Anushree k, dissertation, wadas of maharshtra by anushree kulkarni

ECA- Edinburgh College of Art Scottish Center for Conservation Studies Edinburgh School of Architecture and Landscape Architecture Dissertation Project Tutor: Prof. Miles Glendinning MSc Architectural Conservation The University of Edinburgh 2015-16

Wada Architecture of Maharashtra Preservation of the Maharashtrian Cultural Heritage Guide: Bob Hislop Submitted by: Anushree Kulkarni (S1577028)

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TABLE OF CONTENTS Acknowledgement

iii

List of Illustrations

Glossary of terms

vii

1. Abstract

2. Introduction

2.2. Aims and objectives of research and Research Questions

2.3. Research Approach

2.4. Essence of wadas

2.5. Location of Wadas in Maharashtra

3. Wadas architecture in Maharashtra 3.1. Evolution and Development of wadas

3.2. Basic Planning/Module

3.3. Planning and Construction and Material study

3.4. Classification

4. Present Condition of wadas

5. Challenges faced by wadas

6. The 'Marshall' European Conservation Manual- INTACH

7. Case study -Vishrambaug Wada

8. Site studies 8.1. Site study 1

8.2. Site study 2

8.3. Site study 3

9. Conclusion

10. Appendix A

11.Appendix B

xlvi

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Acknowledgement I owe my gratitude and appreciation towards my family and friends who supported and encouraged me during the process of my research paper. The study was possible with the help and support of the historian, architects and fellow colleagues. I sincerely thank Dr. Shrinivas Sathe who guided me with the architectural history of Maharashtra and the wada. I also wish to express my gratitude towards Dr. Rupa Raje Gupta and Mr. Pratik Gore who helped me understand the Wadas as a whole. Furthermore, I would like to acknowledge my gratitude towards the owners of the wadas, Dr. Sathe, Mr. Raste, Mrs Awantika Chitnavis who granted me the permission to access, photograph and document the wadas for my academic purpose. Also, Ms. My special gratitude to Ms. Veena Sangli who walked me through my paper. My supervisor Bob Hislop who I would like to thank for his guidance and support. Also, I would like to thank Prof. Miles Glendinning for his guidance.

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List of Illustrations Fig.1: Location Map of Maharashtra in India (www.undp.org.in) Fig.2: Traditional Regional Map of Maharashtra in India Fig.3: Stairway within the wall (Author) Fig 4: Longitudinal section drawing of Vishrambaug Wada Fig 5: Ground Floor Plan of Vishrambaug Wada (Unpublished paper by Ar. Kiran Kalamdani) Fig 6: First Floor Plan of Vishrambaug Wada (Unpublished paper by Ar. Kiran Kalamdani) Fig.7: Grid structure for structural (Unpublished paper by Ar. Kiran Kalamdani) Fig.8: Typical layout of a wada Fig.9: VishrambaugWada eastern entrance: (www.tourmet.com) Fig.10: VishrambaugWada eastern entrance. (Author) Fig.11: Passage around courtyard. (Author) Fig.12: Placing of Siporex Blocks in the flooring of First Floor Hall. (Author) Fig.13: First Floor Hall. (Author) Fig.14: Opened flooring of First Floor Hall. (Author) Fig.15: Opened flooring of First Floor Hall. (Author) Fig.16: Attic of Northern Wing. (Author) Fig.17: Laying of new Clay tiles on the Roof of Northern Wing. (Author) Fig.18: Removal of Plaster in the second courtyard. (Author) Fig.19: Removed Plaster in the second courtyard. (Author) Fig.20: Removed Plaster in passage of the second courtyard. (Author) Fig 21: Southern external wall before restoration (Architectâ&#x20AC;&#x2122;s archive)

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Fig 22: Southern external wall after restoration (Architect’s archive) Fig 23: Courtyard 1 showing the interventions (Architect’s archive) Fig 24: Courtyard 1 showing damaged metal jaali work (Architect’s archive) Fig 25: Courtyard 1 showing the interventions (Architect’s archive) Fig.26: Steel plate used for connecting new and old portions of timber beam. (Architect’s archive) Fig.27: Siporex blocks filled in void above staircase (Architect’s archive) Fig.28: Motif on protruding beam edges in the Western Courtyard (Author) Fig.29: Wood work restored in the Western Courtyard (Author) Fig.30: Wooden ornamented brackets in the Eastern entrance foyer works restored (Author) Fig.31: Western side of First Courtyard of Chitnaviswada Nagpur (Author) Fig.32: Southern side of First Courtyard of Chitnaviswada Nagpur (Author) Fig.33, 34: First Courtyard of Chitnaviswada Nagpur (Author) Fig.35, 36: Second Courtyard of Chitnaviswada Nagpur (Author) Fig.37, 38: Third Courtyard of Chitnaviswada Nagpur (Author) Fig.39: Flooring section (Dr.Rupa Raje Gupta) Fig.40: Eastern wall of third Courtyard of Chitnaviswada Nagpur (Author) Fig.41,42: Terrace of Chitnaviswada Nagpur (Author) Fig.43: Third Courtyard showing the new interventions to support the first floor of the new construction in Chitnaviswada Nagpur (Author) Fig.44: Raste Wada Entrance Pune (Author) Fig.45, 46: First Courtyard of Raste Wada, Pune (Author) Fig.47, 48: Projections above the main entrance balcony in Raste Wada, Pune (Author) Fig.49: Elevation of the East side of the Second Courtyard of Raste Wada, Pune (Author)

