Design dissertation

Gaius Gracchus, tribune of the people, presiding over the Plebeian Council

DESIGN THESIS:

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR Indubhai Parekh School of Architecture, Rajkot

Anand Lakhani- 1604

Glory to the great people of Chhattisgarh.

I have moved and moved many times, In the dense forests of Chhattisgarh, The heartland of the nation.

It was indeed a beautiful and memorable mission.

Joy entered into me to be part of fragrant flowers and the music of Chitrakote falls, Beauty penetrated into me and cheered with happiness.

Again, my heart blossoms to see you friends, On this great foundation day.

Let me salute the martyrdom of Veer Narain Singh on this day, In this great land, unfolded the revolution - Bhoomkal, Born was the peace mission and unity of minds of Guru Ghasidas, Khoobchand dreamt a prosperous land.

In the valley of Mahanadi, I see a developed India, happy India emerging.

Sweat of the hardworking people, Radiating in the lotus heart of this land.

‘Glory to the great people of Chhattisgarh.’

– Dr. APJ ABDUL KALAM : Former President of India

UNDERGRADUATE DESIGN THESIS V. V. P. SANCHALIT

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT, GUJARAT, INDIA.

APPROVAL CERTIFICATE The following study is hereby approved as a credible work on the approved subject carried out and presented in a manner sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree for which it has been submitted.

It is understood that by this approval, the undersigned does not necessarily endorse or approve any statement made, opinion expressed or conclusion drawn herein, and approves the study only for the above purpose; and satisfies him to the requirement laid down by the thesis committee.

Thesis Title: STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR. Student: Anand Lakhani

Guide: Bakul Jani

Signature:

Signature:

Date:

Date:

ACKNOWLEDGMENT My solemn thanks‌to EVERYONE., who have directly or indirectly facilitated ethical support to me, during every micro as well macro level of this subject.

My sincere thanks to The Thesis Guide Bakul Jani for his co-operative- worthful discussions and his visionary ideas.

I am thankful to the Chief Secretary Shri D.M. Patel for the discussion about nature of public and political domain, and how it works with assembly system.

I am thankful to the Manager of CM House Shri Bimal Shukla for his help to visit the state legislative assembly building, Gandhinagar.

My special thanks to Dhaval Parsana and Rupesh Patel for their help, potential discussions and support.

I am thankful to Raipur municipal corporation and NRDA for giving data and information about naya raipur.

I thank Vinay Jain for giving basic data of the site of capital complex and programme.

My special thanks to Zubin Choksi for his help and his skillful hand.

I am thankful to Hitesh Changela for his support for this thesis.

I am thankful to thesis committee- Kishor Trivedi, Devang Parekh, Kirit Kamdar, Naishdh Jani and Riddhi Shah.

My most sincere and special thanks to my PARENTS , My brother for giving me support in every ways and every time.

CONTENTS INTRODUCTION. ...............................................................................................................1 AIM. ..................................................................................................................................2 OBJECTIVES. ......................................................................................................................2 METHODOLOGY. ...............................................................................................................2 SCOPE. ...............................................................................................................................2 LIMITATIONS. ....................................................................................................................2 POLITICAL SYSTEM AND BUILT FORM Ÿ CIVIL ADMINISTRATION IN EARLY AGES. ................................................................................4 Ÿ GREEK ARCHITECTURE AND DEMOCRATIC SYSTEM. ................................................................4 Ÿ ROMAN FORUM. ..............................................................................................................7 Ÿ HISTORICAL OVERVIEW OF POLITICAL SYSTEMS IN INDIA[3300 BC- 1950]. ..................................8 Ÿ FATEHPUR SIKRI, AGRA, UTTAR PRADESH, INDIA. ...................................................................9 INTRODUCTION OF STATE CHHATTISGARH AND CITY RAIPUR AND NAYA RAIPUR Ÿ EMERGENCE OF THE STATE CHHATTISGARH. .........................................................................11 Ÿ HISTORY OF CHHATTISGARH. ..............................................................................................12 Ÿ CULTURE OF CHHATTISGARH. .............................................................................................13 Ÿ ECONOMY OF CHHATTISGARH. ...........................................................................................18 Ÿ INTRODUCTION OF RAIPUR. ...............................................................................................19 Ÿ HISTORY OF RAIPUR. .........................................................................................................19 Ÿ INTRODUCTION OF NAYA RAIPUR. .......................................................................................20 SITE ANALYSIS AND PROGRAMME FORMULATION Ÿ SITE ANALYSIS. .................................................................................................................25 Ÿ LEGISLATIVE ASSEMBLY STRUCTURE AND ITS FUNCTIONING. ...................................................27 Ÿ PROGRAMME. .................................................................................................................29 Ÿ CHART OF THE SYSTEM OF THE LEGISLATIVE ASSEMBLY. .........................................................31 CONCEPT AND CONCEPTUALS Ÿ CONCEPT NOTE. ...............................................................................................................33 Ÿ CONCEPTUALS. ................................................................................................................34 Ÿ CONCEPTUAL MODELING. ..................................................................................................43 IDEAS AND REFERENTIAL STUDY Ÿ DEIR EL-BAHARI, EGYPT. .....................................................................................................45 Ÿ LUXOR TEMPLE, EGYPT. ......................................................................................................46 Ÿ THE PRECINCT OF ATHENA, TURKEY. ....................................................................................47 Ÿ THE SRI RANGANATHASWAMY TEMPLE, SRIRANGAM, TIRUCHIRAPALLI, TAMIL NADU, INDIA. ........48 Ÿ SANCHI STUPA, MADHYA PRADESH, INDIA. ...........................................................................49 Ÿ BOROBUDUR, MAGELANG, CENTRAL JAVA, INDONESIA. .........................................................50 Ÿ MAUSOLEUM, GONBAD-E QABUS, PROVINCE OF GOLESTAN, IRAN. ..........................................52 Ÿ MAUSOLEUM OF AUGUSTUS, ROME, ITALY. ...........................................................................53 Ÿ THE TAJ MAHAL, AGRA, INDIA. ............................................................................................54 Ÿ TIKAL, NORTHERN GUATEMALA. .........................................................................................55 DESIGN DRAWINGS REFERENCES

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

Introduction Understanding of Architectural Built Form, relay on numerous aspects such as social, cultural, environmental, materialistic and technological etc. Among this some aspects are measurable while some are immeasurable. Architectural works are often perceived as cultural, political and as works of art historical civilizations are often identified with their surviving architectural achievements.

Immeasurable aspects of an unambiguous culture frequently maintained by social customs and rituals during a specific period in history, the ways and means of behavior in a society and the often formal rules for operating in a specific cultural environment. These include social values and traditions, customs and practices, aesthetics and spiritual beliefs, artistic expression, language and other aspects of human activity. The significance of physical artifacts can be interpreted against the backdrop of socio-economic, political ethnic and philosophical values of a specific group of people.

“Architecture stands between ourselves and the world. If we define ourselves and the world as measurable and without spirit, but if we allow ourselves to be open to the meeting of the measurable and the immeasurable, our architecture can become a celebration of that meeting and the abode of the Spirit.” -Louis I Kahn- Between silence and light : Spirit in the Architecture of Louis I Kahn, Lobell John.

Three key pillars for understanding architectural built form are social, political and economic aspects, synthesis of these three, with the prevailing art philosophy gives us a broader picture of architectural style and its significance with time.

Thus, it is very much important to diagnose the built form individually with above mentioned three aspects. To get a wholistic idea about how and why a specific built form is derive during the specific time period.

Understanding developed through this study will guide to derive a built form for ”VidhanSabha” [legislative assembly] of Chhattisgarh state, India.

A legislature is a kind of deliberative assembly with the power to pass, amend, and repeal laws. The law created by a legislature is called legislation, in addition to enacting laws, legislatures usually have exclusive authority to raise or lower taxes and adopt the budget. The legislature is considered an independent and coequal branch of government along with both the judiciary and the executive.

‘Chhattisgarh’ is a state in central India. A young state but an ancient land, referred to in ancient texts as “Dakshin Kosala”. This densely-forested tribal-dominated state came into being in november 2000, as India’s 26th state, carved out of India’s largest state of Madhya Pradesh.

Rich in mineral resources, and 44% of land is under forest cover. One-third of the state population is tribal, and their traditional art facts made of bell metal castings (dokra). Tribal medicine pre-dates ‘ayurveda’, India’s ancient healing science, and combined with the 90+ species of medicinal plants in forests, could well be the next big thing in natural cures. As one of India’s richest bio-diversity habitats, Chhattisgarh are also committed to becoming a hub for bio-diesel.

The challenge in such context is to develop a design which balance Democratic Expression and Monumental identity to the Power Structure.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

AIM : EVOLVE HOLISTIC UNDERSTANDING IN PURSUE OF SACRED ADMINISTRATIVE BUILT FORM.

OBJECTIVES : Understand how political system affect the Built Form.

To understand legislative assembly structure with reference to its functioning and internal relation. Ÿ Diagnose and express the cultural heritage of Chhattisgarh. Ÿ To understand how public domain can be incorporated to enhance the democracy. Ÿ Study the similar cases in accordance to understand architectural style and significance of “DEMOCRATIC SACRED INSTITUTION.” Ÿ Ÿ

METHODOLOGY : It concentrates on the background studies in the making of assembly in the past as well as today. Understand Greek agoras, roman forum spaces and metamorphosis of assembly building. “democratic architecture”-attitude towards designing of assembles in earlier times and in today’s complex political time. initial part of the study started with geographical and cultural study of various administrative institute as primary case study of- Agora, Greece - forum, Rome -fatehpur sikri, agra, uttar pradesh, India. primary study of site surroundings to understand the context and contextual cognitive while dealing with design. secondary study of various Institutions, Monuments, Landscapes and Cities, based upon conceptual design.

SCOPE : This thesis makes an attempt to understand the region, Chhattisgarh- the culture, people, and spaces; focuses on understanding the political system hierarchy, basic administrative system rules and administrative building structures physically through the system.

There are also scope to develop this particular zone as a public domain which is ruled by the system of governance.

LIMITATIONS : The study does not make an attempt to understand the detailed study of history of Chhattisgarh or Raipur.

The study here is limited to understand the administrative system rules of governance, the background of historical administrative buildings and governing structures.

The study here is limited to the understand the administrative building through the basic level only; the parts of interior system and other complexities belonging the internal administrative matters is not attempted to study as a part of thesis which is not in the scope of this thesis.

The study done hereby is concerned only to the author of the thesis for the academic purpose.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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History:

POLITICAL SYSTEM AND BUILT FORM State Legislative Assembly of Chhattisgarh, Raipur

Anand Lakhani- 1604 3

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

NOMADS 1 or 2 Families

Older Men or Women as a Leader

Ÿ Old Stone Age Ÿ Middle Stone Age

EVOLUTION OF GOVERNMENT SYSTEMS

BIG MAN Ÿ Man or Woman Ÿ Stronger or Bigger than everyone else Ÿ Smartest person around

10 to 15 Families

Middle Stone Age

Around the Mediterranean Western Asia

Decisions Ÿ where to build village Ÿ where to plant crops Ÿ trading agreements with other villages Ÿ small war

CHIEFDOMS Ÿ Ÿ Ÿ Ÿ

Man or Woman Stronger or Bigger than everyone else Smartest person around COMMUNITY DECISION

VILLAGE

China and India, and Greece, there may have been chiefs by about 3000 BC. In the rest of Europe, probably by about 2000 BC.

organizing things and deciding things for the village. He would be the judge if anyone disagreed, and he would organize big things like wars, or building a town wall, or a new irrigation system.

3 levels of government super-chief, a chief, and then the chief's friends who help him out

STATES

GROUP OF CHIEFDOMS

The Greek philosopher Aristotle was the first to divide the kinds of states. Ÿ MONARCHY, which means it is ruled by one man or woman: a king or queen. Ÿ OLIGARCHY, where several men or women get together in a council and decide what to do. Oligarchy means the rule of the few. Ÿ TYRANNIES, which are ruled by one man but one who rules somehow outside of the law, by force or by charm. Ÿ DEMOCRACIES, ruled by the people, who vote on what to do. Ÿ REPUBLICS, where people vote for other people to represent them in a council, like Senators. Ÿ Many states mix more than one of these together

five levels of government: Ÿ Ÿ Ÿ Ÿ Ÿ

king generals governors mayors mayor's assistants.

EMPIRES more complex government system five levels of government:

GROUP OF STATES

ANAND LAKHANI

The usual pattern of empires is that one state, for whatever reason, becomes stronger than its neighbors and conquers them, creating an empire.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

Ÿ Ÿ Ÿ Ÿ Ÿ

king generals governors mayors mayor's assistants.

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

POLITICAL SYSTEM AND BUILT FORM

CIVIL ADMINISTRATION IN EARLY AGES

Cicero addresses the Senate : Roman statesman Cicero [Marcus Tullius] gained prestige as a senator because of his stirring oratory and his strong desire to preserve the Roman Republic. He is shown on the floor of senate denouncing his rival Catiline, who ran against him for the senate consulship in 63BC, but was defeated.

The Cella with the double colonnade of temple Hera.

Democratic architecture provides unique exploration of how democracy, as a specific system of governance has influenced some of the world's most highly, accomplished and resonant works of architecture. Architecture celebrates democracy and nationhood. The architecture of democracy explores that interrelationship. It aims to give the wider public a deeper understanding of democratic traditions, and to demonstrate how national and political aspirations have been reflected in architecture. As powerful a force as nationalism is, the topic attempts to study that heritage means continuity and within each tradition there lies a universality of aspiration guiding architects in their varied quest to encase the democratic forum.

Democratic architecture is more or less an expressive and symbolic representation of the power, as you may find more of these buildings to be expressive in its political sense of that place rather than the its culture, people and landscape of its place. Architecture of democracy is hidden tradition in itself, as it does not appear to be more of people's architecture but the architecture of power. Though modern democracy traces its roots to Greece and Rome, yet while comparing the democracy of Greeks and Romans to modern democracy, there is shift in architectural vocabulary of symbolism and monumentality. Although our Government buildings represent power itself, there is another essential meaning which architecture of democracy can represent: That is public realm.

Unfortunately the government buildings are still in process of making but they are no more Agoras and forums in our democracy, the power of people- are to be found in the places where people assemble and have the expression of speech and not only in the symbols of authority and concentrated power. As clearly stated by S. Giedion : “There are monuments, many monuments, but where are the community centers: Neither radio nor television can replace the personal contact, which alone can develop community life.”

The twentieth century saw one of the most dramatic changes is designing Assemblies where the architect draws the references from that country's history, culture, climate and its landscape.

Greek architecture and Democratic system “Democratic government is defined as that in which the governed choose key representatives in periodic free elections. Such a government, being ultimately answerable to the governed, may be more responsible to their needs and wishes. It can be expected to provide better protection for individual rights, more adequate social services, and better control of would be exploiters, a more just system of taxation, and greater freedoms for individuals and groups to express their interests and desires concerning public policy.” – Keynes Edward/ Ricci David, Political power, community and democracy.

Democracy Public realm Political realm Definite barrier

Greek architecture, hexastyle facade of the temple of poseidon.

ANAND LAKHANI

Demokratia, originally word derived from the Greek meaning of “popular government” or “rule by the common people”, one of the oldest democratic system which existed. The concept of democracy is not new for today's world, as it successfully existed long back during the time of the Greek civilization. Democracy and the democratic freedom which we are enjoying today are very much limited under the political realm of contemporary world. Being part of contemporary democratic system, the role of citizens as a defining feature of democratic government is limited to the governors. That is the reason why the popular participation of citizens is limited from popular to popular choices of periodic election of governors who make policy decision. As a result of passive and minimal involvements of the citizens the extent of popular participation, which is essential to political democracy, is limited to choices in election.

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Over here one would like to refer to earlier civilization, which practiced architecture of democracy, the Greek civilization. Though the primary importance of monumentality was give to Greek temples but during 5 century BC. the civic spaces started getting their importance and where very modest in their architectural vocabulary. The Greek adult citizens played an active role of maximum involvement in Greek democratic philosophy as an essential part in making policy decisions. The Greek architecture found the inspiration and interpretation of its architecture in the political and historical background, which it reflected.

The development of the Greek city-state, or polis was a keystone in the evolution of its democracy as they applied social, economical and political framework that were most suited to human development of the citizens. They believed the premise of democracy is that no citizen is more privileged that any other unless given power for a limited time to do a certain job. In addition to displaying their power Greek architecture represented a completely new aspect becoming a means of influence, sign of civilization, and an instrument of diplomacy and conquest. Social and political framework expansions lead the city-states the creation of an architectural setting designed to suit the life of the community. It became the symbol of the states independence and autonomy.

