel: Remembering Academic Legacy of Baroda College and the Maharaja Sayajirao University”. Panel Members: Prof. Vimala Rangaswami, Geography Prof. Amit Dholakia, Political Science Prof. Shanno Pandey, Hindi Prof. Maitree Vaidya, History Dr. Sushmita Sen, Dr. Adhya Saxena, CUS Dr. Ami Raval, CUS

Graduation Project 2019

3.1 Ar. Sanjeev Joshi explaining how the city evolved

3.2 Prof Adhya B. Saxena on Vadpatrak to Vadodara

3.3 Intangible heritage panel discussion

3.4 Prof. Vibhuti Parikh on Mughal Power in Gujarat

3.5 The walled city and Sur Sagar precinct map

3.6 Kile - E - Daulatabad map

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 29

Heritage walks The heritage walks were organized by INTACH, Vadodara jointly with the Vadodara Smart City Development Ltd (VSCDL). The first walk was organized in the Kothi area. It began from the collector's office building, then to Jaisinghrao Library, Aurobindo Ashram and ended at Manikrao Akhada. Another walk was organized in the Mandvi area. This walk included Mandvi Gate, BOB heritage room, Baroda Central Library and Sarkar Wada. These walks were organized as a part of People's Heritage Festival to celebrate the 508th anniversary of Vadodara, its rich history, art, heritage and cuisine.

3.7 Heritage walk group at Jaisinhrao Library, Kothi

3.8 Heritage walk group at Kothi Kacheri

3.9 TOI article (20/11/2019) about the heritage walk

3.10 Shashtraghar at Manikrao Akhada

3.11 Baroda Central Library book racks

30 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

3.12 Record Tower, Kothi

3.13 Aurobindo Ashram

3.14 Stamps & plates at BOB Heritage room

3.15 Jaisinhrao Library

3.16 Old calculators & stamps at BOB Heritage room

3.17 Miniature book collection at Central Library

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 31

Literature study Baroda Know Your Roots Paul John (Ed). (2012), Ahmedabad: Bennett, Coleman & Co. Ltd. This book covers various aspects of the city including its history, the different eras it went through , the founding fables of myths and legends, the ancient walled city, the Gaekwads, the heritage built for the people, the Royal abodes, the crowning jewels of the Gaekwads, the culture curry and the sports of the city. The book has not left any aspect untouched. The book beautifully combines and weaves the intricate details.

It paints a picture of how the city of pols, wadas and padas transformed into a cosmopolitan city. It also tells us about how the people were put forward and all kinds of amenities were set up for them. It also talks about how the Barodaâ&#x20AC;&#x2122;s brains helped to set up the entire city. It also talks about how the Gaekwadsâ&#x20AC;&#x2122; love for sports helped the city cultivate athletes and sportspersons of a very high calibre.

Baroda A Souvenir (1953), Baroda This book starts off by giving us the humble origins of Baroda and how it evolved across different ages, right from a nucleated village to a city. It was also the historical role of Baroda which enabled different people and cultures to be assimilated into one, while also uncovering the relatively unknown roman connections of Baroda After the initial introduction, the focus is shifted to the Maharaja Sayajirao University. It starts from the time from when the seeds were sown for this

32 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

university, formerly Baroda College. Gradually moving forward, it talks about how the different departments were started and what made them thrive. It also talks about how the various facilities like the University library, welfare committees, various unions, general education scheme and other amenities propelled the lives of the students of the university. The book itself acts as a landmark of growth for the university and its various faculties since the time it was born.

Gaekwad Cenotaphs Taramati Gupte (1947), B.A (Hons.), B.T., Baroda The book begins with the notion that death is imminent and there is no escape from it. The custom of building memorials is an ancient custom followed by all religions. Be it Egyptian pyramids, stupas, the Chhattri, tombs, mausoleums, cenotaphs and so forth. They all serve the same ideology and purpose. The Gaekwad Cenotaphs are seen as a sign of honour, reverence, respect and are given the same offerings as the Gods are given. This book describes the cenotaphs of the

Royal Highnesses. Some of these cenotaphs are also outside Vadodara. The interesting fact which was stumbled upon is how the Royal Cemetery was used to create the Kirti Mandir. As per archaeological findings, it was also found that it was a cemetery that stretched back more years than we could imagine before it was converted to the Royal Cemetery for Gaekwads. The book itself provides period accurate information as well as rather rare information.

Vadodara District Gazetteer Dr. S. B. Rajyagor (E.d.), S. Tripathy (E.d.) (1979), Ahmedabad This book talks about the distinguishing characteristics which make Vadodara stand out from other cities. Be it educationally, architecturally, economically or in any other forefront, the city has proved its worth. My focus areas in the book was the general introduction to the city, the history of the city and the places of interest in the city. This book also contained detailed information about each aspect.

It also pointed out the fine nuances of the ecological heritage of the city. The history in the book consisted of data from the Prehistoric era to the contemporary Vadodara district. It also had a detailed study of the Akota bronzes. Other than a pure historical view, a geographical overview of Baroda and its surrounding areas. It provides with a period accurate demographic content.

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 33

Baroda A Cosmopolitan Provenance in Transition Priya Maholay- Jaradi (Ed). (2015), Mumbai: The Marg Foundation This book mainly focuses on the local contemporary art scene spread over the urban and semi-urban provenances. The 12 contributors of this book have aptly put up the intricacies which can be found in the art- historical pedagogy. The book also mentions Dadasaheb Phalke, N.S Bendre, Jyoti Bhatt and many more. Apart from the art culture, there is also a detailed analysis of the architectural legacy of Vadodara. It mainly focuses on the traditional

Maratha wadas and the Palaces of residence, along with their detailed structural and interior aspects. It concludes with the fact that over the two decades, the increase in urbanization, has led to the decrease of the art culture in the cosmopolitan provenance. It also gives an insight in the popular areas of the city, be it for gastronomic pleasure or pure sightseeing. It is a must read to gain knowledge about the city as a whole.

Know Vadodara (1998), Vadodara: Kamna Publications This guide booklet summed up how Vadodaraâ&#x20AC;&#x2122;s identity has changed over time, right from the stone age to present Vadodara. Some people believe that the history of Vadodara began with Sayajirao III, but this isnâ&#x20AC;&#x2122;t the case. It began before that. The book also touches upon the cultural, economic and educational aspects of the city. The city is also famous as the cultural capital of Gujarat and a centre for educational activities.

34 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

It mainly focuses on the tourist attractions and giving a brief about off of them. It also consisted of some striking details and the main attractions of the places which one must visit. This book mainly acts as a guidebook for the places one cannot miss when visiting Vadodara while providing a historical as well as a cultural background to those places.

વડોદરા જા�યું છતાં અજા�યું (Vadodara Janyu Chata Ajanyu) Rajendra Shah (compiler) (2019), Vadodara: Vadodara Smart City Development Ltd. This book mainly talks about the various places of heritage sprawled across the city. It goes on to tell us how the past is a great example of how we have obtained such a huge cultural and historical heritage. Other than the information it shares these places, it also talks about the history of Vadodara in general. This book tells us about how the different areas of the city, the statues, the gates, the narrow

by-lanes and streets also play an important role in our heritage. It contains a wide variety of information and places which one could easily miss out. At the end of the book, it also gives various maps and routes that one can use for heritage walks. These walks include: Mint walk, Sarkar Wada, walk, Sayajibaug walk, Railway Heritage walk, Kothi Sector walk and a M.S. University walk.

“

”

Princely modernity

“

- Ajay Sinha

”

Aspirational cosmopolitanism

- Chaitanya Sambrani

“

”

Culturally groomed by its Royal patrons

3.18 Reference section- Hansa Mehta library

- Priya Maholay - Jaradi

3.19 Baroda reference books at Hansa Mehta library

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 35

Maps of previous eras The re-exhibition of Robert Fellowes Chisholm Centennial Exhibition 2015, by INTACH and CUS, MSU also enabled me to study the maps that were exhibited there. I was able to see the majestic scale of ancient Baroda, which was a milestone in my research. Here are the graphical representations of the maps which were studied from the exhibition.

These maps helped me study how the city has evolved in different reigns one after the other. After all the secondary research, I categorized the places. The places were categorized as known places, unknown places or demolished places. Furthermore, they were divided into various categories according to their types.

3.20 Evolution of Ankotakka

36 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

These categories include wadas, talao, gates, Navnath temples, trees and gardens, stepwells, museums, libraries, institutes, places of worship, hospitals, Mughal structures, Palaces and places of residence, cenotaphs, statues, amenitiesâ&#x20AC;&#x2122; buildings, and others.