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Fig.50: Elevation of the East side of the First Courtyard of Raste Wada, Pune (Author) Fig.51: Windows below the roof of the North side in Raste Wada, Pune (Author) Fig.52: Roof of the West Side of Raste Wada, Pune (Author) Fig.53: Windows under the Roof of the West Side of Raste Wada, Pune (Author) Fig.54: North Entrance of Sathe Wada, Kalyan (Author) Fig.55: North side elevation of Sathe Wada, Kalyan (Author) Fig.56: Cabinets in The Floor at The First Floor level in Sathe Wada, Kalyan (Author) Fig.57: Living room on First Floor of Sathe Wada, Kalyan (Author) Fig.58: Bathrooms on Exteriors of Sathe Wada, Kalyan (Author)

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GLOSSARY OF TERMS 1. Chowk

Courtyard

2. Deoghar

Shrine of the family deity

3. Devdi

Small rooms like vestibules, that incorporated the space for lamps, weapons, etc

4. Diwankhana

Male sitting area, living room

5. Durbar

Hall

6. Garhi

Fortified wall, mansion

7. Goshala

Cow-pen

8. Kacheri

Office of Sardars

9. Khann

Unit of measure

10.Kothar

Granary, store house for grains

11.Kshatriya

Warrior class

12.Majghar

Built up structure between the inner and outer courtyards

13.Meghdambari

Domical arched canopy

14.Nagarkhana

Drum house at gateway

15.Oti/Otla

Platform

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16.Peshwas

Prime ministers of Maratha rules who became the

later successors of Maratha empire 17.Peth

Ward

18.Pothichi kholi

The manuscript room

19.Pustak vit

Bricks used in construction during 18th and 19th century. Usually of the size of a book.

20.Sardar

Feudal noble of Maharashtra

21.Sopa

Pillared hall, which leads to the Kacheris and Daphtars. Unprogrammed semi-open space around

the court 22.Tulsi

Basil herb

23.Tulsi vrindavan

Potted sacred medicinal herb (basil)

24.Vastu Shastra

Texts on construction in ancient Hindu

construction and architecture book 25.Wada

Typical Deccan mansion built of brick, supported

with timber framing with courtyards

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1. Abstract The architecture of Maharashtra dates back to 17th and 18th century with high architectural and cultural significance. The study will focus on the architectural history of ‘Wada’ (traditional dwelling or villa) in Maharashtra with its own distinctive style of architecture of that region. The architecture proliferated during the period 1700 – 1900 when the traditional type of housing or villas was distinctive in its character and at its pinnacle. The research consists of the study of ‘wadas’ on the basis of geographical, economic, social, cultural and political aspects as they influenced the development and evolution of traditional architecture. During the 16th and the 17th century, after the establishment of the power of Peshwas in Maharashtra, several small and medium and palatial scale traditional dwelling of a particular style came into existence. This created a new architectural dictionary, which enhanced the lifestyle of the people. Today, this style of architecture is becoming a memory albeit existing in bits and pieces in the old areas of the cities. It is losing its identity and importance due to the introduction of concrete structures under the name of development and modernism. The impact of industrialization and lifestyle change has brought in the multistoried concrete structures to this part of India. The culture and heritage of Maharashtra is now considered protected. Although the structures from the Mughal era and earlier are considered as protected monuments in India, the architectural masterpieces post the Mughal era are considered historical structures but categorized as unprotected state or local monuments. Such magnificent buildings that once played a major role in building the architectural dictionary and the culture of India often go unnoticed and neglected. The large palaces such as the Shaniwarwada is one most significant structure that is protected and preserved, but the other smaller

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palaces and huge houses of this style are getting erased from time. In an effort to conserve such unprotected monuments, the Indian National Trust for Art and Cultural Heritage (INTACH) added to the charters for unprotected monuments, also of state importance in 2002. The research is important to understand the significance of the traditional dwellings of Maharashtra (wada) with reference to its evolution of generic form and typologies of traditional houses based on these aspects. Devising conservation techniques to the Wadas, in particular, could be of value, considering the examples of restoration in reference (case studies) which involved restoration works of the region. This paper also puts emphasis on the planning module of a central courtyard and rooms around it that became the result of the evolution and development form considering the status of the family. The residents would modify the module from one courtyard to three courtyards in the palaces, having the same construction and material methodology of using bricks, stone, and timber in a frame structure. Focusing mainly on the current condition of the wadas that are being demolished due to the high rising real estate value in India and the challenges that the unprotected monuments encounter. The paper also considers the technical, legal and political constraints in preserving and protecting the structures. The case study displays an attempt made by the Local Council to protect and preserve the palace wada. The Case Studies that are examined focus the condition of the structures, providing a peek into the rather unfortunate future of the wadas if they continue to be unnoticed. Efforts to prevent the loss of these important structures and preserve the historical values of these unprotected monuments trapped in forming new laws

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and the enforcement of the long needless procedures while, these structures are demolished at the throw of a hat, often under the call of modernization and development.