The agora and the Assembly spaces The Greek cities during their course of development required more monumental background suited to their various political and public activities. These requirements were fulfilled as the Agora provided the nucleus of the city-state or polis. The Greek city design was based on an orthogonal plan were agora occupied the prime and centre place. Being the public forum of all the citizens on all days the Agora served the Greek cities with the social, commercial and political activities.

Basically agora's concept can be understood a “market place”, a “Public Square” or a “place where people gather”, where it was a mean for social and commercial activity, the scene of public speeches, people's assemblies, shows. It played a twofold part in Greek architecture; on one side it was the center of social, artistic, educational and commercial activity (the political realm) while it acted as a center of politics (the political realm) on the other side.

Agora at Athens, late 5th century BC

The agora usually has a set of public and political buildings as: Ÿ The Bouleuterion- council chamber of assembly hall for the council members. Ÿ The Prytaneion- town hall and executive palace centre of civic life. Ÿ The Stoas- colonnades used for philosophical debate, picture galleries and as stores. Ÿ The Heliaea- law courts.

Model of Agora, Athens, Greece

Assembly hall in process: Initially assembly in open space, where the speaker attained by the crowd- formation of an enclosure, structural system with columns obstructing view- four column being introduced with wooden trusses for less view obstruction, this system followed semicircular sitting arrangement that accommodates more people - new structural system with semicircular sitting arrangement where the corners being used as public galleries.

ANAND LAKHANI

These buildings were grouped together in a C-shaped form forming plaza or a sloping terrace.

They were also arranged on a sloping terrace where they can have the advantage of open-air assemblies. The agora with other city-centres like the acropolis or the citadel on a hilltop provided a very modest form of architecture. It can hold a crowd capacity between 5000 to 10000 citizens at a time depending on the size of the Agora and the Plaza.

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

POLITICAL SYSTEM AND BUILT FORM

The Council hall or Assembly hall

Reconstructed view of Miletus [170 BC] Assembly hall [Bouleuterion]

Ecclesiasterion (Assembly Hall), Priene (c. 200 BC): restored interior.

Ecclesiasterion (Assembly Hall), Priene (c. 200 BC): Plan.

Plan of Assembly at Miletus, as per the growing demand of spaces, more functions are attached to the Assembly.

The early assembly meetings during the 9th century BC. were extremely modest as this use to take place under the protection of an altar on a paved open air space opposite the palaces. After that they formed the Agoras as the nucleus of the city where both the assemblies use to take place (the indoor and outdoor). The elected representative council, or Boule, held its meetings in the Assembly building to discuss the problems of the citizens.

As per the needs of the expanding Greek cities the Assembly hall changes its size in order to add more councillors. One of the example is of the Assembly hall at Athens 400 BC, where the old Assembly hall. Rectangular in its plan with pillars in the hall divided the space and decreased the capacity of the councillors. The speakers stood in front while the councillors spread out on tiered benches parallel to the other three walls. The important part of the design was to solve the problem of the interior posts that needed to carry the roof obstructing to the viewers. While the new Assembly hall at the end of the fifth century raised with a rectangular plan having a semicircular setting arrangement provided more space for the councillors. Its seating arrangement was arranged according to rising ground, which could be cut and shaped to create the benches.

At priene is one of the well-preserved examples of the bouleuterion (Assembly hall).

Behind the north stoa of the agora is the Council hall building, a square shaped plan. The chief occupied the central position faced by a C-shaped arrangement of seats. The Assembly hall at miletus was the domination of King Antiochus IV built to the north of the Great stoa around 170 B. C. It had a seating arrangement in a semicircular plan within a rectangular building as the new Assembly hall at Athens. It had four large columns places at either end of the auditorium, and compressed space for the speaker. Leftover corner spaces formed between the walls and the curved of the seating were used as the Public galleries (the idea of active public participation).

The Greeks, like some subsequent democracies, where they could choose among several building types depending on the character and size of the meeting: Ÿ Ÿ Ÿ Ÿ

Agora or Stoa – public and commercial space.

Pnyx or Theatre – as out door assembly.

Bouleuterion or Praytaneion – indoor assembly.

Eklesiasterion – large indoor Assembly, where the Assembly at miletus is one of the examples.

The Greek architecture of the Assembly hall clearly was suppressed and very modest in comparison to The Agora; the only reason would be that they wanted to increase the importance of their agora and stoas, which were the public and commercial spaces.

Epidauros, view of the theater with its circular orchestra ANAND LAKHANI

Plan of Epidaururs [modern Epidauros, Greece.] cavea width: 119m, orchestra width: 24.65m; capacity: 11,750-14,700; ca. 300-340 BC INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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POLITICAL SYSTEM AND BUILT FORM

The Roman Forum

The Imperial Forum, Rome: As the administration grew more compact monumental forums were designed by different emperors- this forum gives us the idea of various structural systems used with different forms- different scaled spaces.

View of theater at Leptis Magna

2 View of Forum of Augustus [restored]

Restored view of the old Forum, Leptis Magna ANAND LAKHANI

Plan- The old Forum, Leptis Magna

Unlike the Greek political system, the Roman political system was a complex structure that blended monarchical, democratic, and aristocratic element, absorbed from the Greek ideas to form the Roman Republic. The Roman people embraced the nominal democracy system where the constitution described elements of monarchy and aristocracy. More people, more complex system, Roman Empire was larger than Greek Agoras it required people's representative to run the complex system.

Absorbing the Greek idea of agora the Romans started to develop their public square called as Forum, each new emperor who came developed a new and bigger and grander Forum than the earlier one. The Roman people developed a new construction system of arches and dome. With the help of the arch they designed structures of bigger spans able to can carry heavy loads, with the dome the produced magnificent unobstructed space without the columns. With the new structural system they had the opportunity to explore more forms and volumes, which became the forms of aspiration not only for them but also for today's world. They brought with them the aspect of monumentality. The concept of Monumentality was limited to temples during the Greek architecture, while the Roman architecture extended its concept to the next level to Forums, theatre, Colosseum, palaces, bathhouse and markets.

The forum was the market place and a meeting place at the center of Roman town. It was the center of civic life for both the Republic and the Empire. The forum being a public square surrounded by monumental buildings that included: - Curia – the senate - Basilica- building for public administration - Temple The Romans developed a larger, rectangular layout of the forum rather than conventional square Greek space, to accommodate gladiatorial combat. The forum was also accomplished with the market also. The forum also had a voting place called as comitium in an enclosed space.

Through time the basilica building emphasized the monumental character of the forum.

During the Greek civilization the scale was smaller where people had maximum participation and more assemblies, a kind of people's rule while during the Roman Empire the scale has increased. More senators were required to run the administration of the state, where the people's participation decreased. Greek system was totally a people's democracy, where the citizen voted directly on matters of state, while the Romans established the republican system where elected officials ruled in the name of the people.

Now a days the people are only in contact with the modern democracy when they cast their votes. A long way from Greek and Roman period yet not a major shift in architecture of democracy, mostly all government buildings over the world look almost like bearing the same facade of Greek and Romans. As like the American capitols which are dressed in Doric or Corinthian orders as a franchise of roman colonies rather than representing that they are descendants of American tribes and cities.

One could see the same impact on Indian Territory being under the same influence where most of its modern buildings are a reflection of colonial architecture such as the Rashtrapati Bhavan and legislative assembly at the capital of India.

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Historical Overview of Political Systems in India [3300 BC- 1950AD] The Golden Age

The Classical Age Harsha’s Empire

Satavahana dynasty

RULE IN INDIA The Stone Age Indus Valley Civilization 3300–1300 BC

The Bronze Age Vedic Civilization Ÿ kingdom of the Kurus Ÿ Chalcolithic Culture and

Ÿ Ÿ Ÿ Ÿ

Megalithic Culture [Black and Red ware culture] Vedic Hinduism early iron age Republic 1200- 900 BC

Mahajanapadas (Great kingdoms) Ÿ Vedic Hinduism and Buddhism Ÿ Iron age Ÿ 500 BC Sixteen monarchies and republics Ÿ Kasi Ÿ Kuru Ÿ Kosala Ÿ Panchala Ÿ Anga Ÿ Machcha Ÿ Magadha (or Matsya) Ÿ Vajji (or Vriji) Ÿ Surasena Ÿ Malla Ÿ Assaka Ÿ Chedi Ÿ Avanti Ÿ Vatsa (or Vamsa) Ÿ Gandhara Ÿ Kamboja

Ÿ Ÿ Ÿ Ÿ

Hinduism, Buddhism Antiquity Monarchy 230 BC - 220 AD

Kushan Empire Ÿ Hinduism, Buddhism,

Zoroastrianism, Greco-Buddhism, Ancient Greek religion. Ÿ Classical Antiquity Ÿ Monarchy Ÿ 185 BC - 375 AD

Gupta Empire Ÿ Hinduism, Buddhism Ÿ Antiquity Ÿ Monarchy Ÿ 320 – 600 AD

Ÿ Ÿ Ÿ Ÿ

Hinduism, Buddhism Classical India Monarchy 606 – 647 AD

Gurjara-Pratihara Ÿ Ÿ Ÿ Ÿ

Pallava dynasty

Hinduism, Jainism Medieval India Monarchy 600 AD – 1036 AD

Ÿ Ÿ Ÿ Ÿ

Chalukya dynasty

Hinduism, Buddhism, Jainism Classical Antiquity Monarchy 275 – 350 AD

Pala Empire Ÿ Ÿ Ÿ Ÿ

712 - 1948 AD

Delhi Sultanate Ÿ Sunni Islam, Hanafi, Fiqh,

Hinduism Early modern Monarchy 1674 – 1820 AD

Hinduism, Buddhism Ÿ Late Medieval Ÿ Monarchy Ÿ 1206 – 1527 AD

Mughal Empire Ÿ Islam, Hinduism,

Buddhism Ÿ Early modern Ÿ Absolute monarchy, unitary state with federal structure Ÿ 1526 – 1764 AD

Ÿ Ÿ Ÿ Ÿ

Maratha Empire Ÿ Ÿ Ÿ Ÿ

Hinduism, Buddhism Classical India Monarchy 543 – 753 AD

Rashtrakuta Dynasty

Buddhism, Hinduism Medieval India Monarchy 750 – 1174 AD

Islamic Empires in India

Ÿ Ÿ Ÿ Ÿ

Ÿ Ÿ Ÿ Ÿ

Hinduism, Jainism Iron Age Monarchy 300 BC –1345 AD

Rajput

Hinduism, Buddhism, Jainism Medieval India Monarchy 753 – 982 AD

Ÿ Ÿ Ÿ Ÿ

Sikh Empire

Ÿ Hinduism, Buddhism,

Ÿ Ÿ Ÿ Ÿ

Jainism, Islam Ÿ Late Medieval Ÿ Monarchy until 1799, Principality thereafter. Ÿ 1399 – 1947 AD

Chola dynasty Ÿ Ÿ Ÿ Ÿ

Hinduism Medieval India Monarchy 300 BC – 1279 AD

Vijayanagara Empire

Hinduism, Sikhism, Islam Medieval India Feudal 734 - 1615 AD

Kingdom of Mysore

Ÿ Ÿ Ÿ Ÿ

Hinduism Medieval India Monarchy 1336 – 1646 AD

Hinduism, Sikhism, Islam Early modern Federal monarchy 1799 – 1849 AD

British Raj

Company rule in India Ÿ Ÿ Ÿ Ÿ

Pandyan Dynasty

Indian and Christianity Colonial period Colony 1757 – 1858 AD

Ÿ Ÿ Ÿ Ÿ

Indian and Christianity Colonial period Constitutional Monarchy 1858 – 1947 AD

India Hinduism, Buddhism, Jainism, Sikhism, Islam, Christianity Federal parliamentary constitutional republic 1950 AD -Today

DURRANI EMPIRE

SAFAVID EMPIRE

Maurya Dynasty Ÿ Hinduism, Buddhism,

Jainism, Ajivika Ÿ Antiquity Ÿ Absolute Monarchy Ÿ 322-185 BC

MARATHA EMPIRE

BRITISH EAST INDIA COMPANY

PORTUGUESE

Sunga Empire

NIZAM

Ÿ Hinduism, Buddhism

MYSORE

Ÿ Antiquity Ÿ Monarchy Ÿ 185-75 BC PALA EMPIRE

ANAND LAKHANI

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Plan of Fatehpur Sikri- Imperial complex

Fatehpur Sikri: Study of interrelationship between Public, Private and Administrative Domain.

N

Private area a. Stables for cameIs and horses b. Raja Birbai’s house (1569-70) c. Jodha Bai’s palace (1569-70) d. Maryam’s garden e. Maryam’s house f. Hospital and garden g. Panch Mahal (1570) h. Emperor’s study I. Diwan i Khas

Administrative area

Public area

j. Pachisi court (1570) k. Garden l. Emperor’s private apt.s. m. Emperor’s sleeping qrs. n. House of the Turkish Sultana o. Administration and archives p. Diwan-e-Am (Pavilion) q. Diwan-e-Am (Court of Public Audience) r. Entrances for public s. Entrance reserved for imperial family

section

Private area

'Fatehpur Sikri' is a city and a municipal board in Agra district in the state of Uttar Pradesh, India.

The location of Fatehpur Sikri corresponds to the demands of nature. The city is built on a flat terrain of a rocky sandstone ridge rising some 30 m to 45 m above the surrounding plain, 3 km. in length and 1 km. wide, and palace city is surrounded by a 11 km wall on three side with the fourth being a lake at the time. Its architect was Tuhir Das and was constructed using Indian principles. The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen from various regions were used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'.

Designed as a city within a city, the core of the city are the two main rectangular courts called the Imperial complex or the ‘Mahal-i-Khas’ (the gathering place of the court), and the ‘Diwan-i-Am’ (the gathering place of the people). The first court, one of the city’s first structures to be completed, measures approximately 175 m x 90 m. Somewhat larger than the Piazza San Marco in Venice, it served as the residence of the emperor besides his administrative center, where he sought the Council of Ministers.

‘Mahal-i-Khas’ consists of a number of important structures to serve a variety of purposes. A small pool, almost 30 m square, is located in the smaller southern division in front of the private palace quarters of the emperor himself. A raised square platform in the center of the pool is approached by four narrow gangways. It is from here, in a serene and subtle atmosphere, that the emperor would enjoy listening to the music played by Tansen, the famous singer in the court. “The larger northern division is dominated by a bold, almost cubical structure, solid and yet transparent, and surrounded with turrets which funnel cool air down to the Hall of Private Assembly, and is “probably the most interesting and popular of the buildings remaining on the site”. An original conception with artistic merit, its interior arrangement is unique. An elaborately carved and substantial pillar, almost one meter in diameter, which mushrooms into a gigantic capital, stands in the center to support a circular stone tray linked to galleries around the walls by four radiating gangways. Here Akbar is said to discuss the affairs of the state with his Ministers who sat around the gallery.

Adjacent to the ‘Mahal-i-Khas’ is the second main rectangular court, called the ‘Diwani-Am’. “In use by 1573, this great rectangular court was one of the city’s first structures to be completed. It served a variety of purposes: it was where Akbar held his daily public ‘audiences and where numerous court activities took place. including the celeberation of major festivals”.

Besides Diwan-i-Am was also used as a public prayer space. Projecting from the west wall of this court is a simple red sandstone pavilion of five bays, from which the emperor would listen to public grievences.

Administrative area Isometric view of Fatehpur Sikri- Imperial complex ANAND LAKHANI

Public area

Plan of DIWAN - I - KHAS INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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Introduction:

STATE- CHHATTISGARH CITY- RAIPUR AND NAYA RAIPUR State Legislative Assembly of Chhattisgarh, Raipur

Anand Lakhani- 1604 10

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF STATE CHHATTISGARH

CHHATTISGARH is a state in Central India, formed when the 16 Chhattisgarhi-speaking South-Eastern districts of Madhya Pradesh gained separate statehood on 1 November 2000.

Raipur is the biggest city and the capital of the state. Chhattisgarh is the 10th-largest state in India with an area of 52,199 sq mi (135,194 km²). By population it ranks as the seventeenth largest state of the nation.

There is a wide array of opinions on the origin of the word Chhattisgarh. The name Chhattisgarh is not an a ver y old one and has come into popular usage in the last few centuries. In ancient times the region was called Dakshin Kosala. The name Chhattisgarh was popularized during the Maratha period and was first used in an official document in 1795.

Jharkhand

Uttar Pradesh

Surguja

Bilaspur

Madhya Pradesh

Raipur

Maharashtra

Orissa

Bastar Dantewada

Andhra Pradesh ANAND LAKHANI

N State of Chhattisgarh, INDIA (not to scale)

The British Chronicler, J.B. Beglar provides a different explanation of the origins of the name Chhattisgarh. According to Beglar, "the real name is Chhattisghar(Chhattis=Thirty six, Ghar=houses) and not Chhattisgarh. According to him,"There is a traditional saying that ages ago, about the time of Jarasandha(Age of Mahabharata), thirty six dalit families (leather workers) emigrated southwards from Jarasandha's kingdom and established themselves in this region, which is called after them Chhattisgarh".