3.21 Evolution of Vatpadraka

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 37

3.22 Evolution of Kile - E - Daulatabad

38 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

3.23 Evolution of the Mughal city

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 39

3.24 Evolution of Baroda

40 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Categorization of the places

3.25 Hospitals and Mughal structures

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 41

3.26 Various places of residence

42 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

3.27 Various gates of the city and the Navnath temples in the city

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 43

3.28 Ecological places of heritage

44 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

3.29 Vavs in the city (most of them now demolished)

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 45

3.30 Buildings of amenities, services and recreation

46 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

3.31 Places of worship and institutes of Vadodara

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 47

3.32 Various ponds in the city

48 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

3.33 Different Wadas, museums and libraries

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 49

3.34 Gaekwad cenotaphs and other miscellaneous places

50 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Insights from interviews What does heritage mean to you? • Heritage is our roots which define us • Old cultural norms, buildings, possessions, values passed down through ages • Identity of the places • Purkho ki dharohar (Ancestor’s heritage) • The tangible and intangible aspects which should be cared for • Ancestral legacy which contributes to our culture and beliefs • Stories and legends of the ancient times

Any stories related to historical places that you think are not known to other people • The Hazira Maqbara houses the tomb of Qutubuddin, tutor of Akbar’s son and successor • Italian touch of architecture of Makarpura Palace • Underground drainage lines with drain slope direction indicators. • Suryanarayan temple • Significance of Navnath temples • Premanand Hall • Lad bibi and Lad Wada • Tambekar Wada • Pratapnagar Palace

A few historical places which have been demolished in the recent past or are in the dire need of restoration and preservation • Nazarbaug palace • Certain houses built during Gaekwad rule in old Baroda • The Sevasi Vav • MSU Arts faculty dome • Bhadra Kacheri • Siddhnath talav behind moti market • All gates of the city • Shanta devi hospital area and trees on jail road • Navnath temples • Disappearance of public libraries

How do you see the future of these places which are still standing in this modernization? • Need more awareness to preserve our heritage • Our present day knowledge is not sufficient to preserve and at times the willingness is not seen amongst the concerned authority • The future is in danger as heritage has lost its priority • Mordenization will destroy it • High chances of getting demolished • Should be preserved

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 51

Field study After the categorization, the next task was to identify and shortlist the locations which would fall under the categories of demolished structures, lesser known structures or currently in ruins. The field study was directed towards these locations. The field study aimed to visit the places, document and gather information about them and also find out about interesting things in its surroundings. This field study helped me to gather more insights about what people thought of our heritage. Seeing the ruins of a few places and a few neglected sites, made me realize that we have to save it all.

3.37 Railway Saloon Shed

52 Padmaja Amin

M.Des.

Visual Communication

3.35 Vishwamitri Ghat

3.36 Navlakhi Vav

3.38 Vishwamitri Chhattri

3.39 Sayaji Clock Tower

Graduation Project 2019

Shortlisted places Tambekar Wada

3.40 Tambekar Wada

Tambekar Wada was built by Bhau Saheb Tambekar, the diwan of Baroda. It is a three-floor Maratha mansion which features 19th-century murals, paintings, sculpted doors, carved walls and much more. Currently, only two floors of the palace remain open for tourists because the rest are in dilapidated state. It is the only building of its kind in the city with its frescos. Like a typical Maratha, it displays some delicate woodwork on the exterior. The long halls on the first and second floor are a treasure trove of paintings.

3.41 Wall paintings

3.42 Back portion which needs restoration

There are various themes which it touches upon like, Bhagvat Purana, Mahabharata, Ramayana or simple daily life. The first floor has a hall with galleries on front and back sides. The second floor has a large room with galleries on front and back sides and two smaller rooms. From the outside, Tambekar Wada is deceptively simple looking. It masks the grandeur inside. According to the Archaeological Survey of India (ASI), paintings in Tambekar Wada were made during Year 1874.

3.43 Paintings on the doors and walls

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 53

Nazarbaugh Palace (demolished) basement along with a gazebo in the gardens and a bridge connecting it to the Sarkarwada. Each floor was distinguished using elaborately decorated architraves featuring stucco work. The treasury housed in the palace consisted of the most prized possessions of the Gaekwads. It also housed the solid gold and silver guns each weighing over 100 kilograms. Despite the name kept to protect it from evil charms, it slowly crumbled to ruins until it was finally demolished in October 2014.

3.44 Nazarbaug Palace

Barodaâ&#x20AC;&#x2122;s first European style palace was the only one in the walled city and was built in 1871 by Malharrao Gaekwad. The Italian Renaissance style palace had 40 rooms in 64,000 square ft area. British architect Robert Fellowes Chisholm renovated it in 19th century and the Gaekwads kept their jewellery, weaponry and game trophies here to show visitors. Having stood across Mandvi, located in the actual heart of the city, it is now demolished. Built in the Italian-Renaissance style, the palace was a towering structure with four storeys and a

3.45 Nazarbaug Palace in ruins

3.46 Demolition of Nazarbaug Palace

3.47 New mall constructed at the same place

54 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Sarkar Wada

3.48 Shops on the ground floor of Sarkar Wada

Often referred to as Sarkar Wada, the first building which was constructed was called the Leeli Haveli and it was never really meant to be a palace. Sayajirao II, Fatehsinhrao II, Ganpatrao and Khanderao lived here till Khanderao moved to Makarpura Palace. Although many of the buildings are damaged, a near to real description of the buildings can be given by looking at old photographs of the structures. Majorly built out of wood, all the buildings of the group had long continuous balconies on the road front.

3.49 Dilapidated balconies

3.50 Pathway to the temple inside the Wada

It is said that there were long halls inside the buildings, where the Darbar (court assemblies) would be held. One could directly access these darbar halls, through staircases on the main road. During the state processions, the long balconies along with the â&#x20AC;&#x153;ootlaâ&#x20AC;? (plinths) of the ground floor would be tightly filled with people wanting to get a glimpse of the royal processions. But now the upper storeys are in shambles and the ground floors of these royal residences are functioning as shops.

3.51 Trees overlooking what remains of the Wada

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 55

Navlakhi Vav The Vav is a part of the private property of the LVP and is off-limits for the general public. This is an L shaped Stepwell. The site’s specific installations reveal several layers of development over time: a meeting place, a space for ladies to gather while filling water, where a lot of religious customs have been performed, the possibilities are infinite. There are 6 domes and there is a floor under each of the 6 domes that one can see.

3.52 Main entry of Navlakhi Vav

Located in the Laxmi Vilas Palace compound, is the only Vav (Stepwell) in Vadodara city today and probably the only remnant of the Gurjar rule. A plaque on the Vav says it was built in Sultan Muzaffar Shah’s time in the 15th century. The Vav was called Navlakhi because 9 lakh gold coins were spent to build it. Except for being refurbished once, the vav has never run dry. In the earlier times, the stepwell’s water was used for drinking purposes in the Lakshmi Villas Palace but nowadays it is used to supply water to Golf Course.

3.53 The last approachable level in the vav

3.54 Several Domes at the vav

3.55 First level of the vav

56 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Sevasi Vav Some of the walls have scriptures onÂ festivals celebrated by communities of that era. A stone masonry at the entrance has a name inscribed in Devnagri script. The gate has two tigers carved on the left and two elephants on the right. Stepwells were used to store rainwater, and also became sources of legends. Currently one of the wall of the stepwell has even tilted by some degrees and some pillars have also developed cracks.

3.56 View from vav entrance

On the way to Sindhrot in the ravines of Mahi river is a 500-year-old vav, considered as the oldest and most beautiful vav of Sultan Mehmud Begadaâ&#x20AC;&#x2122;s time in 16th century. A cluster of shops hides this treasure. Sevasi Vav was built to commemorate a spiritual leader, Vidyadhar, who died early and was revered in Sevasi village. The money used in building the vav came from state the treasury. The brick and stone vav is aligned in the east-west direction and goes seven storeys below ground level. The second storey has leaf patterns and magnificent sculptures.

3.57 Inner level of the vav

3.58 View from inner portion of vav

3.59 Pillar carvings

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 57

Chhattri at Vishwamitri bridge

3.60 Vishwamitri Chhattri

Many may have passed by Kalaghoda bridge over Vishwamitri river in Vadodara and even admired the "Chhattri" on its eastern side. But few would know that the structure was built in the memory of the father of one of the visionary rulers of modern India. On the right bank of Vishvamitri river at Baroda, there is a Chhattri erected in the memory of Shrimant Kashirao Dadasaheb Gaekwad, the father of His late Highness Sir Sayajirao III. It is on a triple octagonal plinth. Its dome is supported by eight pillars which bear fine floral carvings. The

space between two pillars has a tablet bearing floral designs on both sides and is supported by an arch. Just outside the dome above the pillars are square blocks each bearing a Kalasa or a pitcher. The dome is surrounded by a Sikhara. A tablet bears the following inscription ‘This is a Chhattri of Shrimant Kailasavasi Kashirao Dadasaheb Gaekwad. Born in 1832. Expired on Thursday 26th July 1877. When built, the structure housed the “Padukas(impressions of one’s feet)” of Kashirao Gaekwad in its centre.

3.61 Carvings on the pillars

3.62 Vishwamitri Chhattri dome

3.63 Carvings on the walls

58 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Baroda Central Library 20,000 books which were donated by the Maharaja as a â&#x20AC;&#x2DC;seedâ&#x20AC;&#x2122; collection to get the library on its feet. It was one of the first public libraries to be set up in India. The library has 352 flexible racks with the capacity of storing over 3 lakh books. The structure is 85 feet long and 34.5 feet wide. The concept of green buildings is very recent, yet the visionary Sayajirao Gaekwad III had the foresight to build a library structure on scientific lines ensuring that books did not get damaged in any season.