2. Introduction In any region, architecture always flourishes when it has the stability and peace apropos to the administration and politics in addition to the sound economy and healthy social conditions. In India, the architectural style of traditional dwellings is derived from socio-political, economic and geographical factors. Land and material availability are the basics for construction. Climate and materials for building form the design, while topography affects design components. The traditional houses reflect the style and culture of the times when they were built. Rituals of daily life, circulation within the house, and the uses attributed to various parts of the house that define spaces. Maharashtra, a state in India, has a great cultural and architectural history with its distinctive style of architecture. The Rashtrakutas, the Yadavas and the Muslim settlers (14th- 18th centuries AD) were the powers before the Marathas, who influenced the social and religious customs as well as the culture, resulting in the architectural form having a range of influences. Having a great historical and cultural significance, it played an important role in the dictionary of history and its heritage.1 After the conquest of the Maratha empire over the Mughals, the Marathas settled in the Deccan plateau, and established their kingdom and so the name of the state, Maharashtra. The turbulent period of the Maratha rule, was followed by the rule of Peshwas in

Discussion with Dr.Sathe

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1713. This was a period of peace and stability that led to the building of new Palaces or Wadas in Pune. As far as the architectural character is concerned, housing types changed considerably regarding their sizes, exteriors and internal elements. The distinctive type of traditional housing of Maharashtra, â&#x20AC;&#x2DC;Wadaâ&#x20AC;&#x2122;, proliferated during the period 1700-1900. Maratha style of architecture, in particular, is influenced by various economic, political, cultural aspects, and topographical conditions. The Architecture of Maharashtra is the architecture of the local people whose dialect is Marathi, giving the name Maratha and Maharashtra and the local architecture is called The Maratha Architecture. The character of housing types in India has undergone many changes since the seventeenth century. The housing types have changed entirely, from the exteriors to the planning. Changes in the character of housing are the outcome of different kinds of people (the migrants from other states), their lifestyles, and their societies. In today's globalized world, the significance of Wadas is lost. In due course of urbanization, the traditional structure of families changed to nuclear families. Only some courtyard houses survive as a result of the dismantling of the feudal system. The structures that have survived were built as palaces for kings and elite.

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2.2. Aims and objectives of research and Research Questions In recent years, in Maharashtra, the topic of heritage has been gaining importance in various aspects but not limited to the discussions on historic structures and their importance. The debate also continues to address the concept of adaptive reuse, original use and the transformation of the historic structures into commercial buildings or cultural centers where developers try to recover the expenses paid for their repairs. Others remain unnoticed and neglected until they decay and collapse offering the owners a great opportunity of a profitable empty site. This paper also attempts to understand how a traditional dwelling in Maharashtra played a significant part in the cultural heritage of Maharashtra and now has become a liability for the owners. The paper also attempts to emphasize on the main obstacles faced by the owners in maintaining and preserving the structures. Perception on the significance of the traditional dwellings of Maharashtra called ‘Wadas’ is presented, considering the historical, architectural and socio-cultural aspects along with the issues dealing with the efforts exercised in preserving these heritage structures is discussed. Considering the current situation, the obstacles encountered by the agencies involved in restoration projects are due to the former legal restrictions and laws that affected the work of restoration creating several complex cultural and technical issues in Maharashtra. The current policies and the technical challenges faced by the historic structures under the criteria of ‘unprotected heritage’ will be studied through the case study. A few sample site studies of sites of heritage importance in Maharashtra have been presented. To render the issues and difficulties on restoring the structures and

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the attributes concerned with the conservation principles, legal constraints, the use of materials and currents uses of the structures. To understand how, what and why these traditional structures played their role in the various basic socio-cultural, political, economic and architectural aspects. To understand how the daily rituals, customs, and the lifestyle influenced the evolution and the development of these traditional dwellings. Also, to understand whether restoring these will help in preserving not only the architectural heritage of Maharashtra but also the cultural heritage which seems to be diminishing over time. This research will provide the current issues and challenges, the diverse perspectives that will help in providing a broader understanding to the approach and contribute to preserving this architectural heritage. By presenting a successful case study, the close analysis of the structure is explained with a few repair recommendations regarding the national level unprotected heritage policies of India which provides guidelines and acknowledging the provision of a new user to keep the heritage and the building alive. Different site studies that will discuss the condition of the structures will provide insight about the technical issues these structures face along with the legislative issues. Finally, the conclusion of this dissertation will perceive and understand the significance of these dwellings concerned to the cultural and architectural aspects and also the main issues the architects and conservationists are facing in protecting the heritage. Considering the condition of the structures under different living conditions when, a. People living in the wada and maintaining it. b. People living in the wada and not maintaining. c. Completely abandoned wada.

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and the most common technical issues encountered which need to be given new proposals with the aim of solidifying restoration and conservation legislative charter.