In a popular and widely-believed opinion, Chhattisgarh takes its name from the 36 pillars of Chhatishgarhin Devi temple. The state has 36 districts, which are : 1- Ratanpur, 19- Raipur, 2- Vijaypur, 20- Patan, 3- Kharound, 21- Simaga, 4- Maro, 22- Singarpur, 5- Kautgarh, 23- Lavan, 6- Nawagarh, 24- Omera, 7- Sondhi, 25- Durg, 8- Aukhar, 26- Saradha, 9- Padarbhatta, 27- Sirasa, 10- Semriya, 28- Menhadi, 11- Champa, 29- Khallari, 12- Lafa, 30- Sirpur, 13- Chhuri, 31- Figeswar, 14- Kenda, 32- Rajim, 15- Matin, 33- Singhangarh, 16- Aparora, 34- Suvarmar, 17- Pendra, 35- Tenganagarh 18- Kurkuti-kandri, 36- Akaltara.

However, experts do not agree with this explanation, as thirty-six forts cannot be archaeologically identified in the region.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

Emergence of The State Chhattisgarh LONG TERM ECONOMIC, POLITICAL, SOCIAL NEGLIGENCE AND EXPLOITATION ARE THE CAUSES FOR THE SEPARATION OF A S TAT E . T H E S E C A U S E S C R E AT E D R E G I O N A L DISSATISFACTION. IF THESE ARE NOT REMOVED IN TIME DISSATISFACTION AMONG THE PEOPLE STARTS AND CAUSES THE FORMATION OF NEW STATES. FOLLOWING FACTORS HAVE BEEN RESPONSIBLE FOR THE FORMATION OF CHHATTISGARH STATETHERE IS A DIFFERENCE IN LANGUAGE, DIALECTS, STANDARD OF LIVING AND SPECIFIC CULTURE BETWEEN THE PEOPLE OF CHHATTISGARH AND THE PEOPLE OF MADHYA PRADESH. Ÿ BHOPAL, THE CAPITAL OF MADHYA PRADESH IS FAR AWAY FROM CHHATTISGARH. THIS CAUSED UNNECESSARY DELAY IN TAKING DECISION AND IMPLEMENTATION IN POLICY MATTERS. Ÿ THE POPULATION OF CHHATTISGARH IS MORE THAN THAT MALDIVES, KUWAIT, IRAQ, NEPAL AND SRI LANKA. Ÿ THE AREA OF CHHATTISGARH IS MORE THAN THAT OF SOME STATES OF THE COUNTRY. Ÿ THE COLLECTION OF REVENUE AT CHHATTISGARH IS MORE THAN THE ALLOCATION OF MONEY FOR THE DEVELOPMENT OF CHHATTISGARH e.g. THE TOTAL REVENUE EARNED FROM BASTAR DISTRICT IS RS. 120 CRORE ANNUALLY WHILE THE ALLOCATION IS ONLY RS. 5 CRORE FOR THE DEVELOPMENT. Ÿ AT THE TIME OF ORGANIZATION, THE CHHATTISGARH REGION WAS METED OUT STEP MOTHERLY TREATMENT e.g.

HIGH COURT AND ITS BENCH, REVENUE BOARD, TRANSPORT COMMISSIONER AND EXCISE COMMISSIONER, ACCOUNTANT GENERAL OFFICE, LAND RATION, INDUSTRIAL DEVELOPMENT CORPORATION, STATE EXPERT CORPORATION, MINING CORPORATION, FINANCIAL CORPORATION ARE ALL LOCATED IN MADHYA PRADESH REGION IGNORING THE CHHATTISGARH REGION Ÿ INDUSTRIAL DEVELOPMENT HAS BEEN MORE PROGRESSIVE IN MADHYA PRADESH HAS ONLY BEEN A SOURCE OF MINING. Ÿ LOW LITERACY RATE IN CHHATTISGARH HAS BEEN A CAUSE OF EXPLOITATION OF ITS PEOPLE BY THE OUT SIDE PEOPLE. THOUGH THERE IS A BIG RAILWAY BOARD HERE, THE PEOPLE FROM BENGAL ORISSA, TAMIL NADU AND UTTAR PRADESH ARE BEING EMPLOYED HERE. Ÿ

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF STATE CHHATTISGARH

HISTORY OF CHHATTISGARH According to a mythological legend, Ram, during his Vanvas stayed in Dakshin Kosala. Which is modern day Chhattisgarh. The unbroken history of Chhattisgarh or of South Kosala can be traced back to fourth century AD and its mythological history goes back as far back as the Mahabarata and the Ramayana. About the history of the region the famous historian C.W.Wills writes, 'in the 10th century AD a powerful Rajput family ruled at Tripuri near Jabalpur, Issuing from this kingdom of Chedi (also known as Kalchuri dynasty) a scion of the royal house by the name Kalingraja, settled about the year 1000AD, at Tuman, a site at present marked only by a few ruins in the north east of the erstwhile Laphazamidari of The Bilaspur district. His grandson Ratanraja founded Ratanpur Which continued as the capital of a large part of the country now known as Chhattisgarh. This Rajput family called themselves the Haihaya dyanasty. This dynasty continued ruling Chhattisgarh for six centuries about the 14th century it split into parts, the elder branch continued at Ratanpur, while the younger settled in semi-independent state at Raipur. At the end of 16th century it acknowledged the suzerainty of the Mughals, In Bastar, in the middle ages, Chalukya dynasty established its rule. The first Chalukya ruler was Annmdev, who established the dynasty in Bastar in 1320 .

The Marathas attacked Chhattisgarh in 1741 and destroyed the Haihaya power. In 1745 AD after conquering the region, they deposed Raghunathsinghji, the last surviving member of the Ratanpur house. In 1758, the Maraths finally annexed Chhattisgarh, it came directly under Maratha rule and Bimbaji Bhonsle, was appointed the rule. After death of Bimbaji Bhonsle, the Marathas adopted the Suba system. The Maratha rule was a period of unrest and misrule. There was large-scale loot and plunder by the Maratha army. The Maratha officials were openly surrendering the interests of the region to the British. As a result of this, the region became extremely poor and the people began resenting the Maratha rule. Only the Gonds continued to resist and challenge the advances of the Marathas and this led to several conflicts and much animosity between the Gonds and the Marathas (Captain Blunt, 1975). The Pindaris also attacked and plundered the region in the beginning of the Nineteenth Century.

In 1818 Chhattisgarh came under some sort of British control for the first time. In 1854, when the province of Nagpur lapsed to the British government, Chhattisgarh was formed into a deputy commissionership with its headquarters at Raipur. Historian C.W. Wills, writing about Chhattisgarh says, Chhattisgarh presents the remarkable picture of a Hindu government continuing till modern times outside the sphere of direct Mohammedancontrol. The British made certain changes in the administrative and revenue systems of Chhattisgarh, which adversely affected the people of Chhattisgarh. The intrusion of the British was resisted strongly in Bastar by the tribals and the Halba rebellion which lasted nearly five year (1774-1779) was the first documented rebellion against the British and Marathas in Bastar.

The First war of independence in 1857 was spearheaded in Chhattisgarh by Vir Narain Singh who was a benevolent jamindar of Sonakhan. The British arrested him in 1856 for looting a trader's grain stocks and distributing it amongst the poor in a severe famine year. In 1857 with the help of the solders of the British Army at Raipur, Vir Narain Singh escaped form prison. He reached Sonakhan and formed an army of 500 men. Under the leadership of Smith, a powerful British army was dispatched to crush the Sonakhan army. The British succeeded after a prolonged battle and Vir Narain Singh was arrested and later hanged on the 10th December, 1857. He became the first martyr from Chhattisgarh in the War of Independence. Vir Narain Singh's martyrdom has been resurrected in the 1980's and he has become a potent symbol of Chhattisgarhi pride.

PEOPLE OF CHHATTISGARH Deep in the forest, the reverberating sound of drumbeats and rhythmic footsteps float through the air. Songs of Birds resonate in chorus and a gentle breeze carries this symphony of nature across the land ‌.the land of Chhattisgarh and its people.

The mahogany tones of their blitbe bodies appear as if created by the bands of the gods and goddesses they revere from the very soil on which they live. Of the entire population of Chhattisgarh, almost a third are tribals. Prominent among them are the Hill and Bison Horn Marias and Muria Gonds, Dhuruvaas, Bhatras, and halbas, According to professions the main castes are the Ghadwas (Blacksmiths), Mahar or Gandas (weavers), the Chamar (leather worker), Kallar and Sundi (distillers), Rawat (cowberd), each providing an vital service in maintaining the fine balance of the tribal society, Ruled by the Kakatiya’s from the 14th century, the Bastar and the adjoining areas also saw an immigration of Bania merchants from the surrounding states. In addition communities of Telegu speaking people of Andhra Pradesh also made it their borne. All of them live in complete barmony with each other, as also with their environment.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF STATE CHHATTISGARH

CULTURE OF CHHATTISGARH

MUSIC

Chhattisgarh boasts of a rich cultural heritage amidst crusty cuisine, vivacious dances, great religions, melodious music, lively people, amiable languages, sparkling fairs & festivals, and marvelous arts & crafts. Its unique approach towards dance, cuisine, and music, make it different from others. Perhaps all this and the relevant profile have made Chhattisgarh - the preferred choice of anthropologists and sociologists. The eastern parts of Chhattisgarh are influenced by the Oriya culture.

Chhattisgarh has rich traditional folk songs among which sohar, bihav & Pathoni songs are famous. Sohar songs are related to child birth.

Bihav songs are related to marriage celebration. The main parts of Bihav songs are Chulmati, Telmati, Maymouri, Nahdouri, Parghani, Bhadoni and other songs related to Bhanver, Vidai songs. Pathoni songs are related to Gouna that is, the departure of a bride to the bridegroom's home.

Pandavani is a well-known ballad musical narrative, essentially based on the stories in the epic Mahabharata, but with Bhima as hero.

RELIGION AND RITUALS

TRADITIONAL FOOD

Religion and rituals play a very important role in the life of Chhattisgarhi people. The informal nature of religion in this area is typical of that practiced by many small ethnic groups in India. It is reflected in the anionic forms of folk-mythical gods and goddesses.

Danteshwari is one of the most revered goddesses of this area, worshiped as the bestower of wishes and protector against evil. Shrines are usually simple and unadorned, such as the gudi, which is a simple collection of terracotta igurines positioned near a stream or in a cave. The faith is profound, but simple in manifestation.

The ghotul is a social institution which seeks to instill a spirit of independence and social responsibility in its young Gonds. It takes up the form of a youth dormitory, where young boys called cheliks and young girls called motiaries live together and learn the tenets of social, religious and artistic life.

Ghotuls are regarded as shrines, and are said to be protected by Lingo Pen, a Gond cult hero. They are usually built on a high spot like a bill, on the outskirts of the village. The most important feature of a ghotul is cohabitation and marriage. When the cheliks and motiaries attain puberty, they are initiated to sex by the older members of the ghotul.

There is no domination of one gender over the other. Once a couple has lived together and subsequently decided to marry, they are required to leave the ghotul.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

The State of Chhattisgarh is known as the rice bowl of Central India and has a rich tradition of food culture. Most of the traditional and tribe foods are made of rice and rice flour, curd (number of veg kadis) and a variety of green leaves like lal bhaji, chech bhaji, kohda, and bohar bhaji. Badi and Bijori are optional food categories; also Gulgula, pidiya, dhoodh fara, balooshahi, khurmi falls in sweet categories.

Local drinks popular with tribes of Chhattisgarh are Mahua (alcoholic drink made of flowers of Mahua tree) and Salfi (non alcoholic sap of the Salfi tree, also known as Tadi).

Most unique food item on a local’s plate is got to be the Red Ant Chutney. Red ants are found in abundance in the forests of Chhattisgarh, these are carnivores that survive on small insects / flies and make nests by webbing leaves together. Tribals of Chhattisgarh wrap them in leaves and then throw them in to open fire or barbeque. They are then removed and grounded with salt and onion into chutney. They are also roasted for a crunchier snack!

THEATRE Theater is known as Gammat in Chhattisgarh. Pandavani is one of the lyrical forms of this theater. Several acclaimed plays of Habib Tanvir, such as Charandas Chor, are variations of Chhattisgarhi theater, and heavily use Chhatttisgarhi folk songs and music.

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF STATE CHHATTISGARH

DANCE

FAIRS AND FESTIVALS Nothing is more distinctive of the Chhattisgarhi than his love of music, dance and liquor. All these elements come together in the many festivals celebrated by the tribals. The harvest of a new crop is rejoiced with the festival of Navakhana – eating of the new crop, worship of the earth takes place in Mati Puja, and Goncha celebrates the chariot festival. In all festivals drums (tudbudi and dhapra), Flute (muhri) and string instruments (sitara) are played with great enthusiasm and all the tribesmen and women join in to dance through the day. Sulfi or mahua is drunk by everyone and there is much merriment.

Panthi, Rawat Nacha, Karma, Pandwani and Soowa are indigenous dance styles of Chhattisgarh.

Panthi

Panthi, the folk dance of the Satnami community has religious overtones. Panthi is performed on Maghi Purnima, the anniversary of the birth of Guru Ghasidas. The dancers dance around a jaitkhamb set up for the occasion, to songs eulogizing their spiritual head. The songs reflect a view of Nirvana, conveying the spirit of their guru's renunciation and the teachings of saint poets like Kabir, Ramdas and Dadu. Dancers with bent torsos and swinging arms dance, carried away by their devotion. As the rhythm Dusshera is the most famous festivals of Chhattisgarh and is celebrated quickens, they perform acrobatics and form human pyramids.

with great fanfare in Bastar region. During this occasion, all the deities from all the tribal villages congregate at the Temple of goddess Danteshwari in Jagdalpur, the district headquarter of Bastar. Dusshera in Bastar is quite different from the Dusshera of North India and has nothing to do with the triumphant return of lord Rama in Ayodhya. Bastar Dusshera is devoted entirely to goddess Danteshwari and celebrated with great gaiety by all major tribes of Bastar. Madai Festival is another famous festival of Bastar region held in the different villages extending from Mandla to Bastar. It's quite popular among Gond tribes of Bastar and thousands of devotees gather under the shade of a sacred tree to sacrifice a goat to the mother goddess and the whole night is spent in dancing, eating and making merry.

Bhagoriya Festival is a popular festival among Bhil tribes of the region and Bhagoradev or the god of dance is worshipped on this occasion. During this festival young girls and boys dance with each other and express their love to opposite sex. Kajari Festival is another important festival of Chhattisgarh region, which falls on the same day as Raksha Bandhan that is on the Shravan Purnima. In addition there are many festivals in Chhattisgarh, which are related to agriculture. Hareli, Koria, Navakhani and Cherta Festivals are the most important agricultural festivals of Chhattisgarh.

Rajim Lochan Mahotsav held every year from 16th February till 1st March is celebrated with great fanfare. Bhoramdeo Mahotsav (last week of March), Chakradhar Festival (September or October), Goncha Festival (July), Narayanpur Mela (last week of February) and Sheorinarayan Fair (February) are other widely celebrated and most enjoyed fairs and festivals of Chhattisgarh.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

Pandwani Pandavani is a folk ballad form performed predominantly in Chhattisgarh.Pandavani is an ancient style of story telling; actually it's a musical narration of the epic Mahabharata. It depicts the story of the Pandavas, the leading characters in the epic Mahabharata. The artists in the Pandavani narration consist of a lead artist and some supporting singers and musicians. There are two styles of narration in Pandavani, Vedamati and Kapalik. In the Vedamati style the lead artist narrates in a simple manner by sitting on the floor throughout the performance. The Kaplik style is livelier, where the narrator actually enacts the scenes and characters.

Rawat Nacha Raut Nacha, the folk dance of cowherds, is a traditional folk dance of Yaduvanshis (Clan of Yadu) as symbol of worship to Krishna at the time of 'Dev Uthani Ekadashi' (day of awakening of the gods after a brief rest) which is the 11th day after Diwali according to the Hindu calendar. The dance closely resembles Krishna's dance with the gopis (milkmaids).

Soowa Nacha Soowa or Suwa Tribal Dance in Chhattisgarh, India is also known as Parrot Dance. It is a symbolic form of dancing related to worship. Dancers keep a parrot in a bamboo- pot and form a circle around it. Then performers sing and dance, moving around it with clapping. This is one of the main dance form of tribal women of Chhattisgarh.

In Bilaspur city, Rawat Nach Mahotsav folk dance festival is organized annually since 1978. Tens of hundreds of Rawat dancers from remote areas participate in the festival every year.