3.64 Central library Baroda

Serving the people of the city for more than a hundred years now, the Central Library was conceived when Maharaja Sayajirao Gaekwad III introduced compulsory and free primary education in the Baroda State. He also triggered the Library Movement in the whole of India. The Central Library born in Lakshmi Villas Palace was the brainchild of the Maharaja himself. Sometime later it was shifted to Sarkarwada and was then shifted to a specially constructed building right across the street. The library started with a collection of

3.65 Book rack levels

3.66 Miniature books at Central library

3.67 Book rack levels

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 59

Hazira Maqbara is further strengthened by a vav that is located across the road which may have supplied water for the maintenance of the gardens. The actual grace rests in an underground chamber while a cenotaph is placed in the above chamber to mark the place of burial. Built on a high octagonal platform with smaller gates on the cardinal directions and five arches on each side. The Quranic texts in Arabic are carved, inside tomb chamber, on lintels, arches and also above the Jaali work on eastern sidewalls.

3.68 Hazira Maqbara

Tucked away in a quiet corner of the city, Qutbuddin Hazira is called as Hazira by the local people. The mausoleum contains the tombs of two prominent personalities, Qutb-ud-din Muhammad Khan who was the tutor of Salim, son and successor of Akbar, and also that of his son Naurang Khan who held important offices in Gujarat under Akbar. Hazira is considered as one of the most significant example of Mughlai work in Vadodara. Located inside what would have been a â&#x20AC;&#x153;Chahar Baugâ&#x20AC;? or a Persian Garden. The notion of this being a Garden Tomb

3.69 Carvings on the walls

3.70 Inner view of carvings on the walls

3.71 Grand arches on the entrance

60 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Jummadada Akhada & Manikrao armoury museum to become Professor Manikrao’s Shree Jummadad Vyayam Mandir. The institution houses its room of arms & ammunition collection of Manikrao, known as Shastraghar. The room is full of old artefacts belonging to many famed warriors of India. The collection includes a sword used in battle by Tipu Sultan, Maharana Pratap & Chatrapati Shivaji Maharaj. It also houses Shivaji’s famous Vagh Nakh & Minto Handshake medal.

3.72 Jummadada Akhada

The akhada was established by Jummadada, a Jamnagar- based Muslim wrestler who shifted to Baroda in 1850s. Manekrao, born in 1878 was his favourite disciple and both of them worked hard to promote wrestling and Indian sports among the citizen in late 19th and early 20th century. Located in the Dandia Bazaar area of the city is Shree Jummadada Vyayam Mandir, which translated to “Temple of Physical Education”. The institute was started by Jummadada in about 1853 as an akhada, in the Warasia area. It was later expanded and went

3.73 Shivaji Mandir at the akhada

3.74 Inside Shashtraghar

3.75 Swords & medals collection

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 61

Railway Saloon Shed

3.76 Railway Saloon Shed

Situated between Platform No.7 & Pandya Bridge is a huge red building, which was once a Shed, for the Royal Saloons of the then Maharaja Sayajirao Gaekwad III. This tall building stands as a testament to the old ties of the princely State of Baroda and the Railways. These royal bogies were attached to the train from the saloon, which is presently in dilapidated condition. The building was built around 1900â&#x20AC;&#x2122;s was used to park the Broad-Gauge Royal Saloonâ&#x20AC;&#x2122;s of Maharaja Sayajirao Gaekwad III. It is a linear building displaying all the traits

of the buildings commissioned by the Gaekwads. The linear shape of the building is broken by a rectangular wing jutting out from the side of the building facing the road. The long facade of the building shows exposed brickwork pierced with arched windows at regular intervals. The windows are supported on stone sills, perched on stone brackets. In absence of any intention to restore the glorious past of this heritage, the structure is being used to dump garbage and also by beggars and street urchins.

3.77 Arches on the walls

3.78 Shed encroached by beggars

3.79 Top covering area in ruins

62 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Bhadra Kacheri building is a double-storeyed rectangle structure planned around two courtyards. The ground floor had smaller rooms, while the upper floor had bigger rooms including the “Darbarkhand (court)” and “Zenakhana (harem)”. The only surviving feature of the Muslim period may be perhaps the most striking feature of the building i.e the stone balcony or “jharokha window”. The Bhadra locality also has been home to the Aggad(wrestling/battle arena ) for almost 700 years.

3.80 Main entrance of Bhadra Kacheri

Situated in one of the corners of the old city, Bhaddar also known as Bhadra Kacheri is located in the area near Pani Gate. Now just a ghost of a building it was one of the residences of the Gaekwads. Some trace the existence of this building to the end of the 17th century, while others trace it further back to the 16th century to the time when the walls of the Kila-e-Daulatabad were being built. Although built by the Muslim rulers, it was probably modified a lot of times by the Gaekwads as per their needs, Built out of lime, bricks and wood, the

3.81 Jharokha on the front side

3.82 Surviving entrance door

3.83 Window of the Kacheri

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 63

Sayaji Clock Tower The Sayaji clock tower was a gift by 12 scholars who were sent abroad by Sayajirao III for studies in 1894. They got the tower constructed in 192021 to express their gratitude to Sayajirao. The construction was done at a cost of Rs 30,470 with the clock costing Rs 3,064. A unique feature of the clock is that the dial has digits written in the Devnagari script. The tower is almost 40 feet high and emerges from a small one-storeyed structure. The tower displays a stone facade adorned with tall openings and stone jalis. The tower is divided

3.84 Sayaji Clock Tower

64 Padmaja Amin

M.Des.

Visual Communication

3.85 The only Devnagri clock tower in the city

Graduation Project 2019

into almost four portions. The bottom portion has a door to enter the tower. The portion above this has the stone jalis. The next portion has small stone balconies, protruding out from all four sides of the tower. These cantilevered balconies also display stone jalis in the form of parapets. Just about the balconies are the clocks, on all four sides of the tower. It is said that it is the only clock with has the numbers of the dial in the Devnagari script. The topmost portion of the tower has a domed Chattri topped with a finial.

3.86 The tower hidden by the surrounding foliage

Chimnabai Clock Tower

3.87 Chimnabai Clock Tower at night

The Maharani Chimnabai tower, commonly known as the Raopura Tower was erected in 1896. This mesmerizing structure was raised in remembrance of the first queen of Maharaja Sayajirao III viz. Maharani Chimnabai I. All the funds for the construction were raised by the citizens of Baroda to raise this clock tower. It was inaugurated by the last Nawab of Baroda- Mir Kamaluddin Hussainkhan. Still in a working condition. This clock tower provides an opportunity to see timings from all four directions. It was a major stop for

horse-drawn trams which were a famous mode of public transport back in the day. Built in the IndoSaracenic style, the five-storeyed building still dominates the skylines of the city, the lower levels of which houses a narrow spiral staircase leading to the upper levels. The lower levels, as well as the fourth level, are adorned with an exposed brick facade. The lower three levels have cusped arched openings decorated with fine stucco work on each side. The fourth level features a huge clock fitted on all four sides of it.

3.88 Carvings on the window

3.89 The clock

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 65

Mandvi Gate

3.90 Mandvi Gate

Situated on the exact midpoint of the old walled city “Mandvi Gate” is a pavilion or a “Mandapa” standing on the intersection of the two cardinal streets of the city. Standing solitary in the heart of the city, the structure is the part of a larger building scheme, the fort “Kile-e-Daulatabad”. The structure which gives the old city it’s identity, was built by the sultan Khalil Khan only as a double storeyed pavilion. The upper two storeys were added by the Gaekwads. The square shaped pavilion features three bold arched openings on each of its four sides

and is decorated with niches of various sizes and shapes. It is believed that it was used for collecting toll from the merchants and traders and was also used to make announcements for the city. All important proclamations were made to the beat of the drums from its terrace. The structure was so much celebrated that only the Maharaja’s Elephant, Horse Carriage or Rolls Royce could pass through the arches of this landmark edifice. Although the structural system has been changed, the wooden jaalis are still intact.

3.91 Arches inside the Mandvi Gate

3.92 Kumkum used by the devotees at Mandvi temple

3.93 Mandvi Gate corner chhattris

66 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Champaner Gate Champaner Darwaza, serves as the northern gateway to the old city of Vadodara .This gate faces north, leading to Champaner and was constructed after the Champaner fort was captured by Mehmud Begada. It was strategically important for the sultans to protect the capital of Gujarat SultanateChampaner from any attack. This was among the few gates from where elephants could pass. Just like the other gates, this gate also has a massive Islamic arched gate as a means of entry.

This gate also has a guard room in its interior and a room with a sloping roof on the top. The room on the top has 3 windows on both sides which may have been used to keep an eye on the surroundings.

3.96 Windows inside the gate

3.97 Carvings on the wall

3.94 Champaer Gate

3.95 Door for gate entrance

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 67

Lehripura Gate

3.98 Front side of the gate

68 Padmaja Amin

M.Des.