2.3. Research Approach This study attempts to understand the philosophical aspects and challenges faced by the traditional dwellings of Maharashtra for their survival. The study started with the collections of sources of information through a literature study about the wadas. An unspecified primary research of qualitative analysis was carried out to understand the history and the existence of these traditional dwellings. The resources were the historians and the architects related to the field of conservation in India. The site visits to the historic wadas displayed the condition of wadas in their current form. The secondary research is based on the sources of information through literature study about the history, geography and previous works done on architectural history on wadas. Studying the geographical aspects influencing this style helped in understanding the traditional regional and the political influence on the sizes and socio-economic statuses of the people who resided in these wadas. This helped in organizing and selecting the sites, based on the geographical, climatic and social hierarchy. The fieldwork also included visiting the wadas and obtaining the necessary permission to visit the sites for study, photography and recording the observations. Apart from the site studies mentioned, other wadas such as the Mazumdar wada of Pune, Subedar Wada of Kalyan, and Bhosle wada in Nagpur were visited for considerations.

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For the site selection, it was important to study the previous works which recorded the wadas, since a large number of these structures have been demolished for new developments and also to understand the reasons for the demolition. The sites were selected on the basis of the traditional regions which affected the generic form due to the political hierarchy. Although, there are five traditional regions, sites from three regions were selected. The case studies that have been considered are from the Desh region, which was the seat of political power of the Peshwas. The first site study is from the Vidarbha region which was the seat of power of the Bhosle, which later diluted and became the second seat of power of Peshwas. The second site study is from the Desh region which was the also the administrative sector. The last site study is from the Konkan region which was the trading sector of Peshwas. The research work by Dr. Rupa Raje Gupta that was on the architectural history of wadas and the book published was the ground line for this research. The basics of the wadas was understood during my work as a junior architect under a conservation architect which gave me insights about the origin and the development of the wadas, which was the key to understanding the generic form. The evolution of the generic form was due to the geographical, sociocultural and political influences during the period of Peshwas. The discussions with Dr. Gupta regarding the evolution on the Political hierarchy formed a strong base. To understand the legislative issues related to the conservation in Maharashtra, discussions with various agencies involved in conservation, historians, and the local council members were held. This also guided me towards the information on the technical, economic and political challenges the local administration faces in conserving the unprotected monuments of Maharashtra.

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2.4. Essence of wadas The roots of the history and the rich cultural heritage lie wrapped in the small elements of these structures that display beauty and sense of style and creativity of those who could make it possible. The existence of the Maratha empire stays alive in these structures built during its reign. They speak of the rich heritage and culture. The stories about the kings and their power. The style of architecture of Maharashtra, especially the house forms were the cultural creations. The architectural design, layouts, were affected by various cultural factors of which customs and religion are an important aspect. The form and design developed on the basis of their daily activities and spaces needed to undertake those activities. The spaces were defined for and by the activities which included the daily household work and also the customs and rituals followed by the people. Few areas were meant for social gatherings which encouraged the cultural art forms, which were a part of the people of Maharashtra. The design also follows the Hindu code of design called the Vastu Shastra, which talks about the living spaces and their effects on daily life. As per Vastu Shastra, the courtyard forming the focal belongs to Lord Brahma, and so is the source of energy to the Wada.

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2.5. Site, location of Wadas in Maharashtra

Fig.1: Location Map of Maharashtra in India (www.undp.org.in)

Fig.2: Traditional Regional Map of Maharashtra in India

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Maharashtra is located in the Deccan part of India. It is a triangular region surrounded by the Arabian Sea on the western side and by other states on the other sides of Maharashtra. It is geographically divided into five broad regions to form the present day state of Maharashtra, coastal Konkan region in the extreme west, Khandesh in the north west, Desh forms the central part of Maharashtra, Vidarbha in the east, and Marathwada in the south and south east. The Western Ghats divides Desh region from the Konkan region. These five regions were also the traditional regions of Maharashtra formed during the Maratha rule. Topographically, the state is divided into three regions: The Deccan plateau, the Western Ghats which are the steep hills and the high ranges in the east. Today, the state does not constitute as large area as the Maratha Empire in the eighteenth century, when the Marathas were at the peak of their power. Earlier it formed pan of a wider area known as the Deccan, which also included parts of the neighboring states of Karnataka, Telangana and Andhra Pradesh. The weather in all the three regions differs from heavy rainfall and humid weather to extremely hot conditions. The Konkan region experiences heavy rainfall and is mostly humid all through the year to extremely hot and dry in Vidarbha. Hence, the local architectural characteristics changed according to the regions with minor alterations.

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3. Wada Architecture in Maharashtra 3.1. Evolution and Development of wadas Wadas have been an important element in the history and architecture of India. They are the traditional residences of people since the 18th century. It is a type of residence whose module can be used by all classes of people by adding or deleting the modules according to their need. Wadas, as a form of residential architecture, emerged with a specific response to the prevailing social characteristics of the 18th and the 19th century. The concept of wada came into existence during the Peshwas, in 1730. It was only the Royals and the riches who could afford such huge mansions. They were not purely residences but often housed administrative offices as a combined unit related to the departments that entrusted the Sardars. But eventually, they would scale the design form which became the type of dwellings for all classes. This became a module of dwelling consisting a central courtyard with rooms around it. The wadas were built during the Peshwa rule. Unlike Garhis (fortified palaces), these were not fortified palaces. In Garhis, facades, ornamentation, and openings were minimum. Whereas, the facades of wadas had openings in every structural bay, also, highly ornamented openings. It appears as peeling of the external layer of ramparts and bastions of the Garhis and exposing the wada within, except, in the case of these wadas, the facade became ornamental with the Nagarkhana (palace gateway) also being ornamented with decorations. The factors that influence the design and form of the Wadas were, the construction materials available and construction technique used during the