Karma Tribal groups like Gonds, the Baigas and the Oraons in Chattisgarh have Karma dance as part of their culture. Both men and women arrange themselves in two rows and follow the rhythmic steps, directed by the singer group. The Karma tribal dance marks the end of the rainy season and the advent of spring season.

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

CRAFTS OF CHHATTISGARH

INTRODUCTION OF STATE CHHATTISGARH

BELL METAL Exquisite dull gold figurines and objects de art are crafted in the Bastar & Raigarh districts of Chhattisgarh out of bell metal, brass, and bronze. Traditionally the Ghadwas of Bastar and Jharas of Raigarh practice the Dhokra art with lost wax technique or hollow casting. It involves intricately patterning a clay core with wax ribbons and then coating it carefully with a mix of clay and hay. The was is subsequently melted off, and the cavity formed is filled with molten metal. When this solidifies, the craftsman reveals the beauty of his creation by cautiously breaking open the outer clay shell. Inspiration is available to the craftsperson from his abundant environment, be it the village ghotul, myriad of trees, birds and animals, mythology or rituals. Utilitarian pieces such as combs, lamps, bowls and cups are created for daily use just as mythological icons like Bhuda-deo, Karma jhaar and Mata Jhula are crafted for their spiritual relevance. Each piece is characterized by intricate attention to detail, visible in the jewellery that bedecks the Maria-Muria heads, the elephant’s houda or even in a pot’s geometric lines. Nowhere else in the country does craft pay such obeisance to nature, as in the Dhokra art!

DHOKRA BELL METAL

‘Dhokra’ is derived from the ‘Dhokra Damar’ tribe, who traditionally employ the lost wax technique to cast non-ferrous metals.

Almost 4,000 years old, one of the earliest examples of this technique is the famous ‘Dancing Girl’ figurine excavated from Mohenjo Daro. Dhokra and Bell Metal are used interchangeably since this metal (an alloy of copper and tin mixed in the ratio 3:1) is commonly used in the process.

TERRA COTTA

DHOKRA

The point of genesis of many of Chhattisgarh’s artistic expressions is the Earth.

While its fertile soils yield forests of wood and from its depths are extracted rich ores of metal, the very soil itself is pliant enough to be molded into pleasing three dimensional forms, giving rise to terracotta pottery. The crafted objects are attributed with meaning deeper than expressed through their physical form, a traditions extended to all handicrafts created by the peoples of this land. Votive terracotta is representative of their ritualistic aspect of tribal’s life, symbolizing their fears and aspirations. Shaped and molded both by hand as well as on the potter’s wheel, the animal and bird figures represent the ethos of the ancient cultural stages of human life. Particularly I the regions of Bastar, Ambikapur and Raigarh a strong and living tradition of votive terracotta is evident. The use of these clay figures is widely prevalent to mark both auspicious as well as inauspicious occasions. Birth, marriages, deaths or evil happening create occasions for community participation.

CLAY RELIEF WORK TERRA COTTA

CLAY RELIEF WORK ANAND LAKHANI

The women of the Rajwar community in Surguja district, the farming community of Bihar, Chhattisgarh and Madhya Pradesh, paint the walls, doorways and wall skirtings of their houses and items of daily use like shelves with lipan done in unfired clay and cow dung during Chherta, the post harvest festival.

These are painted white and illustrated in ochre, blue,green, red and yellow colours. Motifs of gods, animals, birds, trees, human and other three dimensional figures are extensions of a tradition that search within the spaces of imagination, and the personal life of the creator. These are articulated on jhinjhira (screens), patani (shelves) and dodki (storage bins) that are unique to every room of every house. In their core is a lattice structure made of this bamboo strips, covered thinly with pooval (paddy hay), mixed with grog and sandy clay that has been smoothened. The geometric figures are made row upon row and the motifs are spontaneously created. The black color is obtained from the soot of oil lamps while the base white is obtained from choohi (white clay). The process of creation includes repair and restoration of the walls and structures in a cyclic manner, every year ushering in a plethora of new motifs.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF STATE CHHATTISGARH

WROUGHT IRON The dark raw forms of the metal artifacts and figurines of Chhattisgarh, appear as a reflection of its own people. Both share a coarseness that is underlined by quiet elegance and dignity. The inherent respect that the ethnic people have for the environment means that the raw material used for this craft is predominantly recycled scrap iron, with the rich ore mines of Cherangdungri occasionally acting as the supply source. The method of production is simple, yet effective. Metal is made pliable by beating it in furnaces, and then shaping it carefully into basic form using bammer and tongs. Tongs of various sizes are used to bend the metal to form the palms, fingers and feet of the figurines. The eyes, nose, tattoo are then chiseled and hammered out; and clothes and the decorative elements are made separately and attached .

Mastery over the craft is evident in the fact that no joints of any kind appear in the products. On completion, a coating of varnish is applied, to enhance its luster. The forms of the hunters, farmers, musicians, animals are all generally made from a single piece of iron, giving them a unique quality.

WOOD CRAFT Wood was probably the most ancient building material for civic and royal architecture in India. Initially , the tribal’s used the forests to source wood for basic needs like firewood and building shelters. Over a period of time they began to use wood for carving objects and other forms of carpentry, precipitating in the emergence of a community of people skilled in this craft called the Badhais. The Badhais then diversified into two groups – one making agricultural instruments and others making decorative and totemic pillars.

Tribals often live in houses not dissimilar to those of our ancestors. They decorate the wooden fixtures of their houses and shrines with intricately carved upright poles, door panels, ceiling frames, etc. The doors in the Baiga houses are two paneled, each made of a single plank, with carved motifs of birds, animals, human figures, floral and geometric designs.

In the ghotuls, the youth dormitories of the Muria, are kept huge drums, dancing stilts, musical instruments and carved wooden head rests called kutul. It is here that the Muriaboys gift beautifully carved wooden combs as tokens of love to the girls of their choice. In keeping with the mood of the young youngMurias, the doors and pillars of the ghotul depict amorous couples, people engaged in dancing, merry making; combs; the sun; the moon; and floral as well as geometric designs.

The Muriatribe of Bastar specialize in elaborate ornamentation. The handle of a knife or a sickle , or the sheath of a knife, husking instruments, agricultural implements, seed funnels, wooden head rests or objects like wooden combs or tobacco pouches are generally ornamental. The darakaseris a knife tucked into a wooden sheath near the waist, the sheath is carved with floral and geometric designs, and some times with animal motifs. The Murias wooden head rest, kutul, also used as a seat in the youth dormitories , is generally carved with geometric motifs and designs of combs and human figurines.

Some of the tribal groups in Bastar erect menhirs, memorial pillars, in the memory of the deceased. Among the Dandami Maria, it is mostly rich who erect wooden posts, urasgatta, made of either gaja or teak wood. In their settlements, in the region between Jagdalpur and Dantewada one finds a number of such memory pillars erected by the side of the roads. The carvings on the pillars are done by skilled tribal wood carvers. However the pillars, once erected, are not cared for, and as the land is infested with termites, these pillars gets damaged and are eaten up by them. It is believed that with the deterioration of the pillar, the soul of the person in whose memory the pillar had been erected is fulfilled and freed. When it is completely destroyed, the deceased is believed to have reached heaven.

Ritual wooden objects are found in nearly all tribal communities. The largest single wood craft of the tribal’s, the Dussherarath, chariot, comes from the Bastar region. The eight wheeled chariot made during the fifteen day long Dussherafestival is about 11.5 mts. Long and 11 mts high. It is decorated with wooden figures of horse riders and women. Other than this, palanquins and litters of ritual importance are also made of wood with carvings of animals, geometric and floral designs.

Ritual mask used by the Murias, the Maria and the Bhatra tribes are also made of wood. These masks potray peculiar faces, some used for amusement, some others in ritual performances. The most common clan god, Angadeo, is always made of wood. Angadeo is worshipped among al the tribal populations of Bastar. Two types are made, one which can be carried on the shoulders by two or four people and the other which can be held by one person alone.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF STATE CHHATTISGARH

TUMBA Naren and his wife at the Bamboo Project workshed in Narayanpur. They were decorating what looked like odd-shaped hollow globes with deft strokes of a hot iron blade. Known in Chhattisgarh as tumba, this less known craft is widely produced in the Bastar region. The origin of tumba craft lies in the widespread use of hollow gourd shells as containers by the tribals to store water and salfi. The gourd (locally known as lauki) is first sundried for many days and the insides cleaned out. Decorative patterns are made with iron blades that leave a black mark, before the product is varnished. they also makes lampshades and waterbottles in addition to the sculptures.

THE POLICY OF THE STATE OF CHHATTISGARH FOR PROMOTION AND ENCOURAGEMENT OF CULTURAL ACTIVITIES Ÿ Ÿ Ÿ

Ÿ

Ÿ

GODNA

TUMBA

GODNA

Possibly the most innovative adaptation of an earlier art form, godna in its current form is practised by a handful of women in Jamgala, a village in Lakhanpur Block of Sarguja. The women in this region traditionally used to Ÿ adorn their bodies with tattoos. Of late this trend had declined to a point where even the older ladies adept at making tattoos went out of practice. Ladies like Safiano Bai, Ramkeli and Budh Kunwar from Jamgala revived this art form by painting traditional tattoo motifs on textiles. Ÿ The ladies were sitting in a huddle, and painting on individual pieces of cloth when we reached the village. Ÿ “We use natural pigments procured from the forest and combine them with acrylic paint to make it more stable on fabric,” said Dilbasia, the most effusive in the group.

SISAL

SISAL

ANAND LAKHANI

The crafts village at Parchanpal, a mere 10 Ÿ kilometres from Jagdalpur,can very well pass off as a museum-cum-botanical garden. Large stone sculptures lie amidst a profusion of flora, prominent among which are Ÿ the squat sisal plants, which can be seen on either side of most highways in Chhattisgarh. Sisal leaves are processed to produce a naturally white fibre that is soft to touch but at the same time has an incredible tensile strength. “Sisal Ÿ ropes don’t rot in wet conditions, so they are used extensively on ships and boats,” said Yadavji as we went to meet the artisans. Rama Mandal showed us an innovatively designed waterbottle holder made out of sisal. “I like combining natural sisal with fibres dyed in bright colours,” she said while posing for her portrait.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

The State will identify, recognize, document, revitalize present and disseminate the continuing cultural traditions of local communities.

The State will try to work around existing cultural landscapes, festivals and institutions, rather than create new ones to replace them.

The State will be a catalytic agent, to support and advance the traditional connection among communities, between their life and their arts, and between forms and functions of these arts.

The State will further cross disciplinary dialogues, inter institutional networking and decentralized field activity to replenish community identities.

The unique identity and polyvalence of the culture of Chhattisgarh will be promoted alongside its relationships and exchanges with cultural provinces and neighborhoods of adjacent states of Chhattisgarh. The community cultural identity and landscape of Chhattisgarh will be presented in the national and global perspective.

Bridges will be developed among dialects, and scripts will be developed for unscripted dialects. Relations will be promoted with hill and forest based communities from the newly formed states, and from other states of the country, and with indigenous tribal and analogous communities from other parts of the world.

The cultural programmes will be implemented through co-directed initiatives with local communities.

There will be a multi dimensioned cultural council with an interdisciplinary committee of advisers of eminence and it will be manned by people of high caliber, drawn from different arts and disciplines. This center will promote community specific cultural programmes with cross-disciplinary content, in hills and forests, in urban, suburban and rural areas.

Protection will be offered not only to monuments but also to important cultural and physical landscapes and attempt will be made to promote recognition of relict and associated landscapes as World Heritage sites.

Chhattisgarh itself being treated as a living museum space, the in-situ and ex-situ exhibition and dissemination initiatives, will be designed as exercises in problem assessment and resolution, and not as passive displays.

Culture will neither be treated as a commodity nor as a product, but as a living ongoing process. Encouragement will be given to cultural research and literacy, appreciation and research, therapy and training, publication, counseling and advocacy. The linkages, connecting cultural strategies with poverty alleviation, livelihood security, inter group harmony and coexistence; will form planks for policies and programs.

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INTRODUCTION OF STATE CHHATTISGARH

Industrial Sector

ECONOMY OF CHHATTISGARH

Power Sector

Chhattisgarh's gross state domestic product for 2010 is estimated at Rs 60,079 Crore in current prices. The economy of Chhattisgarh has grown rapidly in recent years with a growth rate of 11.49 per cent in GDP for 2009-2010. Chhattisgarh’s success factors in achieving high growth rate are growth in agriculture and industrial production.

Agriculture Agriculture is counted as the chief economic occupation of the state of Chhattisgarh. According to a government estimate, Net sown area of the Chhattisgarh state is 4.828 Million hectares and the gross sown area is 5.788 Million hectares. Horticulture and animal husbandry also engages a major share of the total population of the state. 80% population of the state is rural and the main livelihood of the villagers is agriculture and agriculture based small industry.

Agricultural Produces The main crops are paddy, cereals like maize, kodo-kutki and other small millets, pulses like tuar and kulthi and oil seeds like groundnut, soya-bean and sunflower are also grown. In the mid nineties, most of Chhattisgarh was still a mono-crop belt. Only one fourth to one fifth of the sown area was double cropped. When a very substantial portion of the population is dependent on agriculture, a situation where nearly 80 percent of a states area is covered only by mono cropping needs immediate attention to turn them into double crop areas. Also there are very few cash crops grown in Chhattisgarh, and there is a need to diversify the agriculture produce towards oilseeds and other cash crops. Chhattisgarh is also called the "rice bowl of Central India".

Irrigation Chhattisgarh have very good irrigation systems, with dams and canals on various rivers. Average rainfall in the state is around 1400 mm and the entire state falls under Riceagro-climatic zone. Large variation in the yearly rainfall directly affects the main crop i.e.

Paddy. Obviously, irrigation is the prime need of the state for its overall development and therefore the state government has given top priority to development of irrigation potential.

Irrigation potential was 1.328 Million hectares at the time of formation of the state (i.e. on 1 November 2000) which was 23% of the gross sown area. The irrigation potential has now been raised to 1.66 Million hectares at the end of March 2006 which is 28.7% of gross sown area.A total of 4 Major, 33 Medium and 2199 Minor irrigation projects have been completed and 5 Major, 9 Medium and 312 Minor projects are under construction, as on 31 March 2006.

ANAND LAKHANI

Chhattisgarh is one of the few states of India where Power sector is effectively developed. Based on the current production of surplus electric power, position of the State is comfortable and profitable. The Chhattisgarh State Electricity Board (CSEB) is in a strong position to meet the electricity requirement of the new State and is in good financial health.

Chhattisgarh provides electricity to several other states because of surplus production, and it's power hubs are Korba and Bilaspur.

In Chhattisgarh, NTPC has an installed thermal capacity of 2100 MW at Sipat, Bilaspur while CSEB's units have a thermal capacity of 1240 MW and hydel capacity of 130 MW. Apart from NTPC and CSEB, there are a number of private generation units of large and small capacity. The state Govt. has pursued a liberal policy with regard to captive generation which has resulted in a number of private players coming up.

As per a study made by the Power Finance Corporation Ltd. New Delhi, the state has potential of 61000 MW of additional thermal power in terms of availability of coal for more than 100 years and more than 2500 MW hydral capacity. To tap this vast potential, substantial addition to the existing generation capacity is already under way.

Steel Sector Steel industry is one of the biggest heavy industry of Chhattisgarh. Bhilai Steel Plant, Bhilai operated by SAIL with a capacity of 3.6 million tonnes per year, is regarded as a significant growth indicator of the state. There are more than 100 steel rolling mills, sponge iron plants and ferro-alloy units in Chhattisgarh.

The aluminium industry of Chhattisgarh consists of Bharat Aluminum Company limited which has a capacity of around one million tonnes each year.

Forest Forests occupy 41.33% of the area (as per the latest report by the Indian Forest Service) and there are rich forest resources including wood, tandu leaves, honey and lac.

Mineral Deposits Chhattisgarh is also rich in minerals. It produces 20% of the country's steel and cement. Iron-ore, limestone, dolomite, coal, bauxite are abundant. It is the only tin-ore producing state in the country. Other minerals include korandum, garnet, quartz, marble and diamonds.

Issues with Development and Insurgency Chhattisgarh State is rich in unused timber and mineral resources. There are disagreements between local indigenous peoples and the national government over the use of these resources.

Also, an ongoing insurgency between Maoists and the central Government of India has produced much bloodshed. The controversy surrounding the arrest of Dr Binayak Sen is related to the insurgency. Maoist insurgency has been main source of instability.

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF CITY RAIPUR AND NAYA RAIPUR

Raipur is the capital city of the state of Chhattisgarh, India. The city is the administrative headquarters of Raipur District.