Visual Communication

Situated amid noisy and colourful bustling markets, the Lehripura Darwaja is the most ornamented gate out of the four gates of the old city. This gate on the western side was the main entrance to the walled city and is situated in the immediate vicinity of the Nyay Mandir. It was constructed along with other gates to build a fortified town in AD 1511 by the son and successor of Mehmud Begada- Prince Khalilkhan. The Gaekwads renovated the gate in the Maratha-Rajput style in the 19th century. It has three arches with images of Lord Ganesha

and Goddess Durga. The central arch has a ‘chhattri’ and ‘jharokha’ where shehnai artistes used to perform. Originally coppersmiths, who were also known as ‘laheris’ lived near this gate, which gave the name of this gate. Currently, the gate also has 3 gateway openings but unlike the old one, all three openings are huge in size. The two other openings of the structure that flank the central arched opening and are decorated with cusped arches.

3.99 Balcony inside the gate

3.100 Carvings on the inner walls

Graduation Project 2019

Gendi Gate that this sloping roof was added during the Maratha period. There used to be two gates near today’s Gendi Gate at short intervals of each other, one being Goya Gate and the other being Hathiyakhad Gate. At present these gates do not exist, but as a remembrance to our past, Goya Gate police chowki and Hathiyakhad locality. Other than these, a gate known as the Bawamanpura Gate also stood in the south-east of Gendigate. The gate is now gone, but the Bawamanpura locality is named after the gate.

3.101 Front side of the gate

The southern gate is an Islamic style structure with four ribbed arches. Rhinos, ‘Gendas’ in Gujarati were kept near this gate, hence the titular backstory. Gendi gate has also been referred to in old documents as ‘Baranpore nu Darwajo’. It is believed that this gate led to Baranpura locality in the walled city. Common with the other gateways, this is also the Islamic/Ogee styled arched entry point. Unlike the other gates, this gate has two storeys of rooms on the top with the topmost level covered with a double pitched hipped roof. It is said

3.102 Window for patroling

3.103 Carvings on the wall

3.104 Gas pipeline vent near the gate

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 69

Pani Gate portion which also provides access to theupper level of the gateway. The gate has four 10 feet wide arches in the Islamic style. A portion of the gate had collapsed and was restored a few years back. On its outer side, above the main arch, is a structure shaped like a top sided triangle, similar to the human nose. It is popularly known as â&#x20AC;&#x2DC;Baroda nu Naakâ&#x20AC;&#x2122;- as a metaphor Pani Gate was a part of eastern rampants of Kila-e-Daulatabad fort.

3.105 Front side of the gate

About 500 metres from Mandvi, Panigate served as the eastern gate to the walled city. Since the town was receiving water supply from the Raje and Ajab lakes situated on the eastern side, this gate was called Pani gate. The gateway has massive Islamic/ Ogee arches along with the lotus motif ebbellishing its spandrils. It also has bands carved stone motifs running along all the sides of the structure. Apart fromt this, it is also decorated using two small jharokha like elements that flank the sides of the arch. It also has guard rooms tucked on itâ&#x20AC;&#x2122;s inner

3.106 Detailed carvings on the wall

3.107 Tiny windows for patroling

3.108 Back side of the gate

70 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Vishwamitri Ghat These were used by the people for bathing and washing their clothes. Although some portion of these ghats still stands, most have perished over the years. There are stone carvings in the form of a fish and a crocodile. These were commissioned by Malharrao Gaekwad and were placed on specific levels on the steps which were essentially flood indicators for specific areas in the city. When water reaches one of these indicators, a flood situation would be predicted.

3.109 Vishwamitri Ghat

The first bridge on this site was built by Muzafar II in the 16th century, which was then improved upon by the Mughals sometime between the 16th and 18th century. After the conquest of Baroda by the Gaekwads in the 18th century, it was re-cast by them in the early 1800s. This bridge has lived through many eras. The bridge was made of stone and rested on two tiers of massive arches which ran under it. During those times, one of the sides of the bridge had expansive ghats on both sides of the banks of the river.

3.110 Crocodile stone carving

3.111 Fish stone carving

3.112 Old ghat during 1890s

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 71

Ideation

72 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Stakeholder mapping Target audience Before starting the book Why this book? Case studies Skeleton of the book Key elements of the book Content generation

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 73

Stakeholder mapping

74 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Target audience The considered target audience group is from age 15- 30. However, it is possible for anyone who is below or above the age group to get a copy of the book and use it. The reason for choosing this target audience is that it would include a broad spectrum of personnel. It will also help them inculcate the interest in the heritage of the city and save it from being withered away. Through this book, I want to save the tangible and the intangible heritage of the city, Vadodara.

Primary audience:

• Students • Localites • Photographers • Travel enthusiasts • Academicians • Bloggers Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 75

Before starting the book

How much territory will I cover in the book?

How many people will read this book?

Where will this book be found?

How is my book different from the others in the market?

76 Padmaja Amin

M.Des.

Visual Communication

How will the chapters in the book flow?

Where will I find the bookâ&#x20AC;&#x2122;s audience?

What is my hook/angle?

Graduation Project 2019

How will I shape the book?

Why this book?

Rekindle peopleâ&#x20AC;&#x2122;s interest in the city

Firsthand experience of select places

Getting different perspective together

A combination of research, personal observation and interviews

Stories by the people all clubbed into one

A void that needs to be filled

Bringing out the unknown

Stitching together all the elements

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 77

Case studies DK Eyewitness DK’s highly visual Eyewitness guides show you what others only tell you, with easy-to-read maps, tips, and tours to inform and enrich your holiday. DK is the world’s leading illustrated reference publisher, producing beautifully designed books for adults and children in over 120 countries. Filled with expert advice, beautiful photographs and detailed illustrations, the highly visual guides show us what others only tell us. They publish guides to more than 200 destinations, from handy pocketsized city guides to comprehensive country guides. What does DK Eyewitness India offer? Over 50 colour maps Comprehensive tours and itineraries Illustrations and floor plans Historical and cultural context of the places Details chapters with area maps of select places Essential travel tips 4.1 DK Eyewitness India Pages: 1256 pages Dimensions: 128mm × 197mm Book type: Flexibound Price: Rs 1,199

78 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

4.2 DK Eyewitness Top 10 Mumbai Pages: 128 pages Dimensions: 101.6mm x 190.5 mm Book type: Paperback Price: Rs 399

Section identifier Full spread illustration Section identifier

Colour palette

Area & city identifier

List of places to see

City title

Map

Visitorâ&#x20AC;&#x2122;s checklist

Images breaking the grid

Icons for address, telephone, tickets, etc and additional info

Place highlights

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 79

Lonely Planet Lonely Planet is a leading travel media company and one of the worldâ&#x20AC;&#x2122;s number one travel guidebook brand, providing both inspiring and trustworthy information for every kind of traveller since 1973. Over the past four decades, they have printed over 145 million guidebooks and grown a dedicated, passionate global community of travellers. They also have content online, and in mobile apps, video, 14 languages, nine international magazines, armchair and lifestyle books, ebooks, and more. What does Lonely Planet India offer? Top 20 experiences Need to knows Month by month events Understanding India and history The way of life in India Architecture, arts, Sanctuaries, Landscape Survival guide and transport Region-wise travel guide with time to visit, places to stay, places to eat, maps.

80 Padmaja Amin

M.Des.

Visual Communication

4.3 Lonely Planet India Pages: 800 pages Dimensions: 133mm x 222 mm Book type: Paperback Price: Rs 1,756

Graduation Project 2019

4.4 Lonely Planet Goa &10 Mumbai Pages: 256 pages Dimensions: 128mm Ă&#x2014; 197mm Book type: Paperback Price: Rs 980

Map of the monument

Visual cue of the place Section title

City list

Brief introduction

Rigid layout of sections

Sub-section title Combination of map & highlights

Donâ&#x20AC;&#x2122;t miss section Tips section

Colour palette

Photo highlights

Highlights

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 81

Rough Guides Rough Guides is a leading travel publisher known for its â&#x20AC;&#x153;tell it like it isâ&#x20AC;? attitude, accurate, up-todate content and authoritative contemporary writing. They also provide tailor-made trips picked by local experts. These days, Rough Guides publishes books covering more than 120 destinations around the globe, produces an evergrowing series of ebooks and a range of reference titles. They also have a dictionary phrasebook for 18 major languages. They also have travel specials for first-time travels. What does Rough Guides India offer? Top lists Itineraries Expert reviews Must-see sights Comprehensive listing Detailed maps Author highlights 4.5 Rough Guide India Pages: 1232 pages Dimensions: 130mm x 196mm Book type: Paperback Price: Rs 999

82 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

4.6 Rough Guide South India & Kerala Pages: 528 pages Dimensions: 127mm x 196mm Book type: Paperback Price: Rs 999

Map with highlights Section title

Introduction

State & city identifier

Photo grid

List of things

City title

Travel information

Section identifier

Place highlights

Colour palette

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 83

Fodor’s Travel For 80 years, Fodor’s Travel has been a trusted resource offering expert travel advice for every stage of a traveller’s trip. They hire local writers who know their destinations better than anyone else, allowing us to provide the best travel recommendations for all tastes and budget in over 7,500 worldwide destinations. And they deliver expertise in every format that travellers need, from print guidebooks and eBooks to Fodors.com and mobile apps, even across social media platforms. What does Fodor’s Travel India offer? Up-to-date coverage Colour photo guide Detailed maps Photos and illustrated features Itineraries and recommendations- Fodor’s choice Trip planning tools Selected city coverage 4.7 Fodor's Travel Essential India Pages: 512 pages Dimensions: 130mm × 201mm Book type: Paperback Price: Rs 1,728

84 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

4.8 Fodor's Travel Essential India Pages: 536 pages Dimensions: 133mm x 203 mm Book type: Paperback Price: Rs 1,199

Highlights and must see section

Highlight title

City information

Cost table

Travel information

City title

Sights section

Colour palette

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 85

Skeleton of the book

86 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Content flow

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 87

Key elements of the book

Brief history of Vadodara

Masthead

88 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Information of the places

Special highlights

Visitor's checklist

Illustration of the places

Illustrated maps

Architectural terms appendix

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 89

Content generation Sevasi Vav

90 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Sayaji Clock Tower

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 91

Vishwamitri Bridge Chhattri

92 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Vishwamitri Ghats

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 93

Tambekar Wada

94 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Raopura Clock Tower

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 95

Navlakhi Vav

96 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Prof. Manikrao Akhada

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 97

Baroda Central Library

98 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Bhadra Kacheri

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 99

Qutbuddin Hazira

100 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Brief introduction to the old walled city

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 101

Design

102 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Colour palette Illustration styles Book format and size Typeface explorations Illustration style for the book Layout explorations Map explorations Book title Cover design

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 103

Colour palette While going through the city and even during field study, I found that Vadodara has an earthy and green vibe around it. Even the monuments and the sites also showcased earthy tones. Through this, I have created a colour palette for the same.