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period along with the time and period of the history of which style is inherent. Topography plays a major role in the design, whether hilly, plain or coastal. The suggested material and its availability, therefore, creating variables within the region. Climatological variations across Maharashtra led to variables in form, such as, the use of flat roof in low rainfall areas in the eastern part of Maharashtra, sloping roofs in other regions where there was moderate to heavy rainfall as in central and the steep sloping roofs in western regions where rainfall ranges from heavy to very heavy. Social factors of caste and occupation also contributed to variables in the form. The rich ornamental facades of the trading community and plainer facades of Brahmin Wadas. It is in the context where the evolution and development of the wada form of housing is studied, as a development of the traditional form of having a courtyard house for the kings and the aristocracy to the smaller dwellings of the common people. Keeping the same house form, the grandness, scale, and decoration were variable. Transfer of style, techniques, technology, and the material usage is perceived as a lateral phenomenon with attributes that evolved due to climatic, social and cultural aspects, that led to the house forms of the common people. The wadas that have survived are those that were built for kings and the rich. Thay have been built with stronger materials such as burnt brick and stone.2 A few material and non-material aspects also contribute to the evolution of a house form

Dr.Rupa Raje Gupta. The courtyards of Maharashtra. Thesis (p.p34)

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There are tangible and intangible factors responsible for the evolution of various house forms. The cusped decorative and non-structural arches and the fluted columns were the influences of Rajasthani or Delhi style of architecture. 1. The factors which form the material aspects of influences are mainly, the nucleus and growth, cluster formation, response to topography, spatial relationships and also scale. These are expressed as a reflection of spatial concepts. 2. Religious beliefs, customs, rituals, and ideologies are the cultural traits of a society. These traits are automatically manifested in the architecturally built form. A cultural correspondence is an expression unusual to a culture that also includes the human disciplines. Western anthropologists have focused on understanding Eastern philosophies, values, and traditions in search of evidence and answers to design formulation. Amos Rapoport (1969 AD) was among the first few architectural anthropologists who gave theoretical sources to this aspect. Jan Pieper and Gastal Alfredo, who followed Rapoport a decade after, played a major role in constituting the analysis. Amos Rapoport's purpose of research has made us understand the existence of form. His focus on features of community and dwelling forms across diverse cultural perspectives regarding the material and non-material characters. Jan Pieper records the variations in traditional and cultural forms and also the elements that contribute to the style, function, and typologies. Gastal Alfredo studies anthropology to understand the culture. He focusses on the working of the individual organization such as economic, social, religious and various other systems individually.

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Jan Pieper, Amos Rapaport and Gastalâ&#x20AC;&#x2122;s theories and philosophies on features, affecting the house form in a traditional setting, is the model for explanations in diverse cultural situations in the development of the community and housing form in India. Economic, social and cultural systems play an important role in shaping it. These are carried forward which form a tradition.3 Considering the Maratha traditional architecture, the expansionism of Maratha empire influenced the Maratha style of architecture as the Khandesh region bordered Gujarat influencing the architecture greatly by having heavy brackets to the columns and intricately decorated huge capitals. Due to the constant warfare during the earlier period of the Marathas, it took about half a century in the construction sector to form a traditional style of architecture since the empire underwent consolidation in its earlier period of rule. As the present area of Maharashtra was under the Islamic rule for a long period, that vanished the Hindu style of architecture as the style was not practiced anymore. The Hindu style was inherited verbally that made the style nonexistent. The strong relationships between the Marathas and the Rajputs of Gujarat influenced the art and religion that also influenced the architecture in Maharashtra that emerged in the later stages of the reign.

Dr.Rupa Raje Gupta. The courtyards of Maharashtra. Thesis (p.p35, 36)

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3.2. Basic Planning/Module: The wadas were planned in harmony with the hot weather conditions of the area. They were designed on the principles of the Hindu code of architecture design given in Vastu Shastra. The arrangement is mostly linear. Wadas are two or three storied tall houses, which are by far the oldest types of houses in Maharashtra. Generally, square or rectangular in shape, they have a courtyard in the center and rooms around them. Besides, a central tank or a well is built in one of the courtyards. Usually, these wadas have two to three courtyards with different functional rooms around them which are the main features of the wada. The courtyard is the principle feature, and all the functions of household and social activities are oriented towards this central space. It is mostly an introvert house form which makes the court the focal of the house. The circulation is along the courtyards, which form the principle axis forming thresholds of privacy from the first courtyard being the public domain for social activities to the last courtyard and the rooms meant only for ladies. The spatial composition of these type of houses is usually the same. These spaces are divided by thick walls, which house the stairways. The main stairway would be from the first courtyard, but those meant for servants and workers were housed within the

Fig.3: Stairway within the wall (Author)

walls since they werenâ&#x20AC;&#x2122;t to be seen.

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The wada with three courts had different spatial functions. The first courtyard area was meant for public gatherings, social activities leading to the rooms accessed by friends and guests. The second courtyard would house the offices called ‘Kacheri’, which was accessed by the officers who worked for the aristocrats. The third courtyard was a private area for ladies of the house that housed the kitchen, store rooms and ‘Balantini Kholi’ (delivery room). Also, the courtyard had ‘Tulsi Vrindavan’ (pedestal with Tulsi or Holy Basil (Ocimum tenuiflorum) plant) where the ladies would perform prayers to the plant, which is considered sacred in India. The spaces within the wada usually followed the structural grid. The grid measurements follow the length of timber available. The columns and beams are of the length of the trunk of the trees.