Raipur is located near the centre of a large plain, sometimes referred as the "rice bowl of India", where hundreds of varieties of rice are grown. The Mahanadi River flows to the east of the city of Raipur, and the southern side has dense forests. The Maikal Hills rise on the northwest of Raipur; on the north, the land rises and merges with the Chota Nagpur Plateau, which extends north-east across Jharkhand state. On the south of Raipur lies the Baster Plateau.

Raipur has a tropical wet and dry climate, temperatures remain moderate throughout the year, except from March to June, which can be extremely hot. The city receives about 1,300 millimetres (51 in) of rain, mostly in the monsoon season from late June to early October.

Winters last from November to January and are mild, although lows can fall to 5 째C.

HISTORY OF RAIPUR

RAIPUR

ANAND LAKHANI

Raipur district is important in historical and archeological point of view. This district was once part of Southern Kosal and considered to be under Mourya Kingdom. Raipur city had been the capital of the Haihaya Kings, controlling the traditional forts of the Chhattisgarh for a long time. The town of Raipur has been in existence since the 9th century, the old site and ruins of the fort can be seen in the southern part of the city. Satawahana Kings ruled this part till the 2nd-3rd century AD. In the 4th Century AD the king Samudragupta had conquered this region and established his domination till Fifth-Sixth Century AD when this part had come under the rule of Sarabhpuri Kings. For some period in Fifth-Sixth Century A.D., Nala kings dominated this area. Later on Somavanshi kings had taken the control over this region and ruled with Sirpur (Sripur-The city of Wealth) as their capital city. Mahashivgupt Balarjun was the mightiest emperor of this Dynasty. His mother, the widow Queen of Harshgupta of the Somavansh, Rani Vasata built the famous brick temple of Lakshman. The Kalchuri Kings of Tumman ruled this part for a long time making Ratanpur as capital. The old inscriptions of Ratanpur, Rajim and Khallari refer to the reign of kalchuri kings. It is believed that the King Ramachandra of this dynasty established the city of Raipur and subsequently made it the capital of his kingdom.

This region had become the domain of Bhosle kings after the Amarsingh deo's death. With the death of Raghuji the III, the territory was assumed by the British Government from Bhonsla'a of Nagpur and Chhatisgarh was declared a seperate Commissionery with its Headquarters at Raipur in 1854. After independence Raipur district was included in Central Provinces.

C E N T R A L

RAIPUR

P R O V I N C E S

In 1818, the Maratha Bhonsle Maharajas of Nagpur submitted to British sovereignty. In 1853, on the death of Raghoji III without heirs, Nagpur was annexed by the British under the doctrine of lapse. Until the formation of the Central Provinces in 1861, Nagpur Province, which consisted of the Nagpur Division, Chhindwara and Chhattisgarh, was administered by a commissioner under the central government.

The Saugor and Nerbudda Territories were joined with the Nagpur province to constitute the new Central Provinces in 1861. On the 1st of October 1903 Berar also was placed under the administration of the commissioner of the Central Provinces. In October 1905 most of Sambalpur and the princely states of Bamra, Rairakhol, Sonpur, Patna and Kalahandi were transferred from the Central Provinces and Berar to Bengal, while the Hindi-speaking Chota Nagpur states of Chang Bhakar, Korea, Surguja, Udaipur and Jashpur were transferred from Bengal to the Central Provinces and Berar.

In 1935 the Government of India Act was passed by the British Parliament. This act provided for the election of a provincial assembly, with an electorate made up of men with a minimum of financial resources, and excluding women and the poor. Extraordinary powers were reserved for governor. The princely states were removed from the authority of the provinces, and placed under the authority of a number of new agencies, responsible directly to the Governor-General of India.

India became independent on August 15, 1947, and the Central Provinces and Berar became a province of the new country. The princely states which were part of the Central Provinces before 1936 were merged back into the province, and organized into new districts. When the Constitution of India went into effect in 1950, the Central Provinces and Berar became the new state of Madhya Pradesh.

After Indian Independence in 1947, the Central Provinces and Berar became part of India, and was merged with the princely states under its authority to become the Indian State of Madhya Pradesh in 1950. In 1960, In 2000, the eastern portion of Madhya Pradesh split off to become the new state of Chhattisgarh.

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF CITY RAIPUR AND NAYA RAIPUR

NAYA RAIPUR

N

A satellite city to Raipur holding capital function is the primary identity of Naya Raipur. It will be modern in the use of technology, uphold worthy traditions and core values, and conserve the prevailing man-nature symbiotic culture as well as abundant nature & cultural assets in the region. The citizens will be offered a wide range of living options with equity and dignit* An efficient engine of growth and prosperity. _A servicing hub not only in manufacturing of goods but also in information Technology and Bio-Technology sectors. _A financial centre of the region. _Hub of trade and hospitality sectors in Naya Raipur. _ Hub of cultural services which would supplement local economy. _Hub of affordable and high quality medical services. _ Hub of quality educational facilities and strive to develop as a knowledge base. _Administrative capital of Chhattisgarh and seat of State administration buildings - the Secretariat, Police Headquarters, Legislative Assembly, Raj Bhawan and Offices of heads of departments, to come up in the city. _Cultural centre of Chhattisgarh with museums, libraries, theatres and art galleries.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

NAYA RAIPUR is the upcoming Capital of Chhattisgarh being built 17 km far in the south-east direction from the existing capital Raipur. 'Naya Raipur' would at once serve as the administrative capital of the State and also cater to the infrastructural needs of industry and trade in the region.

The new city is about 20 kilometers from Raipur. Mana Airport and is between two national highways—NH6 and NH 43, and the new city and the old one are separated by the airport.

Naya Raipur spreads over an area of about 8000 hectares. It includes 41 villages out of which 27 villages form the core of the Naya Raipur. The population of just 1 villages is getting displaced in this renovation of villages for the construction of Naya Raipur.

About half of the total acquired land is being used for afforestation, roads, parks, public conveniences, water facilitiescanals, green belts etc. 23 percent of the land would be reserved for educational institutions, government offices and public auditoriums etc. 30 percent of the land will be used for residential and economical purposes.

Naya Raipur would be fourth planned capital city after Gandhinagar, Chandigarh and Bhubaneshwar.

The project is likely to cost anywhere between Rs 1,500 and 2,000 crore. The city is expected to house about 4.5 lakh people within a decade and provisions, in the form of future infrastructure upgradation, have been made for its expansion.

While venturing to prepare the development plan for Naya Raipur, basic studies were made in the form of a secondary survey of data on Chandigarh (the first capital of independent India) and Raipur, the elder sister and the most important “organic” metropolis in the region. The space quantum against each activity/work-centre was then ascertained going by accepted thumb-rule of the concerned industry/trade/activity, to case of capital complex, and government jobs exact figures were taken into consideration. The resultant space quantum was then allocated on two-dimension on the structure plan and final quantum, shape, location, was defined by exact boundaries/roads on the plan. With iterations, the allocated spaces were again translated in terms of number of jobs and the total number of job in the city arrived at. With a population of 5.6 lakhs, the Naya Raipur City is excepted to generate approximately 2.2 lakh jobs, with an assumed workforce participation rate of 40%. The high standards of physical and social infrastructure adopted for the city will be able to cope with the maximum capacity of the city.

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF CITY RAIPUR AND NAYA RAIPUR

NAYA RAIPUR DEVELOPMENT PLAN- 2031 PROPOSED LAND USE- NRDA area

AGRICULTURE LAND

CAPITOL COMPLEX

CENTRALIZED AXIS DIVIDE THE BUILT AREA AND AGRICULTURE LAND, AND SITE OF CAPITOL COMPLEX IS IN CENTER OF AGRICULTURE LAND AND NAYA RAIPUR CITY AREA.

N All areas in Naya Raipur City have been designated as one of the 9 land use-zones, which are residential, commercial- retail, commercial - wholesale, industrial, special industry, public and semipublic, recreational, transportation, and composite use zone. The Composite Use Zone includes residential, commercial, and industrial uses. The city level physical infrastructure facilities are located outside the city and the area is reserved under utility zone in peripheral area. The land area break-up for the new city measuring 8013.1 ha.

ANAND LAKHANI

The Land Use Plan – 2031 for Naya Raipur has been prepared considering: _ The vision and city form _Hierarchical structuring of the City Functions _ Land-use-transportation integration _ Accommodating existing developments like village settlements, water bodies, plantations etc.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF CITY RAIPUR AND NAYA RAIPUR

MASTER PLAN- NAYA RAIPUR

N

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

INTRODUCTION OF CITY RAIPUR AND NAYA RAIPUR

MASTER PLAN [PHASING]- NAYA RAIPUR

N

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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Analysis:

SITE ANALYSIS PROGRAMME FORMULATION State Legislative Assembly of Chhattisgarh, Raipur

Anand Lakhani- 1604 24

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

SITE ANALYSIS AND PROGRAMME FORMULATION

SITE ANALYSIS

RAIPUR

INDIA

RAIPUR NAYA RAIPUR

Peripherial Road [NH] To Raipur

CHHATISGARH

New Raipur is the upcoming Capital of Chhattisgarh being built 17 km far in the southeast direction from the existing capital Raipur.

'Naya Raipur' would at once serve as the NAYA administrative capital of the State and also cater to RAIPUR the infrastructural needs of industry and trade in the region.

The new city is about 20 kilometers from Raipur near Swami Vivekananda Airport and is between two national highways窶年H6 and NH 43.Naya Raipur spreads over an area of about 8000 hectares. It includes 41 villages out of which 27 villages form the core of the Naya Raipur.

N TOPOGRAPHY: The terrain is almost flat with a large water body[ lake]. the highest point of the city in the east.

Distributory GEOLOGY: Canal The site fall under SEISMIC ZONE-1 HYDRO GEOLOGY / GROUND WATER: The ground water level is 350 ft below ground level.

WIND DIRECTION: The predominant wind direction is South-west. In the post monsoon and winter months [Dec. To march] the wind direction is from North- east.

CLIMATE: The mean monthly maximum temprature is 44.8c in the month of may and the mean monthly minimum temprature is 9.2 c in the month of the January.

Site for Capitol Complex

VillageRakhi

Village

Peripherial Road [NH]

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

SITE ANALYSIS AND PROGRAMME FORMULATION

SITE FEATURES AND PHOTOGRAPHS

m Existing Lake

Highest point of ground

m

m

Existing Lake

Existing Lake

N

Distributory Canal

Village- Rakhi

Village

The Main Centralized Axis of Naya Raipur city.

The Central Axis which divide built area and agriculture land of naya raipur city. of Naya Raipur city.

Photographs of Site showing Existing Lake and Surroundings.

ANAND LAKHANI

The North- South Axis INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

Photographs of village- Rakhi showing Existing Lake and dwellings.

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

SITE ANALYSIS AND PROGRAMME FORMULATION

LEGISLATIVE STRUCTURE AND ITS FUNCTIONING

Presiding Officer (The Speaker)

India is a Union of States. There is one Union Government and several State Govermments, It also means that Union (Centre) is more powerful than States. At present there are 28 States and 7 Union Territories in the Indian Union and each one of them has a Legislature. The Parliament of India, which is the law making body at the Union level. The State Legislature is a law making body at state level.

Composition of the state legislature In most of the States, the Legislature consists of the Governor and the Legislative Assembly(Vidhan Sabha). This means that these State have unicameral Legislature. In a few States,there are two Houses of the Legislature namely, Legislative Assembly (Vidhan Sabha)and Legislative council (Vidhan Parishad) besides the Governor. Where there are two Houses, the Legislature, is known as bicameral.

Five States have the bicameral, legislature. The Lagislative Assembly is known as lowerHouse or popular House. The Legislative Council is known as upper House. Just as Lok Sabha has been made powerful at the Union level, the Legislative Assembly has been made a powerful body in the States.

Legislative Assembly (Vidhan Sabha) There is a Legislative Assembly (Vidhan Sabha) in every State. It represents the people of State. The members of Vidhan Sabha are directly elected by people on the basis of universal adult franchise. They are directly elected by all adult citizens registered as voters in the State.

All men and women who are 18 years of age and above are eligible to be included in the voters’ List. They vote to elect members of State Assembly. Members are elected from territorial constituencies. Every State is divided into as many (single member) constituencies as the number of members to be elected. As in case of Lok Sabha, certain number of seats are reserved for Scheduled Castes, and in some States for Scheduled Tribes also. This depends on population of these weaker sections in the State.

In order to become a Member of Vidhan Sabha a person must: be a citizen of India; Ÿ have attained the age of 25 years; Ÿ his/her name must be in voters’ list; Ÿ must not hold any office of profit i.e.; Ÿ should not be a government servant.

The number of Vidhan Sabha members cannot be more than 500 and not less than 60.

However, very small States have been allowed to have lesser number of members. Thus Goa has only 40 members in its Assembly. Uttar Pradesh (is a big state even after creation of Uttaranchal from this state in 2002) has 403 seats in the Assembly.

The Governor of the State has the power to nominate one member of Anglo-Indian community if this community is not adequately represented in the House. As in case of the Lok Sabha, some seats are reserved for the members of Scheduled Castes and Schedule Tribes. The tenure of Vidhan Sabha is five years, but the Governor can dissolve it before the completion of its term on the advice of Chief Minister. It may be dissolved by the President in case of constitutional emergency proclaimed under Article 356 of the Constitution.

In case of proclamation of national emergency (under Article 352) the Parliament can extend the term of the Legislative Assemblies for a period not exceeding one year at a time.

ANAND LAKHANI

The members of Vidhan Sabha elect their presiding officer. The Presiding officer is known as the Speaker. The Speaker presides over the meatings of the House and conducts its proceedings. He maintains order in the House, allows the members to ask questions and speak. He puts bills and other measures to vote and announces the result of voting. The Speaker does not ordinarily vote at the time of voting. However, he may exercise casting vote in case of a tie. The Deputy Speaker presides over the meeting during the absence of the Speaker. He is also elected by the Assembly from amongst its members. [A tie means that equal numbers of members have voted in favour and against a bill or resolution. To break the tie, casting vote is exercised by the presiding officer of the Legislative Assembly.]

Legislative Council (Vidhan Parishad) Vidhan Parishad is the upper House of the State Legislature. It is not in existence in very State. Very few States have bicameral Legislature that means having two Houses. At present five states viz. Utter Pradesh, Bihar, Karnataka, Maharashtra and Jammu & Kashmir have Vidhan Parishad while, remaining 23 States have one House, i.e. Vidhan Sabha. Legislative Councils are legacy of the British period. The Parliament can create Vidhan Parishad in a State where it does not exist, if the Legislative Assembly of the State passes a resolution to this effect by a majority of the total membership of the Assembly and by a majority of not less than two thirds of the members of the Assembly present and voting, and sends the resolution to the Parliament. Similarly, if a State has a Council and the Assembly wants it to be abolished, it may adopt a resolution by similar majority and send it to Parliament. In this situation Parliament resolves to abolish the concerned Legislative Council. Accordingly, Councils of Punjab, Andhra Pradesh, Tamil Nadu and West Bengal were abolished.

According to the Constitution, the total number of members in the Vidhan Parishad of a State should not exceed one-third of the total number of members of Vidhan Sabha but this number should not be less than 40. The Jammu & Kashmir is an exception where Vidhan Parishad has 36 members.

In order to be a member of the Legislative Council the person concerned should Ÿ be a citizen of India: Ÿ have attained the age of 30 years; Ÿ be a registered voter in the State; Ÿ not hold any office of profit.

The Vidhan Parishad is partly elected and partly nominated. Most of the members are indirectly elected in accordance with the principle of proportional representation by means of single transferable vote system. Different categories of members represent different interests.

The composition of the Legislative Council is as follows: i.e. One-third members of the Council are elected by the members of the Vidhan Sabha.

Sessions of The State Legislature The State Legislature meets at least twice a year and the inteval between two sessions cannot be more than six months. The Governor summons and prorogues the sessions of State Legislature. He addresses the Vidhan Sabha or both Houses (if there is bi-cameral Legislature) at the commencement of the first session after each general election and at the commencement of the first session of the year. This address reflects the policy statement of the government which is to be discussed in the Legislature, and the privileges and immunities of the members of the State Legislature are similar to that of members of Parliament.

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

SITE ANALYSIS AND PROGRAMME FORMULATION

Limitation of The Powers of the State Legislature

Power and functions of The State Legislature Law Making Function The primary function of the State Legislature, like the Union Parliament, is law-making. The State Legislature is empowered to make laws on State List and Concurrent List. The Parliament and the Legislative Assemblies have the right to make the laws on the subjects mentioned in the Concurrent List. But in case of contradiction between the Union and State law on the subject the law made by the Parliament shall prevail. Bills are of two types-Ordinary bills and Money bills.

Ordinary bills can be introduced in either of the Houses (if the State Legislature is bicameral), but Money bill is first introduced in the Vidhan Sabha. After the bill is passed by both Houses, it is sent to the Governor for his assent. The Governor can send back the bill for reconsideration.