104 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Illustration styles for reference

5.1 Mumbai illustration for CNN Travel

5.2 Wall street journal travel illustration

5.3 Rooftop illustration

5.4 Gol Gumbaz illustration

5.5 Truck illustraion

5.6 Budapest city illustraion

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 105

Book format and size Some of the standard book sizes: .1875 in

Trade book: 5 x 8 in Trade book: 6 x 9 in Trade book : 5.25 x 8 in Square book: 7 x 7 in Pocket book: 4.25 x 6.87 in Digest: 5.5 x 8.5 in

5.4 in

.295 in

.1875 in

These are some of the standard book sizes used in the printing business. One might find variations in these sizes depending upon their needs or specific purposes.

Selected format and binding:

8.4 in

.295 in

.492 in

8.4 in

.295 in

Trim size: 5.4 x 8.4 in Bleed: .1875 in Margin- top: .295 in Margin- bottom: .295 in Margin- outside: .295 in Margin- inside: .492 in Number of columns: 2

Book binding: Paperback

.1875 in

.295 in

Book spread dimensions and measurements

Bleed area

106 Padmaja Amin

Content area

M.Des.

Visual Communication

Graduation Project 2019

.295 in

.1875 in

The grid:

5.4 in

5.4 in .1875 in

8.4 in

.1969 in

Grid: 2-column Baseline: 11.4pt Gutter: 0.1969 in

.1969 in

.1875 in

8.4 in

.1875 in

Grid layout and gutter dimensions

Bleed area

Content area

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 107

Typefaces considered for body copy Noto Serif SC (9.5pt/ 11.4 pt)

Liberation Serif (10pt/ 12 pt) (shortlisted)

Spectral (10pt/ 12 pt) (shortlisted)

Hazira is regarded as the most significant Mughal work in Vadodara inside what would have been a “Chahar Baug” viz. a Persian garden. The fact that a Vav was situated just on the other side of the road implies that it may have been used for the maintenance of the garden. The tomb is influenced by the garden tombs of the Lodi Dynasty, the tomb of Sher Shah Suri and that of Adham Khan and Maham Anga. The mausoleum sports a double skinned dome, which rests on a high cylindrical drum with a third tiny tier resting on the topmost position. The tomb reminds one of Humayun’s tomb in Delhi.

Hazira is regarded as the most significant Mughal work in Vadodara inside what would have been a “Chahar Baug” viz. a Persian garden. The fact that a Vav was situated just on the other side of the road implies that it may have been used for the maintenance of the garden. The tomb is influenced by the garden tombs of the Lodi Dynasty, the tomb of Sher Shah Suri and that of Adham Khan and Maham. The mausoleum sports a double skinned dome, which rests on a high cylindrical drum with a third tiny tier resting on the topmost position. The tomb reminds one of Humayun’s tomb in Delhi.

Faustina (10pt/ 12 pt)

Maitree (9.5pt/ 11.4 pt) (shortlisted)

Karma (10pt/ 12 pt)

Hazira is regarded as the most significant Mughal work in Vadodara inside what would have been a“Chahar Baug”viz. a Persian garden. The fact that a Vav was situated just on the other side of the road implies that it may have been used for the maintenance of the garden. The tomb is influenced by the garden tombs of the Lodi Dynasty, the tomb of Sher Shah Suri and that of Adham Khan and Maham Anga. The mausoleum sports a double skinned dome, which rests on a high cylindrical drum with a third tiny tier resting on the topmost position. The tomb reminds one of Humayun's tomb in Delhi.

108 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

5.7 Body text trial prints

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 109

5.8 Shortlisted typefaces trial prints

110 Padmaja Amin

M.Des.

Visual Communication

5.9 Shortlisted typefaces in use

Graduation Project 2019

Selected typeface for body copy Spectral Typeface Typeface Spectral, 10pt font size on 12pt leading was the final selection. Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Spectral offers an efficient, beautiful design thatâ&#x20AC;&#x2122;s intended primarily for text-rich, screen-first environments and long-form reading. Designed by Production Type, based in Paris, a digital type design agency. Its activities span from the exclusive online distribution of its retail type for design professionals to the creation of custom typefaces for the industrial, luxury, and media sectors. This typeface was chosen because it has this particular characteristic which resonated with the book and it would blend in easily.

Spectral ExtraLight The quick brown fox jumps over the lazy dog

Spectral Medium Italic The quick brown fox jumps over the lazy dog

Spectral ExtraLight Italic The quick brown fox jumps over the lazy dog

Spectral Semibold The quick brown fox jumps over the lazy dog

Spectral Light Italic The quick brown fox jumps over the lazy dog

Spectral Semibold Italic The quick brown fox jumps over the lazy dog

Spectral Light Italic The quick brown fox jumps over the lazy dog

Spectral Bold The quick brown fox jumps over the lazy dog

Spectral Regular The quick brown fox jumps over the lazy dog

Spectral Bold Italic The quick brown fox jumps over the lazy dog

Spectral Italic The quick brown fox jumps over the lazy dog

Spectral ExtraBold The quick brown fox jumps over the lazy dog

Spectral Medium The quick brown fox jumps over the lazy dog

Spectral ExtraBold Italic The quick brown fox jumps over the lazy dog

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 111

Typefaces considered for headers With the body copy typeface being finalized, the next step was to select a typeface for the headers. With a good serif typeface in the picture, a good sans serif for the header would give a good range of contrast to the book. The typeface was selected in such a way that it would resonate with the feel of the book and enhance its characteristics.

Hazira Maqbara Resting in a niche corner in the city, Qutbuddin Hazira, also known as Hazira Maqbara by the locals is a mausoleum containing the tombs of two prominent Mughal figures, Qutb-ud-din Muhammad khan and his son Naurang Khan. Kaniyalal Munshi Marg, near ONGC, Danteshwar 8:00 am - 6:30 pm (except Thursdays) Allowed

Akrobat Typeface

Tomb structure

Akrobat is a modern sans serif font with condensed proportions.

The mausoleum sports a double skinned dome, which rests on a high cylindrical drum topped with a third tiny tier. The tomb reminds one of Humayun’s tomb in Delhi.

The typeface comes in 8 weights with a geometric aestetics and slight neo-grotesque characteristic.

Built on a high octagonal platform with smaller gates in each of the four cardinal directions, each side of the high platform features five arched niches, with the central one acting as the path to the upper level of the platform. All the sides of the octagonal structure have an imposing Islamic arch. These openings are adorned by stone “jalis” with geometric patterns.

It’s narrow proportions makes it perfect for headlines, logos, typographic compositions and short paragraphs of text.Acrobat contains more than 500 glyphs with a wide range of languages – extended Latin and Cyrillic character support as well as Bulgarian localization features.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ‘?’“!”(%)[#]{@}/&\<-+÷×=>:;,.*

112 Padmaja Amin

M.Des.

Visual Communication

Built in : 1586 Built by: Unknown Architectural style: Mughal Qutb-ud-din Muhammad Khan was the tutor of Salim, son and successor of Akbar and also the uncle of Mirza Aziz Koka, a foster brother of Akbar and the thrice Governor of Gujarat in between 1573 AD to 1583 AD. He was killed in 1583 by Muzaffar Shah III.

Tomb structure

The mausoleum sports a double skinned dome, which rests on a high cylindrical drum topped with a third tiny tier. The tomb reminds one of Humayun’s tomb in Delhi. Built on a high octagonal platform with smaller gates in each of the four cardinal directions, each side of the high platform features five arched niches, with the central one acting as the path to the upper level of the platform. All the sides of the octagonal structure have an imposing Islamic arch. These openings are adorned by stone “jalis” with geometric patterns.

The octagonal tomb layout

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ‘?’“!”(%)[#]{@}/&\<-+÷×=>:;,.*

The octagonal tomb layout

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ‘?’“!”(%)[#]{@}/&\<-+÷×=>:;,.*

Proxima Nova

Oswald

This typeface has a smaller x-height and is heavy. Hence it occupies comparatively more space. A bit difficult to read and strains the eyes.