Fig 4: Longitudinal Section

Fig 5: Ground Floor Plan

Typical three courtyard wada

Fig 6: First Floor Plan

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The spaces were multiples of this grid, starting from the central courtyard which was the main source of light and ventilation, also, was the hub for social activities. Such activities determined space usage. All the dimensions of these houses are the multiples of unit bays called â&#x20AC;&#x2DC;Khannâ&#x20AC;&#x2122;.4

Fig.7: Grid structure for structural system

Fig.8: Typical layout of a wada 4

Rupa Raje (p.p.164)

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Osari: It is the transition space or verandah. It is semi open space or a passage or spill out space for activities. Dewadi: A verandah for guards Sadrecha Sopa: Open to courtyard, verandah space use for administrative activities, usually in the first or central courtyard. Kacheri: Office: It is the administrative department in the first or central courtyard. Khalbhatkhana: Negotiation Room. It was a semi-public space where discussions/decisions place Diwankhana: Living room. Huge hall for formal meetings. It is planned just above osari and dewadi Majghar: Middle room. From this part, the private area is segregated from the public area. Generally, women & family members use it. It is a private hall. Devghar: Prayer Room. Tijory: Treasury. Gotha: Cow-pen in the backyard of a house. Swayampak Ghar: Kitchen. Kothar: Store room.

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3.3. Planning and Construction and Material study In every culture, the pattern of daily activities influences the evolution of a set of domain. Rendering to Alexander and Chermayeff, (1963), the anatomy of privacy of the residential blocks, is the integrity of every space that depends on the elements that provide insulation, separation, circulation and organized transmission between domains. The set of domains and boundaries becomes the key to its hierarchical structure. Houses exhibit some similar boundaries and set of domain that define the activities. Such domain and boundaries also exist within the houses. It is important to identify the set of spaces within the house as the activityâ&#x20AC;?based domain.5 In tropical regions, as that in Maharashtra, the houses that had courtyards style of architecture were climatically suitable allowing sufficient light and ventilation. The diffused light from the skylight is distributed along the length of the house, and the resulting area that was kept open to the sky formed a courtyard. The open court moderated the harsh Indian weather becoming the source of light and ventilation. The rooms around these courts had the system of cross ventilation by providing doors and windows openings along all four directions. This prevented humidity and allowed the flow of cool air in the interior of the houses. The courtyard served as a thermostat providing protection from the harsh weather, with an average that has large daytime temperature differences. The courtyards built were wide enough to maintain the shaded area in summer and to receive sufficient sunlight during winter.

Chermayeff,S. and Alexander, C. (1963), Community and Privacy, Harmondsworth.

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Compared to modern construction methods and materials, traditional methods in India are adopted by the people due to the fundamental nature of evolution of the construction methods depending on the strength and quality of materials available locally. It is a major factor that influences the design elements of the architecture. The locally available material used in construction of the wadas were used in the combination of clay, sand, cow dung, lime to make bricks called 'Pustak Vit' (book bricks), which were of the size of a book of 10" X 6" X 2" high. Also, most commonly used were the kiln-burnt bricks of size 10 " x 6 " x 2 ", 10 " x 8 " x 2 " or 7 ½ " x5 " x 1 ½ " . Lime mortar made of lime with sand, jaggery and water were used to bond the construction.6 The structures had exposed basalt stonework up to the plinth level. About 90% of Maharashtra’s land is formed by the discharge of lava that cooled and led to the horizontal bedding of Basalt rock formations. Limestone depositions are sound in the eastern part of Maharashtra. These make the region self-sufficient regarding the construction materials. The soft soil is available along the coastal region used for making clay bricks7. The structure above the plinth level was mostly a frame structure of teak wood with bricks and later plastered with smooth lime plaster. The smooth lime plaster was made up of lime, jaggery (a coarse dark brown sugar prepared in India by evaporating the sap of palm trees), clay, and wheat chaff for binding. Jaggery acts as the binding agent and gives smoothness to the mortar. Timber is used as structural members for columns, beams, trusses, brackets, etc. Clay tiles are used for the roof of the wada. These were the

Discussions with Dr. Sathe https://www.boddunan.com/articles/education/42-general/18061-geology-ofmaharashtra.html 7

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massive structures with very thick stone, brick or mud walls, as thick as 6 to 8 feet. The wooden staircase was often set in the thick walls. Such 'Wadas' were reminiscent of the society characterized by large joint families. They generally had several bedrooms with a common drawing room, store room, kitchen and a toilet block. Different materials were used in compositions to render the facades of the structures. • A mixture of clay, water, cow dung, Bajra or wheat chaff in proportions to plaster the exterior. • Wood of tree Khejri tree (Prosopis cineraria), Peepal tree (Ficus religiosa), Agar tree (Aquilaria malaccensis) were used to build the ceiling. It was mostly used to create plain surfaces false ceiling, which displayed the wealth of the family. • Gum extracted from Peepal, Kejri and Agar trees was mixed with wet clay which formed a smooth and sticky paste was used for plastering. • Also, a mixture of jaggery, juice of cactus, bananas, and black gram was boiled till the mixture reduces to one-eighth of its volume and this was used for coloured plaster. • Composite construction was a stable constructing technique used with materials like basalt stone for plinth and foundation upto the sill level. Timber was used as material for structural components. The timber columns rested on basalt stone base filled with bricks. • The capitals of columns, balustrades, railings, brackets were constructed of wood and were heavily carved. The bracket ends had deeply carved motifs of birds or faces of animals. • The structures had pitched sloping roofs with teak wood or bamboo purlins and rafters for trusses supporting clay tiles (also called country tiles)