When this bill is passed again by the Legislature, the Governor has to give his assent. You have read when the Parliament is not in session and if there is a necessity of certain law, the President issues Ordinance.

Similarly, the Governor can issue an Ordinance on the State subjects when legislature is not in session. The Ordinances have the force of law. The Ordinances issued are laid before the State Legislature when it reassembles. It ceases to be in operation after the expirty of six weeks, unless rejected by the Legislature earlier. The Legislature passes a regular bill, to become a law, to replace the ordinance. This is usually done within six weeks after reassembly of Legislature.

Financial Powers The State Legislature keeps control over the finances of the State. A money bill is introduced first only in the Vidhan Sabha. The money bill includes authorisation of the expenditure to be incurred by the government, imposition or abolition of taxes, borrowing, etc.

The bill is introduced by a Minister on the recommendations of the Governor. The money bill cannot be introduced by a private member. The Speaker of the Vidhan Sabha certifies that a particular bill is a money bill. After a money bill is passed by the Vidhan Sabha, it is sent to the Vidhan Parishad. It has to return this bill within 14 days with, or without, its recommendations.

The Vidhan Sabha may either accept or reject its recommendations. The bill is deemed to have been passed by both Houses. After this stage, the bill is sent to the Governor for his assent. The Governor cannot withhold his assent, as money bills are introduced with his prior approval.

Control over the Executive Like the Union Legislature, the State Legislature keeps control over the executive. The Council of Ministers is responsible to Vidhan Sabha collectively and remains in the office so long as it enjoys the confidence of the Vidhan Sabha. The Council is removed if the Vidhan Sabha adopts a vote of no-confidence, or when it rejects a government bill. In addition to the no confidence motion, the Legislature keeps checks on the government by asking questions and supplementary questions, moving adjournment motions and calling attention notices.

Electoral Functions The elected members of the Vidhan Sabha are members of the Electoral College for the election of the President of India. Thus they have say in the election of the President of the Republic (see Lesson No. 10) The members of the Vidhan Sabha also elect members of the Rajya Sabha from their respective States. One-third members of the Vidhan Parishad (if it is in existence in the State) are also elected by the members of the Vidhan Sabha. In all these elections, members of the Vidhan Sabha (Assembly) cost their votes in accordance with single transferable vote system.

Constitutional Functions You have learnt about the procedure of amendment of the Constitution. An Amendment requires special majority of each House of the Parliament and ratification by not less than half of the States relating to Federal subjects. The resolution for the ratification is passed by State Legislatures with simple majority. However, a constitutional amendment cannot be initiated in the State Legislature.

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The powers of law-making by the Legislature are limited in the following manner: As explained above, State Legislature can make a law on the subjects listed in the State List and also the Concurrent List. But in case, the State law on a subject in the Concurrent list is in conflict with the Union law, the law made by the Parliament shall prevail.

The Governor of the State may reserve his assent to a bill passed by the State Legislature and send it for the consideration of the President. It is compulsory in case the powers of the High Court are being curtailed. In some other cases, prior approval of the President for introducing the bill in the Legislature is essential such as, for imposition of restriction on the freedom of trade and commerce within the State or with other States.

The Parliament has the complete control on the entire State List at the time when the national emergency has been declared (under Art. 352), although the State Legislature remains in existence and continues to perform its functions. In case of breakdown of constitutional machinery (under Art. 356) after fall of popular Government in the State, the President’s rule is imposed. The Parliament then acquires the power to make laws for that State, for the period of constitutional emergency.

The Parliament can also make laws on a subject of the State list in order to carry on its international responsibility. If the Rajya Sabha adopts a resolution by two-thirds majority to this effect, on its own or at the request of two or more States, the Parliament can enact laws on a specified subject of the State list.

Fundamental rights also impose limitations on the powers of the State Legislature. It cannot make laws which violate the rights of the people. Any law passed by the State Legislature can be declared void by the High Court or Supreme Court if it is found unconstitutional as violate of the fundamental rights.

Comparison of the two Houses of the State Legislature Legislative Assembly (Vidhan Sabha) like the Lok Sabha, occupies a dominant position.

Legislative Council (Vidhan Parishad) enjoys much less powers as compared to the powers of Vidhan Sabha even in relation to ordinary bills. The Rajya Sabha at the Centre enjoys equal powers in consideration of bills other than money bills; but Vidhan Parishad enjoys much lesser powers as compared to the Rajya Sabha.

PRESIDENT GOVERNOR

CHIEF MINISTER DEPUTY SPEAKER

SPEAKER

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

CHIEF SECRETARY PRINCIPAL SECRETARY JOINT SECRETARY DEPUTY SECRETARY UNDER SECRETARY [CLASS I] SECTION OFFICERS [CLASS II]

LEGISLATION ACCOUNTS ESTABLISHMENTS PROTOCOL TRANSLATION QUESTION

DY. SECTION OFFICERS [CLASS III]

PRINTING AND PUBLICATION 28

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

SITE ANALYSIS AND PROGRAMME FORMULATION

PROGRAMME Assembly Assembly hall 1 Seating for 150 MLA’s 50 additional seats 2 Officers’ seating -50 3 Recording room and translation booth 4 Light and sound control room 5 Reporters’ Council hall 1 Seating for 100 MLA’s 25 additional seats 2 Officers’ seating -50 3 Recording room and translation booth 4 Light and sound control room 5 Reporters’ Combined hall 1 Seating capacity - 400 2 Stage with governor’s seat 3 Recording room and translation booth 4 Light and sound control room 5 Reporters’

3 sq.m. / person 2sq.m./person 3sq.m./person 3 sq.m. / person 2sq.m./person 3sq.m./person 2 sq.m. / person

3sq.m./person

Lobbies 1 Inner lobby ruling – 120x2 2 Inner lobby opposition – 120x2 3 Combined lobby – 300 4 Ladies lobby – 60 5 Public entrance lobby – 250 6 Press lobby – 150 7 Chief ministers lobby – 150 8 Other ministers lobby

2sq.m. / person 2sq.m. / person 2sq.m. / person 2sq.m. / person 2sq.m. / person 2sq.m. / person 2sq.m. / person 2sq.m. / person

Galleries x 3 1 Press – 75 2 Public – 150 3 Speakers – 50 4 School – 50 5 Officer – 50 6 VIP – 25 7 Council – 50 8 Governor - 02

1.5sq.m. / person 1.5sq.m. / person 1.5sq.m. / person 1.5sq.m. / person 1.5sq.m. / person 1.5sq.m. / person 1.5sq.m. / person 5sq.m. / person

600 100 10 10 30 Total- 750 375 100 10 10 30 Total- 525 800 50 10 10 30 Total- 900 480 480 600 120 500 300 300 1500 Total- 4280 112 225 75 75 75 37.5 75 10

VIP chambers 1 Speaker’s office/ chairman’s office 2 Anteroom + toilet 3 PA and waiting 4 Meeting room

2

1 2 3

Deputy speaker’s office/ dy chairman’s office Anteroom + toilet PA and waiting

2

1 2 3 4

Chief minister’s office Anteroom + toilet PA and waiting Meeting room

1

Other chambers 1 Leader of opposition office 2 Anteroom + toilet 3 PA and waiting 4 Meeting room 1 2 3 4

Ministers’ office Anteroom + toilet PA and waiting Meeting room 25

1

50

50 20 25 50 Total-145 290 35 15 15 Total- 65 130 75 30 40 100 Total- 245 40 20 25 40 Total- 125 25 15 15 Total- 80 4000

Party halls 1 Ruling party hall – 150 2 Opposition party hall – 150 3 Secretary’s office x5 4 Committee chairman’s office 5 Cabinet meeting room 6 VIP guest room Committee halls 1 Large halls – 25x3 2 Small halls – 12x3 3 Tea break room with anteroom and pantry 4 Business advisory committee hall

250 250 100 100 100 75 Total- 875 3sq.m. / person 225 3sq.m. / person 108 3sq.m. / person 150 3sq.m. / person 75 Total- 558

Total- 2054 ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

Assembly secretariat 1 Chief secretary’s office x 3 2 Principal secretary’s office x 3 3 Joint secretary office x 2 4 Deputy secretary’s office x 5 5 Under secretary’s office x 7 6 Desk officers x 20 7 Business advisory committeemember’s cabin x 10 8 Editor of debates office 9 Reporters’ office 10 Printing and publication sec.

11 Question section 12 Legislation section 13 Accounts section 14 Establishment section 15 Protocol section 16 Translation section Library 1 Reading room – 150 2 Carrels – 10 3 Book stack area 4 Periodical and newspaper 5 Librarian’s office 6 Archives 7 Maintenance 8 Office Records department 1 Current record 2 Protocol / pay bills 3 Old records (permanent) 4 Printing press ASSEMBLIES 2175 LOBBIES and GALLERIES 6334 OFFICES 6223 LIBRARY 2055 FACILITIES 5220 Total = 22007 TOTAL CARPET AREA -A = 22007 BUILT UP AREA -B = A / 0.85 = 25890 CIRCULATION C = 0.4 * B = 10356 TOTAL BUILT UP AREA -D = B + C = 36246 sq.m ANAND LAKHANI

SITE ANALYSIS AND PROGRAMME FORMULATION

50 x 3 50 x 3 40 x 2 30 x 5 20 x 7

150 150 80 150 140 140 250

25 x 10

150 120 120 15 15 15 15 15 15 Total- 1540

75 x 2

2sq.m. / person

300 50 300 100 40 100 25 40 Total- 955

400 150 400 150 Total- 1100 CHHATTISGARH MUSEUM Main Exhibition area 1700 sqm Exclusive Artifacts 270 sqm Reception and Manager 60 sqm Toilets 120 sqm total- 2150 sqm

General facilities 1 Cafeteria : i.

MLA ii.

Staff iii. Press / public 2 Kitchen 3 Banquet hall 4 Bank 5 Post office 6 Rail / air / bus booking office 7 Health care centre (with doctor, ICU, lab) 8 Security : i.

Guards office ii.

Retiring area iii. Communication room 9 Press retiring room 10 Communication room -2 11 Cloak rooms – 3 12 Entrance lobbies Services 1 A C plant room 2 Electrical panel room 3 Generator room 4 Water tank / pumps 5 Telephone exchange 6 AHU 7 Civil maintenance department 8 Store 1 9 Store 2 10 Fire fighting department 11 toilets Parking 1 VIP I. cars- 30 ii. Security vans- 15 2 Public / press I. Cars- 50 ii. Two wheeler- 30 3 Staff: I. Vans- 4 ii. Cars- 50 iii. Two wheeler- 30 iv. Cycles- 15 4 Service vehicle I. Ambulance- 1 ii. Fire fighting truck- 1

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

300 300 300 150 500 100 50 100 200 100 150 100 150 240 80 500 Total- 3320 300 150 100 150 50 100 150 150 150 100 500 total- 1900 375 250 625 70 65 625 70 20 50 50 Total- 2200 30

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

SITE ANALYSIS AND PROGRAMME FORMULATION

CHART OF THE SYSTEM OF THE LEGISLATIVE ASSEMBLY

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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Design:

CONCEPTS AND CONCEPTUALS State Legislative Assembly of Chhattisgarh, Raipur

Anand Lakhani- 1604 32

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

CONCEPTS AND CONCEPTUALS

CONCEPT NOTE Art of designing is a complex phenomena, ides behind the results are not always as straight as it seems. The presented design is not evolved through a single thought but through various ideas as process evolves.

Architectural design for assembly start with a simple thought of building as The Center where, assembly is center of state , Naya raipur and of site itself, for preserve the dignity of the legislative assembly building.

Public access from the site to legislative assembly building is not axial or central [which gives building a monarchical or religious monumentality.], but access way is beside the center to respond democratic system.

The building is important in the context of Naya Raipur [capital city]. Main idea of designing legislative assembly is that; The legislative assembly building should have power and monumentality and on the same way it represent democratic system of India. Legislative assembly building should be Iconic for being Reference to the context or the city.

The internal system of legislative assembly such as Assembly Secretariate and Ministry; is mainly Introverted except Debating Chamber and its peripheral functions. the design decision for this criteria is that- the building is express Introvertness based on system criteria and Environmental aspects through less outside openings, jali and cavity walls. these elements designed in such a way that the expression of building remain monumental and iconic. the front side of the building opens up for representation of democracy.

Here the system is based upon the federal parliamentary constitutional republic-it is almost represent democracy.

The central idea is to give equal importance to public and political structure as the administration can be grown on the base of public [referential comparison of public and administrative domain], it is the administrative cycle which gives equal importance to public and government.

The museum is proposed based on the comparison of : 1. Cultural representation for public realm.

2. Representation of legislation for political realm.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

Access to legislative assembly Axial path leads to dominance or power of the building and it represent monarchy.

Here the building represent democratic system.

Referential comparison of public and political domain.

Comparison of systems reflects in the building through scale of the building.

Dominance of building express through perceivence of democracy.

ANAND LAKHANI

CONCEPTS AND CONCEPTUALS

Interpretation based upon fundamental interrelation Inner lobbies and public lobbies are inter c o n n e c t e d t h ro u g h debating chamber.

Debating chamber act as centralized space of all connected functions.

Representation of Culture of People through Museum Distributory canal is the only element between public and administrative area.

Water reflcts both p u b l i c a n d administrative system to each other.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

CONCEPTS AND CONCEPTUALS

CONCEPTUAL MASTER PLAN FOR CAPITOL COMPLEX

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

Place of the function in the space leads to strong planning formation speaker’s chair, ruling party and opposition party are three major internal functions of state legislative assembly. interrelation ship, placement and scale of these functions leads to strong formation of planning aspects.

Relationship of the functions in the space leads to derivation of built form and planning of major functions in the building with reference to internal functional aspects Debating chamber, assembly secretariat and ministry are three major functions of state legislative assembly.

These three functions designed with reference of debating chamber.

ANAND LAKHANI

CONCEPTS AND CONCEPTUALS

Water channel separates P u b l i c a n d Administrative area. in capitol complex public area and a d m i n i st ra t i v e a re a [ s e c u re d ] n e e d s t o separate for both system and security reasons.

Distributory canal act as a separation element.

Plinth as an element to express power or dominance.

In democratic system public structure should d o m i n a t e t h e administrative structure.

Raised plinth in different manner represents public realm influence the political realm.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

CONCEPTS AND CONCEPTUALS

CONCEPTUAL PLAN

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

CONCEPTS AND CONCEPTUALS

CONCEPTUAL PLAN

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

CONCEPTS AND CONCEPTUALS

Designed external facade and orientation of the building for environmental response legislative assembly building oriented in such a way that building should work in hot and dry climate as well as express introverted system and opens up in north direction to express democracy. public plaza at the public area is north oriented with backdrop of museum building in south side.

Contrived buffer space is strong experience to proceed one space to another Entrance to the debating chamber from public lobby is a buffer space with sky light to enhance the experience to go into the chamber of debate.

Expression of democracy through screen of north facade Screen works as a facade treatment and the seen through screen is reflection of dominant public realm and people.

ANAND LAKHANI

idea of construction designs spaces with great rhythmic experience.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

CONCEPTS AND CONCEPTUALS

Huge public entrance to enhance the dignity of system and building.

Contrived buffer space is strong experience to proceed one space to another In between stoppages of the main corridors helps to break t h e l e n gt h i n e s s o f corridors and on the same way it connects the interrelated peripheral functions Entrance to the assembly area from the corridor is a buffer space with sky light to enhance the experience to go into the main area.

Design decision for debating chamber and interrelated functions such as press conferences, galleries and technical units.

Design decision for construction detail.

Cavity walls are all around building for climate response, technical services and iconic expression.

Design decision for debating chamber and interrelated functions such as speaker’s foyer and officer’s foyer.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

CONCEPTS AND CONCEPTUALS

MAJOR FUNCTIONAL ORGANIZATION IN CONCEPTUAL PLAN RESTAURANT

STAIRCASE AND LIFT

ASSEMBLY SECRETARIAT

AMENITIES AND SERVICES

Corridor corridor works as strong datum for many different functions.

PUBLIC ENTRANCE CONFERENCES AND PARTY HALLS

DEBATING CHAMBER

ASSEMBLY SECRETARIAT

MLA AND STAFF ENTRANCE OPEN SPACE FOR NATIONAL EVENTS

CHHATTISGARH MUSEUM

MINISTRY

LIBRARY

DISTRIBUTORY CANAL

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

CONCEPTS AND CONCEPTUALS

A conceptual sketch from open space for national events

‘The very essence of democracy is that every person represents all the varied interests which compose the nation.’

‘The spirit of democracy cannot be imposed from without. It has to come from within.’

‘My notion of democracy is that under it the weakest should have the same opportunity as the strongest.’