This typeface is crisp with sharp finishes. It is a good condensed font. Since it has a large x-height, it doesn't go that well in body section headers.

Graduation Project 2019

Hazira Maqbara

Resting in a niche corner in the city, Qutbuddin Hazira, also known as Hazira Maqbara by the locals is a mausoleum containing the tombs of two prominent Mughal figures, Qutb-ud-din Muhammad khan and his son Naurang Khan.

Kaniyalal Munshi Marg, near ONGC, Danteshwar 8:00 am - 6:30 pm (except Thursdays) Allowed

Tomb structure

Kaniyalal Munshi Marg, near ONGC, Danteshwar 8:00 am - 6:30 pm (except Thursdays) Allowed

Tomb structure

The mausoleum sports a double skinned dome, which rests on a high cylindrical drum topped with a third tiny tier. The tomb reminds one of Humayun’s tomb in Delhi.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ‘?’“!”(%)[#]{@}/&\<-+÷×=>:;,.*

Kaniyalal Munshi Marg, near ONGC, Danteshwar 8:00 am - 6:30 pm (except Thursdays) Allowed

Tomb structure

The octagonal tomb layout

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ‘?’“!”(%)[#]{@}/&\<-+÷×=>:;,.*

The octagonal tomb layout

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ‘?’“!”(%)[#]{@}/&\<-+÷×=>:;,.*

HP Simplified

Barlow Semi Condensed

Akrobat (selected typeface)

This typeface is heavy with rounded edges. It also has a rectangle tittle. It doesn't go along with the body copy as it is comparatively heavy for it.

A good condensed font matching the feel of the book. But it doesn't match as the subheader title with the body copy.

A smooth and crisp font. It also balances the condensed and heavyweight and goes with the feel of the book. This typefaces is selected for header.

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 113

Illustration syle for the book After working towards an illustration style, I came up with the illustrations for the book. Here are a few of those illustrations. This illustration style was chosen because it would look a little bit realistic and would also go with the textures I found while visiting these places. It would also give the reader an image of what they might see when they visit the places and explore them.

5.11 Carving on the Raopura tower

5.10 Jummadada akhada

114 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

5.12 Octagonal tomb layout of Hazira Maqbara

5.14 Map example

5.13 Miniature books at Baroda Central Library

5.15 Old Vishwamitri ghats

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 115

Layout explorations

116 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 117

Hazira Maqbara

Tomb layout

Hazira Maqbara layout with line drawings

Built in : 1586 Built by: Unknown Architectural style: Mughal

Kaniyalal Munshi Marg, near ONGC, Danteshwar 8:00 am - 6:30 pm (except Thursdays) Allowed

Qutb-ud-din Muhammad Khan, who was the tutor of Salim, son and successor of Akbar and also the uncle of Mirza Aziz Koka. He was a foster brother of Akbar and held the seat of Governor of Gujarat in between 1573 AD to 1583 AD. He was killed in 1583 by Muzaffar Shah III.

Tomb structure

The mausoleum sports a double skinned dome, which rests on a high cylindrical drum with a third tiny tier resting on the topmost postion. The tomb reminds one of Humayun’s tomb in Delhi. Built on a high octagonal platform with smaller gates in each of the four cardinal directions, each side of the high platform features five arched niches, with the central one acting as the path to the upper level of the platform. All the sides of the octagonal structure have an imposing Islamic arch. These openings are adorned by stone “jalis” with geometric patterns.

The octagonal tomb layout

“

”

Most significant Mughal work in Vadodara

118 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Hazira is regarded as the most significant Mughal work in Vadodara inside what would have been a “Chahar Baug” viz. a Persian garden. A Vav was situated on the other side of the road which implies that it may have been used for the

maintenance of the garden. The tomb is influenced by the garden tombs of the Lodi Dynasty, the tomb of Sher Shah Suri and that of Adham Khan and Maham Anga.

Prof. Manikrao Akhada Prof. Manikrao Akhada layout with line drawings

Also known as Jummadada Akhada, it was a beacon for reviving the Indian Martial arts. The Vyayam Mandir was built by Jummadada, a Jamnagar- based Muslim who became a wrestler himself under the patronage of Maharaja of Baroda. His legacy was then carried forward by his favourite disciple, Manikrao. Built in : 1853 Built by: Jummadada Architectural style: Unknown Piramitha Rd, Jagdish ave, Dandia Bazaar, Behind Siddhivinayak Mandir 11am- 8pm Allowed

Vadodara & Akhadas

By 1934, the Baroda state financed 109 akhadas of which 26 were in the city. The akhada culture brought here by the Peshwas and was furthered by Sayajirao II and Khanderao Gaekwad. Khanderao Gaekwad, an ardent wrestler, used to spend Rs 2.57 lakh on maintaining akhadas and wrestlers annually. 16 akhadas survive today.

The freedom movement The British empire was always suspicious of the akhadas during Sayajirao Gaekwad IIIâ&#x20AC;&#x2122;s rule and was even raided by British officers in the 1930s, but nothing suspicious was found. They were thought to be aiding revolutionary ideas by the British. It was also an important part of the Indian Freedom Movement as it gave refuge to Bhagat Singh, Rajguru and Sukhdev along with others. Prof. Manikrao was in direct contact with Mahatma Gandhi, Lokmanya Tilak, Lala Lajpatrai and Dadabhai Navroji.

Hideout during the freedom fight

Shivaji Mandir The public celebration of Ganesh Chaturthi first started in Baroda in 1901 by Jummadada aged 107 years as inspired by Lokmanya Tilak. The tradition of installing Ganpati idol continues which is made to resemble the one installed in the first celebration in 1901.

This akhada is also home to a Shivaji Mandir, the only temple in Gujarat, dedicated to the memory of the great Maharaja Warrior. It was established by Prof. Manikrao on the 400th birth anniversary of Chhatrapati Shivaji Maharaj.

1st swimming pool in Baroda

Akhada layout

Shivaji Mandir

Akhada

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 119

Raopura Clock Tower Raopura Clock Tower layout with line drawings

This five-storeyed tower still dominates the skylines of the city. Commonly known as the Raopura Tower, its actual name is Maharani Chimnabai Tower. It was raised in remembrance of the first queen of Sayajirao III viz. Maharani Chimnabai I. This clock tower provides an opportunity to see timings from all four directions.

The clock

Built in : 1896 Built by: Sayajirao III Architectural style: Indo-Saracenic Vinoba Bhave road, Raopura, Mandvi Best time : 8am-10am Allowed

Clock in all four directions

The architecture the lower levels of which houses a narrow spiral staircase leading to the upper levels. The lower levels, as well as the fourth level, are adorned with an exposed brick facade. The lower three levels have cusped arched openings decorated with fine stucco work on each side. The fourth level features a huge clock fitted on all four sides of it. This level is demarcated by a narrow overhanging balcony with a stone Jali parapet supported on stone brackets. The last level is octagonal and is plastered in a shade of yellow sandstone. This level is embellished with jharokha windows on four out of eight sides and is topped with a Shikhar like element with a finial on the top.

Intricate carvings Still in a working condition, it was a major stop for horse-drawn trams which were a famous mode of public transport back in the day. All the funds for the construction were raised by the citizens of Baroda to raise this clock tower. It was inaugurated by the last Nawab of Baroda- Mir Kamaluddin Hussainkhan.

120 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

The clock was brought from London by the Maharaja and was installed in the tower in 1896. The clock earlier used mechanical systems and needed to be wound regularly. But now it is powered by electrical connections with batteries as a backup in case of power cuts. The bell-chamber in the tower has five heavy bells which were made by John Taylor & Co. in 1887.It is the worldâ&#x20AC;&#x2122;s largest bell foundry based in Loughborough, England. Clock dial diameter: 6 feet Minute hand lenght: 3 feet

The chimes The chimes of the clock previously rang every 15 minutes, have now been changed to ring at every hour. Previously, of the five, bells the largest was a clock bell which used to chime at the stroke of time. Four other bells used to strike in a sequence creating a melody that used to get completed in 40 seconds at a gap of every 15 minutes. At every hour a melody of 20 seconds used to ring as per the number of hours.

Baroda Central Library Baroda Central Library layout with line drawings

The central library was born with the advent of free and compulsory primary education in the state of Baroda. In spite of the concept of green buildings gaining popularity now, the visionary Sayajirao Gaekwad III had the foresight to build a state of the art library structure ensuring that the books did not get damaged, be it any season. Built in : 1853 Built by: Jummadada Architectural style: Unknown The Central Library gave momentum to the library movement nationwide. Having taken its roots in the Lakshmi Vilas Palace, the library was shifted to Sakarwada and then given its final place at a specially constructed building right across the street. Built with an immense capital of over Rs. 4 lakh along with an additional investment of Rs. 2 lakhs for books, furnishings and such. When completed, it was one of the few buildings to sport a state of the art fire protection system with a book friendly design. This library was one of India’s first public libraries.

Bank road, Beside Bank of Baroda, Mandvi 8:30 am - 6:45 pm (Monday Holiday) (Sunday - 8:30 - 3pm) Allowed

Inception of the Library While on a tour of the United States, the Maharaja chanced upon William Alanson Borden, the librarian at the Young Men’s Institute of New Haven in New Jersey. Impressed, the Maharaja invited him to Baroda to plan the ambitious project of the central library, along with three other architects-planners from Baroda. A total of 20,000 books were donated to the library by the Maharaja to kickstart the library.