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or terracotta tiles. Wooden rafters were placed inside the wall to prevent vertical cracks. • The internal walls and the faces had arched alcoves for lighting lamps or for storage purposes. • The wooden stairways were built within the thick mud mortared brick walls. • The corner junctions were built of molded bricks and relief work was made of decorative bricks. The base for plaster was made of bamboo frames. • Rooms like the Darbar hall (formal meeting hall), and Rangmahals (colonnade halls) were the influence of Islamic architecture.

3.4. Classification Maharashtra state is divided in five traditional regional divisions on the basis of their geographical variations (ref Fig.2). Although Maharashtra is considered a moderate climatic region of the country, there is a great difference in the local weather. The coastal region being hot and humid, receives heavy rainfall. The humidity level reduces and the dryness in the atmosphere increases as we move towards east. Modifications in house form are noticed to adapt the micro climate of the different regions. Social hierarchy existed in these regions based on their geographical locations. The central region, Desh region, was the house of power where most elaborate wadas or palaces with three or more courtyards and of five floors high were constructed. This further classified to smaller wadas of the noblemen in the region which continued till the ordinary wada having a single courtyard.

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Due to the geographical location of Konkan with the coast it was the main trade route for Maratha Sardars (the administrative noblemen) who were the tax collectors. Their wadas were slightly smaller in scale to those of the noblemen. Since Konkan region has the natural barriers of the Sahyadri ranges on one side and coast on the other, this region is protected between them. Hence, the need for protection from enemies was not a priority. These wadas had the least ornamentations compared to the wadas in Desh region. Since Vidarbha was the alternate seat of power, large wadas with large rooms and temples were constructed. These huge wadas were the wadas of noblemen, representatives of the king who were give power of administration of the area. Khandesh and Marathwada were the regions of mercantile and housed only the noblemen. The wadas in these areas were smaller compared to the wadas built in Vidarbha region. The plots were long and narrow and wadas in this region had front courtyard and shared common walls between them. Since Khandesh bordered the Gujarat territory of reign, the Gujarati style of architecture influenced the ornamentation and wooden carvings on balconies, wooden staicases, etc. In Desh region, except that of the palace type of wadas, the plots varied in sizes according to the services the noblemen provided the king. They were usually smaller in sizes. Others were long and narrow. Wadas for instance, Vishrambaug wada which is a palace wada, Raste wada and Nana wada are famous wadas in this region. The plots in Marathwada were squarish since the terrain was plain. The structures had flat facades with no balcony projections. Due to less rainfall, the roof of these wadas were flat. Since this was the mercantile region of the state, the wadas were introverted.

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The large wadas in the Konkan region belonged to the wealthy traders. Plots were large and square which housed stables inside the plot area. The wadas had steeper sloping roofs due to the heavy rainfall. They had many windows for cross ventilation. Some smaller wadas had only one courtyard in this region. Joshi wada, Sathe wada and Datar wada are a few famous noblemen’s wada found in Konkan region. Khandesh region had narrow streets with wadas having common walls. These were the noblemen’s wadas. The wadas were aligned along the street forming the street facades. The wadas here had continuous balconies on the first floor projecting towards the street. Wadas in Vidarbha region were introvert wadas. The central courtyards performed as wind tunnels, which regulated the ventilation inside the house. Due to the plain terrain, the plots were large with two and more courtyards. The wadas were of the size of the palace as they were the houses of administrative representatives of the kings. Some of the wadas of prominent aristocrats like the Bhosle, Chitnavis and Kaptan are found in this region. Hence, the geographical and the social hierarchy were interrelated.

REGIONAL Sociological Classification

Konkan

Desh

Khandesh

Marathwada Vidarbha

Noblemen’s Palace

Noblemen’s Noblemen’s Palace

Wada

Ordinary Wada

Wada

Noblemen’s Ordinary

Ordinary

Noblemen’s

Wada

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4. Present Condition of wadas Changes in the society and lifestyle due to urbanization has tampered with the existence of the Wadas. Due to industrialization, moving to the larger cities for better lifestyle has brought the trend of splitting of joint families who lived in these wadas to nuclear families further making it difficult to maintain these huge wadas. The disintegration of joint families to smaller families has divided the wadas into smaller units. In such cases, few alterations are made to the original fabric. Since these wadas are huge, the owners rent the portion of these houses to smaller families, which divides the wada and tampers with the form of these houses. Since the real estate cost of the country is escalating, several huge wadas couldnâ&#x20AC;&#x2122;t survive the greed of developers to demolish these old structures to obtain the land to construct high rise or commercial structures. Due to the scale of the wadas, it becomes difficult and expensive to maintain them and hence, the owners sell the land and property to the developers to receive heavy amounts in return. Few other wadas are left to decay and leave them in a dilapidated condition. Materials from such wadas like the wooden carved columns and beams are sold in pieces as antiques as they were constructed from expensive materials. The timber used in these structures are sold at high prices. Lack of awareness about the heritage has led to large scale destruction and has made way for concrete structures leading to the insensitive destruction of once a culturally rich character of the old cities. However, some of the royal wadas are well retained. The local government is actively participating in preserving this heritage as a model of study and also, are used as government offices, schools and are rented for social activities. Wadas in Pune, Satara and Bhor are examples of those that are