-quotes of Mahatma Gandhi, synthesized by Sunanda Gandhi.

Construction detail of Stone structure.

A conceptual sketch of jali [screen] defines open space with response to internal functions.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

CONCEPTS AND CONCEPTUALS

CONCEPTUAL MODELING

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

43

Design:

IDEAS AND REFERENTIAL STUDY State Legislative Assembly of Chhattisgarh, Raipur

Anand Lakhani- 1604 44

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

IDEAS AND REFERENTIAL STUDY

Deir el-Bahari: Experience of movement and symbolic importanceof monarchical religion.

Deir el-Bahari [The Northern Monastery] is a complex of mortuary temples and tombs located on the west bank of the Nile, opposite the city of Luxor, Egypt.

While Hatshepsut used Mentuhotep's temple as a model, the two structures are significantly different. Hatshepsut employed a lengthy colonnaded terrace that deviated from the centralized massing of Menuhotep's model – an anomaly that may be caused by the decentralized location of her burial chamber.

There are three layered terraces reaching 97 feet (30 m) in height. Each 'story' is articulated by a double colonnade of square piers, with the exception of the northwest corner of the central terrace, which employs Proto-Doric columns to house the chapel. These terraces are connected by long ramps which were once surrounded by gardens. The layering of Hatshepsut's temple corresponds with the classical Theban form, employing pylon, courts, hypostyle hall, sun court, chapel, and sanctuary.

Temple of Hatshepsut [Architectural Layout] Restored view of Deir el- Bahari complex. Robust form of temple of mentuhotep and strong axis of temple of hashepsut express power of religion and monarchy against the backdrop of mountains.

Reconstructed View of Mentuhotep's temple.

Plan of Deir el- Bahari complex.

ANAND LAKHANI

View of temple of Hatshepsut.

1.

2.

3.

An avenue of sphinxes leads to the temple's lower court Lower Court Ramp - Crouching lions are carved at the bottom of the ramp leading to the second court 4.

Middle Court - In the second court there was once a brick temple dedicated to Amenhotep 1 and Ahmose-Nefertari, but it was destroyed when Hatshepsut's architect began construction of the new temple.

5.

Anubis chapel - on the north side of the middle court, the chapel has scenes showing Tuthmose 3 worshipping Seker, and figures of many gods, mainly Anubis, Amun andOsiris In one scene Hatshepsut makes offerings to Anubis 6.

Punt Colonnade - Relieves on the north side of the court show the queen's expedition from the Red Sea to Punt. The precise location of Punt is not known, but it is thought to have been probably on the east coast of Africa 7.

Birth Colonnade - Relief's show Hatshepsut's divine birth 8.

Ramp - flanked by Horus falcons 9.

Upper Court - The pillars in the portico in front of the third court were decorated with Osiris statues of the queen 10. Sanctuary of the sun - shows scenes of gods Harmachis, any other gods near to this altar were destroyed by Akhenaten (Harmachis was as a form of the Aten) There are also scenes of Tuthmose I and Queen Senseneb making offerings to Anubis. in the middle is a doorway which leads to the inner sanctuary of Amun 11. Sanctuary of Amun - the focus of the temple which was cut deep into the rock of the mountain, this would have been the resting place for the boat of Amun during the 'Valley Festival'. In here there are various scenes of offerings to Amun, Hatshepsutand her daughter Raneferu kneel before the barque of Amun. Hatshepsut,Thutmose 3 and the Princess Raneferu sacrifice to the barque of Amun - Ra. The most inner room of the Sanctuary was re-built in Ptolemaic Period and scenes honor the deified Imhotep.

12. Hathor Chapel -. At the very end of the southern portico is a Chapel of Hathor with many relieves of Hatshepsut being licked or suckled by the goddess in the form of a cow. Beautiful Hathor headed pillars line the central part of the hall and lead the way to the sanctuary area of the chapel cut into the hillside at the back.

INDUBHAI PAREKH SCHOOL 1 OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

IDEAS AND REFERENTIAL STUDY

Luxor Temple: Expression of monumentality Luxor Temple is a large Ancient Egyptian temple complex located on the east bank of the Nile River in the city today known as Luxor (ancient Thebes) and was founded in 1400 BCE. For centuries Thebes was once known as the capital of the known world.

In Luxor there are six great temples, the four on the left bank are known to travellers and readers of travels as Goornah, Dayr-eh-Baharee, the Ramesseum, and Medinet Haboo; and the two temples on the right bank are known as the Karnak and Luxor.

To the rear of the temple are chapels built by Tuthmosis III, and Alexander. During the Roman era, the temple and its surroundings were a legionary fortress and the home of the Roman government in the area.

The Luxor temple was built with sandstone from the Gebel el-Silsila area, which is located in south-western Egypt. This sandstone from the Gebel el-Silsila region is referred to as Nubian Sandstone. This sandstone was used for the construction for monuments in Upper Egypt as well as in the course of past and current restoration works.

Like other Egyptian structures a common technique used was symbolism, or illusionism. For example, to the Egyptian, a sanctuary shaped like an Anubis Jackal was really Anubis. At the Luxor temple, the two obelisks (the smaller one closer to the west is now in the Place de la Concorde in Paris) flanking the entrance were not the same height, but they created the illusion that they were.

With the layout of the temple they appear to be of equal height, but using illusionism, it enhances the relative distances hence making them look the same size to the wall behind it. Symbolically, it is a visual and spacial effect to emphasize the heights and distance from the wall, enhancing the already existing pathway.

Restored view of entrance of the Temple- Huge sculptures are representatives of god and scale of the sculptures to the human are enormous. Wall paintings describes myth and activities symbolically.

Reconstructed view of Luxor temple- massive and monumental expression defines dominance of religion.

Plan of Luxor temple ANAND LAKHANI

INDUBHAI PAREKH SCHOOL 1 OF ARCHITECTURE, RAJKOT

Bird’s eye view of the Temple showing ruins.

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

IDEAS AND REFERENTIAL STUDY

The Precinct of Athena: Geography as a major deriving force for Builtform.

Situated at the sacred place on the left of the superior entry of the Acropolis; it is composed by the Propylaea, the Stoa and the Temple of Athena, all surrounding the Sacred Square.

Reconstructed view of The Precinct of Athena- Different plaaning of structures, geography express them as one.

1 RULER’S CULT PRECINCT 2 SHOPS 3 CASTLE GATE 4 PROPYLON OF ATHENA TEMENOS 5 ENTRANCE TO PALACE V 6 ROTUNDA [SCULPTURE OF DYING GAUL] 7 TEMPLE OF ATHENA 8 LIBRARY 9 10 PALACE V [EUMENES II] 11 PALACE IV 12 PALACE III 13 PALACE II 14 PALACE I [BARRACKS] 15 TRAJAN’S TEMPLE 16 THEATER 17 TEMPLE OF DIONYSIUS 18 THEATER STOA 19 STOA 20 GREAT ALTAR OF ZEUS [FOUNDATION] 21 UPPER MARKET 22 UPPER AGORA

4

8

The Propylaea: The entrance to the Sanctuary, made with andesite, was done by the East side crossing the two-level Propylaea (monumental entrance). In the facade, the first level had four Doric columns, and the second level had four Ionic columns. The architrave that was placed between the two levels held the following dedication: From King Eumenes to Athena Nikephore, the Bearer of Victories. At the balcony on the second level were displayed the weapons of the defeated Galates.

The Propylaea and the Stoa were built in commemoration of this victory.

6

7

Plan of Temple of Athena- Perception of the temple in the complex is centralized by laws of perspective.

N

Plan of The Precinct of Athena ANAND LAKHANI

The Temple of Athena: Built in the 3rd century BC, this is the oldest cult center of the city. The Doric order building was constructed on a peripteral plan with six columns on the facade and ten on the long sides. The krepis (the basement of the Temple) is formed by two steps and measures 41.7 x 71.4 ft. (12.72 x 21.77 m). The naos or cella (the inner sanctum) is divided in two and was dedicated to Goddess Athena but also to God Zeus.

The foundations of the Sanctuary were linked together by crepidoma of iron and wood. The traces of this crepidoma are still visible. The Sanctuary of the Temple is built with the andesite of the country. Earlier, the Sanctuary of the Temple was composed by a rock located at the NorthEast, inclined to the South. It was by cutting these rocks that the flat surface was obtained. This rectification was made at the time of the founding of the Sacred Stoa. At a later period a partial rectification was undertaken. The sanctuary, unreachable by the South, is held by a wall of dressed blocks. At the West, which is the superior part of the theater, is encircled by a long wall. At the head of that wall is a way through the theater with 29 steps. This way between the Temple and the theater was prepared for a few people.

The Stoa: Crossing the Propylaea the two-level stoa is reached. The Stoa, placed inside the sanctuary, is at the North-South and East-West corner. The length of the North-South gallery is 131 ft. (40 m) long and 17.7 ft. (5.4 m) wide. The first level has 17 Doric columns. The length of the East-West gallery is 213 ft. (65 m) long and 32 ft. (10 m) wide. Two stairs lead to the first level of both galleries.

The wall of this gallery had niches for statues and reliefs from the sculptors Epigonos, Phyromachios, Statonicos and Antigonos. The gallery's second level was made with Ionic columns.

The stone architrave, placed above the Ionic capitals, were of the Doric order. This type of architecture was typical of Pergamon. The internal surface of the walls of this gallery was covered with marble plaques 5.9 ft. (1.8 m) high. Between the Ionic columns of the second level , there was 42 panels with 3.2 ft. (1 m) high. These panels, facing the Sanctuary, displayed the weapons of the defeated Galates.

At the sanctuary of Athena there were art collections and the trophies taken to the Galates, at the time of their defeat. More, as a sign of gratitude Attalus I (241-197 BCE) erected beside the trophies a magnificent statue representing the Goddess Athena. His son, Eumenes II (197-159 BCE), after defeating the Spartan tyrant Nabis, erected a monument honoring the Goddess Athena Nikephore, the Bearer of Victories, a statue with more then 19.6 ft. (6 m) high.

Behind the north stoa was housed Pergamon's famous Library also built by Attalus I, which at its peak rivaled that of Alexandria. The access to the West rooms of the Library was made by the first stage of the North Stoa. Later kings commissioned a copy of the great Phidias' Athena Parthenos to the Library.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

IDEAS AND REFERENTIAL STUDY

Shri Ranganathaswamy Temple, Shri Rangam : Monumental Expression of Movement The Sri Ranganathaswamy Temple or Tiruvarangam is a Hindu temple dedicated to Ranganatha, a reclining form of Hindu deity, Vishnu located in Srirangam, Tiruchirapalli, Tamil Nadu, India . Constructed in the Dravidian style of architecture, this temple is glorified in the Divya Prabandha, the early medieval Tamil literature canon of the Alvar saints from the 6th–9th centuries CE and is counted as the first and foremost among the 108 Divya Desams dedicated to Vishnu.

According to the temple's website, Srirangam can be considered the biggest functioning Hindu temple in the world as it covers an area of about 631,000 square meters (6,790,000 sq ft) with a perimeter of 4 km (10,710 ft). Srirangam claims to be the biggest functioning temple, because Angkor Wat is the biggest but non-functioning Hindu temple in the world.

Srirangam is the foremost of the eight self-manifested shrines (Swayam Vyakta Kshetras) of Lord Vishnu . It is also considered the first, foremost and the most important of the 108 main Vishnu temples (Divyadesams). This temple is also known as Thiruvaranga Tirupati, Periyakoil, Bhoologa Vaikundam, Bhogamandabam. In the Vaishnava parlance the term "KOIL" signifies this temple only.

It has seven prakarams or enclosures. These enclosures are formed by thick and huge rampart walls which run round the sanctum. There are 21 magnificent towers in all prakarams providing a unique sight to any visitor. this temple lies on an islet formed by the twin rivers Cauvery and Coleroon.

The temple is enclosed by 7 concentric walls (termedprakarams (outer courtyard) or mathil suvar) with a total length of 32,592 feet or over six miles. These temple has 21 gopurams (towers), 39 pavilions, fifty shrines, Ayiram kaal mandapam (a hall of 1000 pillars) and several small water bodies inside. The space within the outer two prakarams (outer courtyard) is occupied by several shops, restaurants and flower stalls. Non-Hindus are allowed up to the second prakaram (outer courtyard) but not inside the gold topped sanctum sanctorum. Thegopuram of the temple is called the Rajagopuram and is 236 feet (72 m) tall, the tallest in Asia.

The temple is constituted by seven prakaras (elevated enclosures) with gopurams articulating the axial path, the highest at the outermost prakara and the lowest at the innermost. In historic times, just after the construction of this temple, the city of Srirangam lived completely within the walls of this temple and hence is quoted as an example of Hindu religious utopia - during its peak of existence.

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View of Rajagopuram.

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Plan of the complex.

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From entrance to Temple: access is open up periodical through Gopurams at each level, which reduces the dominance of religion and enhance the experience of journey.

View of Rajagopuram, Expression of Power over landscape ANAND LAKHANI

INDUBHAI PAREKH SCHOOL 1 OF ARCHITECTURE, RAJKOT

Series of Gopurams end at the Temple.

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IDEAS AND REFERENTIAL STUDY

Sanchi Stupa: Strong Symbolization to Represent Religion Although not directly connected with events in the life of the Buddha, Sanchi became a pilgrimage site when Ashoka Maurya erected a stupa and column there in the middle of the 3d century BC. Later rulers enlarged the complex. After the decline of Buddhism in India, the ruins lay neglected until the 19th century, when they were despoiled by treasure hunters. Restoration activity commenced in the early 20th century, with the rebuilding of the principal stupas and the creation of the present park and museum. Sanchi is a UNESCO World Heritage Site.

Reconstructed view of Stupas and Monastries at sanchi.

The earliest stupas predated Buddhism and were simple funerary mounds which held the ashes of the deceased. Built of earth, they have not survived. Buddhist stupas developed as reliquary mounds, holding the divided ashes of Buddha himself, or of later Buddhist teachers.

However, many stupas contain only symbolic objects rather than actual remains. The dome is filled with rubble, covered by a masonry exterior, and topped by a squared-off platform (harmika) that encloses a royal parasol (chattra) atop a mast (yasti). In its full development, the dome is placed atop an elevated platform with stairs leading clockwise from the ground level up to a circular walkway, where the worshipper may circumambulate the dome. Finally, the whole stupa is enclosed by a railing (vedika) and elaborate gates (torana) are built in front of each of the four cardinal points. The forms of the staircase, gates, harmika, and so on are imitative of wooden structures. The harmika and associated structures are derived from the chaitya - an early tree-shrine, surrounded by a fence.

All these features can be seen in Stupa 1 at Sanchi, the earliest and best surviving example of this kind of building.

The stupa undergoes a long development following this early history, transforming ultimately into the dagoba (Sri Lanka), chorten (Tibet), wat (SE Asia), and pagoda (China, Japan).

Symbolism of the stupa relates first of all to directionality and the cosmos. Stupas are built on a hill, where their beneficial influence can radiate to all four points of the compass. The dome represents the universe, also (as in later Hindu temples) a world-mountain whose axis is defined by the mast, and finally the symbolic body of Buddha himself, decorated (on gates and railings only) with sculpted scenes from his life and Jataka stories of his previous incarnations.

Plan and Elevation of Stupa at Sanchi.

View of Stupa at Sanchi- model of Cosmos: strong symbolization to represent religion and to expand it.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL 1 OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

IDEAS AND REFERENTIAL STUDY

Borobudur: Movement as a generator of Built form.

Plan of Borobudur

ANAND LAKHANI

The monument is arranged as an ascending series of three circular platforms that rest upon six square ones, capped by a large central stupa. It is symmetrical in plan with respect to the four cardinal directions, with the principal entrance on its eastern side.

Borobudur is built as a single large stupa, and when viewed from above takes the form of a giant tantric Buddhist mandala, simultaneously representing the Buddhist cosmology and the nature of mind. The foundation is a square, approximately 118 metres (387 ft) on each side. It has nine platforms, of which the lower six are square and the upper three are circular. The upper platform features seventy-two small stupas surrounding one large central stupa. Each stupa is bell-shaped and pierced by numerous decorative openings. Statues of the Buddha sit inside the pierced enclosures.

The design of Borobudur took the form of a step pyramid. Previously the prehistoric Austronesian megalithic culture in Indonesia had constructed several earth mounds and stone step pyramid structures called punden berundak as discovered in Pangguyangan, Cisolok and Gunung Padang, West Java. The construction of stone pyramids is based on native beliefs that mountains and high places are the abode of ancestral spirits or hyangs. The punden berundak step pyramid is the basic design in Borobudur, believed to be the continuation of older megalithic tradition incorporated with Mahayana Buddhist ideas and symbolism.