The Structure

Built in 1931 using Belgian glass and European Steel, it has a magnificent glass sheet floor At the centre lies the stack, which is designed like a warehouse aligned in a north-south direction to get maximum sunlight. It is a three-storeyed structure, separate from the main building to reduce collateral damage in case of any mishap.

The astonishing part is that the floors of the two floors are made using imported Belgian glass, which is 2 inches thick. The landscape was planned in such a way that the books would not be damaged with the sudden change in temperature with the help of shrubs and trees which were moistened daily to keep the temperatures mild. The building was installed with fire alarms and thick steel doors that would close automatically in case of a fire keeping the stack area safe.

Book collection

The library has 352 flexible racks and a staggering amount of over 3 lakh books. There is a special section for miniature books too, with the one present housing 73 mini books in a cabinet.

The miniature book collection

On the other hand, the largest book in the library is approximately 2 feet by 1.5 feetIndian Prince’s Edition of Empress of India Memorial Volumes (1887-1901), subscribed to by the Maharaja Sayajirao Gaekwad III and donated to the library.

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 121

Navlakhi Vav It is located in the compound of Laxmi Vilas Palace, the only remaining Vav in Vadodara city today and is probably among the few remnants of the Gurjar rule in the region. It is one of the prominent stepwells on the ancient trade route between present day Vasad and Bharuch.

Navlakhi Vav layout with coloured line drawings

500m

Built in : 1853 Built by: Jummadada Architectural style: Unknown The Vav is a ‘L’ shaped stepwell. It was called Navlakhi because 9 lakh gold coins were spent to build it. On one of the lower floors is a Brahmi inscription saying Suryaraj Kalchuri, a general of the Gurjar Kingdom and the Son-in-Law of King Daddh I, built the stepwell in Vatpadra in the 15th century. It was also refurbished in Muzaffar Shah’s time. Except for being refurbished once, the vav has never run dry. In the earlier times, the water from the stepwell was used as drinking water in the LVP but nowadays it is used to supply water to Golf Course.

122 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

J N Marg, Moti Baug, inside Palace grounds Not open for public Not allowed

Stories of the Vav The site specific installations reveals several layers of development over time: a meeting place, a space for ladies gathering while filling water, a place where a lot of religious customs have been performed and there are still many other possibilites. An interesting story is that during wartime when the palace was being attacked, the entire army hid inside the vav and led the defence from it.

Sayaji Clock Tower

Sayaji Clock Tower layout design

Hirak Baug

Aur

Nestled in the trees near the arts faculty, the Sayaji clock tower stands strong after years of its service to the city and the people. But few know the real reason why this tower was built. Built in : 1896 Built by: Sayajirao III Architectural style: Indo-Saracenic Aurobindo Ghosh Road, in front of M.S. University Best time: 8am-10am Allowed

The Sayaji clock tower was a gift by 12 scholars who were sent abroad by Sayajirao III to strengthen and sharpen their minds in 1894. They got the tower constructed in 1920-21 to express their gratitude to Sayajirao. The construction was done at a cost of Rs 30,470 with the clock costing Rs 3,064. A unique feature of the clock is that the dial has digits written in the Devnagari script.

obin

Gho

Han Me sa h Lib ta rary

sh R

oad Statio

n Roa

Architecture

The tower is almost 40 feet high and emerges from a small one storeyed structure. The tower displays a stone facade adorned with tall openings and stone jalis. The tower is divided into almost four portions. The bottom portion has a door to enter the tower. The portion above the door has the stone jalis.

Fac u Art lty of s, M SU

MSU Botanical Garden

The clock It is the only clock with has the numbers of the dial in the Devnagari script. Once a marker of time, to the passengers coming to the nearby railway station, the volume of the chimes has now been near muted and the tower and clock are hardly noticed by anyone, because of the tall trees that it hides behind.

The next portion has small stone balconies, protruding out from all four sides of the tower. These cantilevered balconies also display stone jalis in the form of parapets. Just above the balconies are the clocks, on all four sides of the tower. The topmost portion of the tower has a domed Chattri topped with a finial.

Other Clock Towers Much like the Sayaji tower in Sayajigunj, it was the peopleâ&#x20AC;&#x2122;s contribution that led to the construction of the Wadi Clock tower. Today only few details are available regarding this tower, but it is said that it was made during the era of the Baroda state. Maharaja Sayajirao III was inspired by clocks in public places during his travels to London.

The only Devnagri clock of the city

There are clocks even at Nyay Mandir and Mandvi Gate. Two clocks were planned for Nyay Mandir, but only one ended up being constructed as the rear side did not have many residents. There is space for a clock on the rear even today.

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 123

Place title

Introductory text

Vishwamitri Ghat Vishwamitri Ghat spread design

Alkapuri

The current bridge over the Vishwamitri river which connects Sayajigunj to the area beyond Kirti Mandir has roots that run even deeper than Barodaâ&#x20AC;&#x2122;s Mughal era. The bridge over it has been built over in concrete to accommodate the changing needs of modern times.

Sayajibaug

MSU

Sarod

Nagarwada

rid

how to reach map

Salatwada

Anand Nagar 100m

Built in : 1853 Built by: Jummadada Architectural style: Unknown The first bridge on this site was built by Muzafar II in the 16th century, which was then improved upon by the Mughals sometime between the 16th and 18th century. After the conquest of Baroda by the Gaekwads in the 18th century, it was re-cast by them in the early 1800s. This bridge has lived through many eras.

Illustration of the place

Ghats in 1890s

The bridge was made of stone and rested on two tiers of massive arches which ran under it. During those times, one of the sides of the bridge had expansive ghats on both banks of the river. These were used by the people for bathing and washing their clothes. Although some portion of these ghats still stands, most have perished over the years.

Illustration of the place

Kaniyalal Munshi Marg, near ONGC, Danteshwar Best time: 8am-10am, 5pm- 7pm Allowed

Fish & crocodile

If you happen to go to the ghats today, you will notice two pieces of stone carved in the form of a fish and a crocodile. These were commissioned by Malharrao Gaekwad and were placed on specific levels on the steps which were essentially flood indicators for specific areas in the city. When water reaches one of these indicators, a flood situation would be predicted in different areas of the city.

Visitor's checklist

Subsection header Section content

Place highlights

Ghats in the present day

Crocodile statue hidden in the bushes

124 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Fish statue hidden in the bushes

Caption for the image

Sayaji Clock Tower

Sayaji Clock Tower spread design

Hirak Baug

Aur

obi

ndo

Gho

Han Me sa h Lib ta rary

sh R

oad

Statio

n Roa

Fac u Art lty of s, M SU

MSU Botanical Garden

50m

Architecture

The clock

It is the only clock with has the numbers of the dial in the Devnagari script. Once a marker of time, to the passengers coming to the nearby railway station, the volume of the chimes has now been near muted and the tower and clock are hardly noticed by anyone, because of the tall trees that it hides behind.

The only Devnagri clock of the city

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 125

Baroda Central Library Baroda Central Library spread design

MG Road

126 Padmaja Amin

M.Des.

Visual Communication

Mandvi Gate

Graduation Project 2019

Pani Gate Road

100m

The Structure Built in 1931 using Belgian glass and European Steel, it has a magnificent glass sheet floor At the centre lies the stack, which is designed like a warehouse aligned in a north-south direction to get maximum sunlight. It is a three-storeyed structure, separate from the main building to reduce collateral damage in case of any mishap.

1 ft

The building was installed with fire alarms and thick steel doors that would close automatically in case of a fire keeping the stack area safe.

Book collection

3 storeyes Belgia

Ajab Talav Raje Talav

The miniature book collection

oor n glass fl

Varasiya

Sur Sagar

2 ft

Built with an immense capital of over Rs. 4 lakh along with an additional investment of Rs. 2 lakhs for books, furnishings and such. When completed, it was one of the few buildings to sport a state of the art fire protection system with a book friendly design. This library was one of India’s first public libraries.

Bank road, Beside Bank of Baroda, Mandvi 8:30 am - 6:45 pm (Monday Holiday) (Sunday - 8:30 - 3pm) Allowed

Bank Road

Jubilee Baug

The library has 352 flexible racks and a staggering amount of over 3 lakh books. There is a special section for miniature books too, with the one present housing 73 mini books in a cabinet. On the other hand, the largest book in the library is approximately 2 feet by 1.5 feetIndian Prince’s Edition of Empress of India Memorial Volumes (1887-1901), subscribed to by the Maharaja Sayajirao Gaekwad III and donated to the library.

Prof. Manikrao Akhada Prof. Manikrao Akhada spread design

Vadodara & Akhadas

Hideout during the freedom fight

Alkapuri

Sayajibaug

Varasiya

Bhayali Mandvi Akota

Lakshmi Villas Palace

Tandalja

500m

1st swimming pool in Baroda

Akhada layout

Shivaji Mandir

Akhada

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 127

Map design Rough map design layout

128 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Map spread design

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 129

Book title Book title is one of the most important decisions to be made. It is the first thing that a user sees or hears before even seeing the cover of the book. The title forms a basic judgement about the book. It is also that one piece of information that leads a user back to the book itself. The title, including the subtitle, should give the reader some sort of idea of what the book is about.