The monument's three divisions symbolize the three "realms" of Buddhist cosmology, namely Kamadhatu (the world of desires), Rupadhatu (the world of forms), and finally Arupadhatu (the formless world). Ordinary sentient beings live out their lives on the lowest level, the realm of desire.

Those who have burnt out all desire for continued existence leave the world of desire and live in the world on the level of form alone: they see forms but are not drawn to them. Finally, full Buddhas go beyond even form, and experience reality at its purest, most fundamental level, the formless ocean of nirvana. The liberation from the cycle of Sa? sara where the enlightened soul had no longer attached to worldly form is corresponds to the concept of Sunyata, the complete voidness or the nonexistence of the self. Kamadhatu is represented by the base, Rupadhatu by the five square platforms (the body), and Arupadhatu by the three circular platforms and the large topmost stupa. The architectural features between three stages have metaphorical differences. For instance, square and detailed decorations in the Rupadhatu disappear into plain circular platforms in the Arupadhatu to represent how the world of forms – where men are still attached with forms and names – changes into the world of the formless.

Congregational worship in Borobudur is performed in a walking pilgrimage. Pilgrims are guided by the system of staircases and corridors ascending to the top platform. Each platform represents one stage of enlightenment. The path that guides pilgrims was designed to symbolize Buddhist cosmology.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

IDEAS AND REFERENTIAL STUDY

The facade of the building is decorated with carvings that include makaras, guardian figures, and 432 buddha statues (108 on each side) that are set into niches. 108 is the number of physical marks (such as urna, ushnisha, etc.) that distinguish a buddha, and also has numerological significance as the product of 27x4 = 3x3x3 times 2x2. The buddhas on the lower four levels of each side display a characteristic directional mudra: bhumisparsa on the east, varada on the south, dhyana on the west, and abhaya on the north. On all four sides of the top row, the statues are in vitarka mudra.

The balustraded walls of the square terraces form a roofless, winding corridor on each level. The walls of the corridors are decorated with reliefs: 路 路 路 路

1, outer wall: lower and upper tiers: jataka stories 1, inner wall: lower tier: avadanas; upper tier: life of Shakyamuni 2, outer wall: jatakas and avadanas; inner wall: Gandavyuha 3-4, inner and outer walls: Gandavyuha

The jatakas and avadanas are popular stories about the past lives (incarnations) of human beings like Shakyamuni, who eventually became bodhisattvas as the result of their selfless actions.

The life of Shakyamuni, on the upper tier of corridor 1, is taken from an Indonesian version of the Lalitavistara, which describes his birth, spiritual journey, and enlightenment. The Gandavyuha Sutra (the last chapter of the Avatamsaka Sutra) is the story of a pilgrim named Sudhana, who visited 54 teachers1 in the course of a spiritual quest. All of these reliefs, in other words, are teaching aids that instruct visitors in how to become a bodhisattva, the spiritual goal of Mahayana Buddhist practice.

After circumambulating the teaching corridors with their pictorial reliefs, the pilgrim ascends to the open upper platform that is occupied by 72 buddha statues ("S" in the diagram), each displaying dharmachakra mudra and enclosed in its own small, pierced, stupa. (The number 72 itself has numerological significance, being the product of 9x8 = 3x3 times 2x2x2.) Two of these small stupas have been opened ("O" in the diagram) for display to modern visitors. Many scholars believe that this level represents the Buddhist Realm Of Formlessness (i.e. the spiritual world), a higher reality in contrast to the Realm Of Form (i.e. the physical world) that is depicted in the corridor reliefs. The entire plan, with its square and circular elements, can also be interpreted as a physical mandala through which the pilgrim may navigate in order to further his spiritual growth.

The large central stupa that crowns the monument has a hollow chamber within, that is completely walled off from the outside. When opened during restoration, it was found to contain an unfinished Buddha image that may represent a transcendent spiritual state. Besides these interpretations, the monument as a whole with its overall form and various levels and decorations can be seen both as a symbolic stupa, and as a world-mountain. All of these symbolic meanings are compatible with each other, and probably all were intended to apply here. Such multivalent symbolism was culturally available and readily understood both to the builders of the monument and to those who utilized it in their religious activities. This large and magnificent work should also be seen, in secular terms, as a most impressive demonstration of the power and piety of the Sailendra kings who organized and financed its construction.

Arial view of Borobudur- transformation of form through movement of the building itself.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

51

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

IDEAS AND REFERENTIAL STUDY

Mausoleum, Gonbad-e QÄ bus: Representation of Symbolic power through Z- axis.

The Tower in the central part of the city reaches 72 metres (236 ft- including the height of the platform), however, it is not the tallest brick tower in the world (after many towers). However,it is still the tallest pure-brick tower in the world.

The baked-brick-built tower is an enormous decagon building with a conic roof, which forms the golden ratio that Phi equals 1.618. The interiors contain the earliest examples of Muqarnas decorative styles. The decagon with its 3 meter-thick wall, divided into 10 sides, has a diameter of 17 m . The Tower was built on such a scientific and architectural design that at the front of the Tower, at an external circle, one can hear one's echo.

The tower was built in 1006 AD on the orders of the Ziyarid Amir Shams ol-Ma'ali Qabus ibn Wushmgir. It is located 3 km north of the ancient city of Jorjan, from where the Ziyarid dynasty ruled. The tower is over 1000 years old.

Even though the inscription does not explicitly refer to the rumor that the tower was built for the tomb for the prince Ziyarid ruler, it is believed that the Sultan's body was put in a glass coffin and was suspended from the ceiling of the tower.

View of tower of Gonbad e Qabus over landscape.

ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

Plan and Section- not to scale 52

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

IDEAS AND REFERENTIAL STUDY

Mausoleum of Augustus: Reflection of Social customs into strong Planning aspects

Reconstructed view of Mausoleum of Augustus

Plan of Mausoleum of Augustus- not to scale ANAND LAKHANI

The Mausoleum of Augustus is a large tomb built by the Roman Emperor Augustus in 28 BC on the Campus Martius in Rome, Italy.

The Mausoleum was one of the first projects initiated by Augustus in the city of Rome following his victory at the Battle of Actium in 31 BC. The mausoleum was circular in plan, consisting of several concentric rings of earth and brick, planted with cypresses on top of the building and capped (possibly, as reconstructions are unsure at best) by a conical roof and a statue of Augustus. Vaults held up the roof and opened up the burial spaces below. Twin pink granite obelisks flanked the arched entryway; these now stand, one at the Piazza dell'Esquilino (on the northwest side of the Basilica of Santa Maria Maggiore) and other at the Quirinal fountain. The completed Mausoleum measured 90 m (295 ft) in diameter by 42 m (137 ft) in height.

A corridor ran from the entryway into the heart of the Mausoleum, where there was a chamber with three niches to hold the golden urns enshrining the ashes of the Imperial Family.

"The Mausoleum of Augustus, Rome, built by Augustus as his own family tomb, looks back to the Etruscan tumulus for its basic form, though it broke the long-standing rule forbidding burial inside the city. Like the later Mausoleum of Hadrian, it had as its base a huge cylinder, 88 m (290 ft) in diameter. The outer wall was constructed of concrete, faced with travertine opus quadratum.

Behind this, a complex system of four circumferential and numerous radial walls, similarly constructed of concrete but now mostly faced with opus reticulatum, divided the interior into concentric compartments, though, apart from the sepulchral chamber and the passages leading to it, these compartments were simply filled with earth." -Bannister Fletcher: History of Architecture.

Element of Design and Construction INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

IDEAS AND REFERENTIAL STUDY

The Taj Mahal: Strong Axial Organization Enhance the Power of Built form The Taj Mahal incorporates and expands on many design traditions, particularly Persian and earlier Mughal architecture. Specific inspiration came from a number of successful Timurid and Mughal buildings. These include the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb, and Shah Jahan's own Jama Masjid in Delhi.

Under his patronage, Mughal building reached new levels of refinement. While previous Mughal building had primarily been constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones.

The Taj Gateway: The massive red sandstone Taj Gateway was completed in the year 1648 and stands 30 m high. The gateway is topped by small cupolas or chhatris. Symbolic of the divide between the material and the spiritual, the gateway is decorated in calligraphy with verses from holy Koran.

Charbagh - The Taj Garden: The beauty of the Taj Mahal is enhanced by the garden laid out in the Persian Charbagh (four garden plan) style. The entire area of the Taj complex is 580 m (1,902 ft) by300 m (984 ft), while the garden alone makes up an area of 300 m (984 ft) by 300 m (984 ft).

Taj Mahal - Pietra Dura The Tomb: The tomb stands on its own marble plinth, which rests on a red sandstone platform. Four tall pillars, 138 ft each, rise up from the corners of the white marble plinth are topped with eight windowed cupolas. Immediately below the dome is the tomb of Mumtaz Mahal which is centrally lined with the main entrance. Besides Mumtaz Mahal's tomb is the tomb of Shahjahan. The tomb of Shahjahan was not actually intended to be there but Aurangzeb placed it there thus breaking the symmetry.

Pietra Dura: The crypt and the cenotaphs at the Taj carry pietra dura decoration of a fabulous unexcelled elegance. As many as 35 different types of precious stones have been used on a single bloom-turquoise, jade, agate, coral, lapis Lazuli, onyx, bloodstone, cornelian, jasper, garnet and malachite used to fashion blooms of fuchsias, lily, honeysuckle and more. Today, much is left to the imagination of the visitors as most of the precious stones have been plundered or destroyed in the years when Taj Mahal fell into insignificance.

Plan of Taj Mahal complex ANAND LAKHANI

1. The 'moonlight garden' to the north of the river Yamuna.

2. The riverfront terrace, containing the Mausoleum, Mosque and Jawab.

3. The Charbagh garden containing pavilions.

4 . T h e j i l a u k h a n a co nta i n i n g accommodation for the tomb attendants and two subsidiary tombs.

5. The Taj Ganji, originally a bazaar and caravanserai only traces of which are still preserved.

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

IDEAS AND REFERENTIAL STUDY

Tikal: Power of religion and administration with importance of public domain This town were built along a predetermined axis, with a group of wide-stepped plazas that were linked to platforms on which temples, palaces and pyramids were built. The urban design did not always follow a plan, but often corresponded to the earth's topography, often in accordance with mathematical measurements and magical symbolism.

The topography of Tikal influenced the creation of a center, the north Acropolis, in relation with other important buildings. The homes of the common people were built beyond this large complex.

The North Acropolis, together with the Great Plaza immediately to the south, is one of the most studied architectural groups in the Maya area; the Tikal Project excavated a massive trench across the complex, thoroughly investigating its construction history. It is a complex group with construction beginning in the Preclassic Period, around 350 BC. It developed into a funerary complex for the ruling dynasty of the Classic Period, with each additional royal burial adding new temples on top of the older structures. After AD 400 a row of tall pyramids was added to the earlier Northern Platform, which measured 100 by 80 metres (330 by 260 ft), gradually hiding it from view.

The Plaza of the Seven Temples is to the west of the South Acropolis. It is bordered on the east side by a row of nearly identical temples, by palaces on the south and west sides and by an unusual triple ballcourt on the north side.

There are nine Twin-Pyramid Complexes at Tikal, one of which was completely dismantled in ancient times and some others were partly destroyed. They vary in size but consist of two pyramids facing each other on an east-west axis. These pyramids are flat-topped and have stairways on all four sides.

Temple I (also known as the Temple of Ah Cacao or Temple of the Great Jaguar) is a funerary View of temple- huge scale and strong form [stepped pyramid] Elements of The Temple pyramid dedicated to Jasaw Chan K'awil, who was entombed in the structure in AD 734, the pyramid was completed around 740–750. The temple rises 47 metres (154 ft) high. The massive roofcomb that topped the temple was originally decorated with a giant sculpture of the enthroned king, although little of this decoration survives.

Temple II (also known as the Temple of the Mask) in was built around AD 700 and stands 38 metres (125 ft) high. Like other major temples at Tikal, the summit shrine had three consecutive chambers with the doorways spanned by wooden lintels, only the middle of which was carved. The temple was dedicated to the wife of Jasaw Chan K'awil, although no tomb was found. The queen's portrait was carved into the lintel spanning the doorway of the summit shrine.

Temple III (also known as the Temple of the Jaguar Priest) was the last of the great pyramids to Restored View- The Plaza of the Seven Temples Restored view of Great plaza and North Acropolis be built at Tikal. It stood 55 metres (180 ft) tall and contained an elaborately sculpted but damaged roof lintel, possibly showing Dark Sun engaged in a ritual dance around AD 810. The temple shrine possesses two chambers.

Temple IV is the tallest temple-pyramid at Tikal, measuring 70 metres (230 ft) from the plaza floor level to the top of its roof comb. Temple IV marks the reign of Yik’in Chan Kawil (Ruler B, the son of Ruler A or Jasaw Chan K'awiil I) and two carved wooden lintels over the doorway that leads into the temple on the pyramid’s summit record a long count date (9.15.10.0.0) that corresponds to CE 741 (Sharer 1994:169). Temple IV is the largest pyramid built anywhere in the Maya region in the 8th century, and as it currently stands is the tallest pre-Columbian structure in the Americas.

Temple VI is also known as the Temple of the Inscriptions and was dedicated in AD 766. It is notable for its 12-metre (39 ft) high roof-comb. Panels of hieroglyphs cover the back and sides of the roof-comb. The temple faces onto a plaza to the west and its front is unrestored.

Reconstructed view of Tikal- All major structures ANAND LAKHANI

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

55

Design:

DESIGN DRAWINGS State Legislative Assembly of Chhattisgarh, Raipur

Anand Lakhani- 1604

master plan

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legislative assembly secretariat directorate governor’s residence MLA hostel and VIP guest house housing for ministers and officers police head quarter government offices helipad

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party halls and conferences

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STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

ANAND LAKHANI

DESIGN DRAWINGS

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

ANAND LAKHANI

DESIGN DRAWINGS

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

ANAND LAKHANI

DESIGN DRAWINGS

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

ANAND LAKHANI

DESIGN DRAWINGS

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

ANAND LAKHANI

DESIGN DRAWINGS

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

ANAND LAKHANI

DESIGN DRAWINGS

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

ANAND LAKHANI

DESIGN DRAWINGS

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

ANAND LAKHANI

DESIGN DRAWINGS

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

STATE LEGISLATIVE ASSEMBLY OF CHHATTISGARH, RAIPUR

ANAND LAKHANI

DESIGN DRAWINGS

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE, RAJKOT

REFERENCES BOOKS: Architecture: Form, Space And Order by Francis D. K. Ching Historiographical Study of Indo Muslim Architecture (India & Pakistan) by Prof. R. Nath Islamic Art and Architecture by Prof. T. W. Arnold On Architecture By Vitruvius, Richard Schofield, Robert Tavernor The District Gazetteer Of Chhattisgarh - S. C. Bhatt Chhattisgarh Ki Lok Kathaian- by - Dr. Kuntal Goel Chhattisgarh General Knowledge - by Dr.. C.L. khanna Taj Mahal - Som Prakash Verma Imagining Egypt By Mark Millmore Renaissance Art And Architecture By Gordon Campbell Sir Banister Fletcher's A History Of Architecture By John Musgrove Chhattisgarh By Eicher Modern Architecture: The Architecture Of Democracy By Vincent Scully Elements of Indian Art: Including Temple Architecture Iconography & Iconometry

by S. P. Gupta, Shashi Prabha Asthana Thematic Space in Indian Architecture by Kulbhushan Jain

WEB SITES: http://cgsird.gov.in/ http://raipur.gov.in/ http://www.cgculture.in/ http://www.wikipedia.org/ http://nayaraipur.com/ http://cgspice.com/ http://www.flickr.com/ www.blogspot.com/ http://www.iloveindia.com/states/chhattisgarh/culture.html http://www.cghandicraft.com/ http://www.handicraftofindia.org/region_central.html http://visitcg.in/ http://cg.gov.in/profile/corigin.htm#social http://www.whereincity.com/india/ancient-india.php http://www.indianetzone.com/40/ancient_indian_political_system.htm http://www.historyforkids.org/learn/government/ http://www.nipissingu.ca/department/history/muhlberger/histdem/indiadem.htm http://www.cgculture.in/Schemes11thFinance.htm http://cg.gov.in/departments/RuralIndustries/Handicraft.pdf http://erkmensenan.blogspot.in/2010/08/assosbehramkale-agora.html http://www.archaeology.org/assos/ http://www.bestmausoleum.com/ http://discoveringegypt.com/pyr-temp.htm http://www.aldokkan.com/art/deir_el_bahri.htm http://www.dartmouth.edu/~classics/rome2005/updates/week7_8/nov7.html http://www.mayadiscovery.com/ing/archaeology/architecture/urbanism.htm http://www.mayadiscovery.com/ing/archaeology/architecture/constructions.htm http://www.destination360.com/tikal/guide.htm http://planningcommission.nic.in/