5.17 The travelence guide to Hanoi guide book

Book name options: •

Remenants of a Bygone Era

•

Ancient Whispers: A guide to rediscovering Vadodara

•

Whispers from the past

•

Rediscovering Vadodara

•

Memories: The past that shaped Vadodara

•

Faded Memories of Vadodara

5.16 London guide book

5.18 Berlin

Selected book name: Remnants of a Byone Era: A guide to rediscovering Vadodara

5.19 Travel to Burano guide book

130 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

5.20 India guide book

5.24 Typography example 5.21 New York guide book

5.22 Charleston guide book

5.23 London sketchbook

5.25 Typography example

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 131

Cover design Cover design references As the title of the book is now fixed, the next step would be designing the cover. The cover and the title should be in sync with each other. The book cover should send a clear message about what the book is about. If this doesn't happen, the reader will feel deceived while reading it. Here are a few covers used for references.

5.26 Tokyo guide book cover

132 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

5.27 Bristol guide book cover

5.28 Copenhegan guide book cover

5.29 Amsterdam guide book cover

5.30 India guide book cover

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 133

The idea for this cover was chosen because I didn't want to reveal everything about the book by showing it on the cover. Since I had a limited number of places, showing them all on the cover would give away the curiosity one would have while reading the book. Hence, I chose this abstract way of representation showing an old map along with those places marked with a flag. Once a reader takes the book in hand, he/she would be bound to open it to check what lies inside it.

Book Title

Pins marking the places

Byline

134 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 135

Final Design

136 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

The book

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 137

138 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 139

140 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 141

142 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 143

Promotional Design

144 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Postcards Bookmarks

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 145

Postcards

146 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 147

148 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Bookmarks

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 149

Conclusion The idea of working on a project like this was on my mind for a long time and I am glad I could grab this opportunity and work on it. I was always interested in working on publications and making a book about the city I was born and brought up in was a cherry on the cake. Making this book was not an easy task. It was nothing compared to any project I had done till now. Since the beginning of the project, I was convinced that I have to pull up my socks from day one till the day the project is completed. I was so excited when the book finally got printed and I held it in my hands. The main thing this project taught me was to believe in myself and take a leap of faith. There were many challenges while doing the project. Researching for the places, analyzing them and putting it all together was not less than a mammoth task. This project broke all the boundaries I had set for myself. The field study was also another challenge during the project. One more thing which I improved myself on was time management. There were a lot of tasks being done simultaneously such as field visits, working on the project, college reviews and much more. This project taught me how to manage it all efficiently. It also helped me to plan my tasks from the beginning and that helped me a lot in my project.

150 Padmaja Amin

M.Des.

Visual Communication

Another thing I learned the hard way was to choose quality over quantity. Initially, I had begun with 20 places to be included in my book. But as the time passed by, I realised that it was a tradeoff. I also wanted to create illustrations for each place which also took much time. Hence, in the end, I decided to reduce the number of places and focus on the quality of the book that I was making. It truly a heartbreak for me, but then it had to be done. But in the future, I would like to continue on this book further and add more places and even make a platform for this book to be in the hands of the people. All-in-all this was a big project which was carried out. It was a great experience to work on this project, interact with everyone and spread my cause. This project contributed to my growth both personally and professionally. It also taught me courage. To take up decisions and work for the greater good. I am excited for what lies ahead of me. I want to explore more projects like these which give a meaning and play a cultural role in someway.

Graduation Project 2019

Sources Images Image 2.1: https://ourvadodaragujarati.com/railway-station-platform-no-1st-track-repairs-on-sunday/ Image 2.2: http://gt.intentlabs.com/destination/details/5/150 Image 2.3: https://www.nativeplanet.com/travel-guide/ahmedabad-to-suryamal-to-the-richness-of-valleys-and-forests-004592.html Image 3.1- 3.4: Instagram: @centre_for_urban_studies_msu Image 3.7- 3.8: Instagram: @intachvadodara Image 3.44: https://barodagoogle.com/listing/nazarbaug-palace/ Image 3.45: https://historyofvadodara.in/nazarbaug-palace/ Image 3.46: http://rekharodwittiya.blogspot.com/2014/05/demolished-heritage.html Image 3.112: http://www.discoverindiabyroad.com/p/baroda-heritage-collection.html, image courtesy: British Library Image 4.1: https://www.dk.com/uk/book/9781465460523-dk-eyewitness-india/ Image 4.2: https://www.dk.com/uk/book/9780241405970-dk-eyewitness-top-10-mumbai/ Image 4.3: https://shop.lonelyplanet.com/products/india-18?via=Z2lkOi8vbG9uZWx5LXBsYW5ldC9Xb3JrYXJlYTo6Q2F0YWxvZzo6Q2F0ZWdvcnkvNTllZTQ5Y Image 4.4: https://shop.lonelyplanet.com/products/goa-and-mumbai-8?via=Z2lkOi8vbG9uZWx5LXBsYW5ldC9Xb3JrYXJlYTo6Q2F0YWxvZzo6Q2F0ZWdvcnkvN Image 4.5: https://www.roughguides.com/shop/rough-guide-india/ Image 4.6: https://www.roughguides.com/shop/rough-guide-south-india-kerala/ Image 4.7: https://www.amazon.in/Fodors-Essential-India-Rajasthan-Full-color/dp/164097122X/ref=sr_1_2?keywords=fodor%27s+essential+india&qid=1571 Image 4.8: https://www.amazon.in/Fodors-Essential-India-Full-color-Travel/dp/0891419438/ref=dp_ob_title_bk Image 5.1: https://edition.cnn.com/travel/destinations/mumbai Image 5.2: https://www.wsj.com/articles/luxury-road-trips-where-every-moment-is-strategized-for-you-1531418345 Image 5.3: https://in.pinterest.com/pin/212161832423501702/ Image 5.4: https://in.pinterest.com/pin/326440672961600872/?lp=true Image 5.6: http://k.sina.com.cn/article_5087663407_p12f3f952f02700i0xy.html?from=animation Image 5.16: https://www.pinterest.ie/pin/800092690020817529/ Image 5.17: https://travelcene.com/guides/travelcene-guide-to-hanoi Image 5.18: https://www.mapsystudio.com/journal/010818/map-prints-your-favourite-places-under-%C2%A330 Image 5.20: https://www.pinterest.ch/pin/462815299202370889/ Image 5.21: https://www.pinterest.at/pin/410742428499723383/

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 151

Image 5.24: https://in.pinterest.com/pin/587790188844922595/?lp=true Image 5.25: https://www.pinterest.co.uk/pin/289145238572444644/ Image 5.26: https://austrianillustration.tumblr.com/?route=%2F Image 5.27: http://www.bitesizebritain.co.uk/brochures/bristol-visitor-guide Image 5.28: https://in.pinterest.com/pin/422071796310125174/?lp=true Image 5.29: https://www.amazon.com/vintage-Amsterdam-Beautiful-Decorations-UnStretched/dp/B077XBK76C Image 5.30: https://www.pinterest.co.uk/pin/38632509288993933/?lp=true

Web https://historyofvadodara.in/ https://www.google.com/maps/d/viewer?hl=en&msa=0&ie=UTF8&t=h&ll=22.303391794137177%2C73.1942763652861&spn=0.055589%2C0.123596&z=15&s ource=embed&mid=16SVYRTEp-_7xAmGDEKiuTnScx3U http://www.discoverindiabyroad.com/p/baroda-heritage-collection.html https://www.heritagetrustbaroda.org/peoples-heritage/ http://professormanikaro.blogspot.com/p/blog-page.html https://artsandculture.google.com/exhibit/the-royal-saloon-of-the-gaekwar-of-baroda/gQIC3wOjyb_jLw http://www.gaekwadsofbaroda.com/content/baroda-central-library https://www.youtube.com/watch?v=0VHyMigrDlM https://www.youtube.com/watch?v=hnq0y69pJ88 https://travelrage.wordpress.com/category/vadodara-2/ https://www.ourvadodara.com/ourvadodara-magazine/ http://vadodarabyfoot.com/

152 Padmaja Amin

M.Des.

Visual Communication

Graduation Project 2019

Colophon The document has been designed and written by Padmaja Amin. It has been printed in Chhaap Digital, Ahmedabad. This document has been written using the following typefaces: Lato Lato is a sans serif typeface family started in the summer of 2010 by Warsaw-based designer Łukasz Dziedzic (“Lato” means “Summer” in Polish). In December 2010 the Lato family was published under the Open Font License by his foundry tyPoland, with support from Google. Raleway Raleway is an elegant sans-serif typeface family intended for headings and other large size usage. Initially designed by Matt McInerney as a single thin weight, it was expanded into a 9 weight family by Pablo Impallari and Rodrigo Fuenzalida in 2012 and iKerned by Igino Marini. The above document has been developed in the following softwares:

Remnants of a Bygone Era: A Guide to Rediscovering Vadodara 153

154 Padmaja Amin

M.Des.

Visual CommunicationPadmaja Amin Project M.Des. Graduation 2019Visual Communication

Graduation Project 2019