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conserved as a part of state heritage. They are also displayed as museums and house local libraries for the public to actively participate in using and visiting these wadas. Few middle class wadas are maintained by the owners who reside in them and hence the essence of the wadas house form has survived. Awareness of preserving the culture and heritage is strongly perceived and appreciated by the general public and the local bodies. Attempts are made to conserve more of such wadas by the owners of smaller wadas and the government. â&#x20AC;&#x153;Though the involvement of the local government is appreciated, the struggle of complex application process, decisions of the council, the approval and disapproval of the application, the cost of restoring these structures and the constant involvement of the members of council who are not versed with the work of conservation makes it tedious for the owners to approach these agenciesâ&#x20AC;?, says Mr. Raste, owner of Raste wada. The time period required to do the process and the work to start can take upto 5 years to a decade which further worsens the condition of the building. Hence, people prefer to invest in a modern comfortable living environment than in restoring the old houses with the typical issues of space, lack of parking and the chaos as most of the Wadas are located in the heart of the city, which have narrow roads and insufficient privacy. In recent years, attempts to keep this architecture alive and various ideas of adaptations and interventions are being planned. Interventions to the existing building interiors to adapt to the modern lifestyle is becoming common by keeping the external fabric untouched implying the concept of facadism8 thereby discouraging the owners to abandon these structures.

Facadism- refers to the architectural practice of retaining the exterior of the historical structures while demolishing or changing the interiors. This

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The value of the great or exceptional building as a work of art represents one of the highest expressions of man's spirit, which remains to rejoice the heart and inspire countless numbers of those who have eyes to see, long after the bones of the creator have turned to dust. Every building takes kind of a transformed life of its own and this cannot, without serious difficulty and strain, be turned into a radically different channel. Due to the scale of these historic structures, it becomes difficult for the owners to keep the original purpose of the structure and thereby they devise alternate uses. But, the change in use of these structure raises the question on whether the structure loses the original character. But it is also the question of existence of the historic structures. While the need for radical changes may seem unavoidable, it is always important to preserve the best qualities of the traditional town center, its finest buildings and the features, which give it character and life. â&#x20AC;&#x153;Continued existence of building is given a special character of buildings by the factor of changing and developing use on a site, already fixed and permitting no alterations upon a scale of least significance as to bring in the factor of comparative site valuesâ&#x20AC;?, says Ar. Kiran Kalamdani who emphasis on conserving for the purpose of its value. In the current situation of large wadas, restoring and change in its use is a legitimate solution for the current users. This helps them to pay for the work of restoration, which has become an expensive affair. The change in use respects the authenticity and originality of the fabric, respecting the ethics of practice is used to adapt to the modern lifestyle and to adapt to the change in the use of the structures.

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conservation regulated by national and international charters which mentions of having minimum alterations and interventions which does not harm the character of the structures. The national charter for unprotected historical sites considers adaptive re-use as an economically sensible step. Any change is necessary to modernize in favor of the structure is acceptable under the state of maintaining the skin of the structure. In contrast, historians and conservationists consider the idea of modernizing the interiors or altering them. But, this is like extracting the soul out of it. The fundamental reason for this is not mere worship of age for its own sake, but the fact that a building, which has existed since before the memory of those now alive, provides an anchorage. Considering the current scenario, the local government encourages the change in use of these structures which by leasing these structures to private institutions like the banks and schools which require large areas. By doing so, the local government recovers and generates revenue to work on other historical structures as these institutions are willing to pay high sums to house themselves in the central areas of the cities as the land value for constructing new individual structures is difficult since there is no vacant land available. This has to some extent become an advantage which benefits in preserving other structures and has kept the heritage alive

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5. Challenges faced by wadas Every city is a composition of buildings and streets forming a system of community. Hence, every city becomes a utility, places of work, leisure and meeting and above all housing and its various types. The traditional architecture which formed the character of the cities has undergone rapid changes. Housing types play a vital role in defining a character of city. The housing form affects the quality of urban design extensively. Changing housing types also changes the character of the city. Housing types have transformed due to quick availability of new materials and change in modern technologies. In several regions, the phenomena of modernisation can be related to the concept of â&#x20AC;&#x2DC;decline of traditional values, customs, and building technologies.â&#x20AC;&#x2122; Though it would be too crude and the outcome of a static perspective to perceive change is merely considered as the loss of values. Although, in various places, traditional buildings of an old typology are related to the forms of the social institute which no longer exist. Economic and Social conventions resulted in the construction of rich and elaborate buildings, as a symbol of power, prestige and wealth became obsolete and therefore the old architecture forms are no longer desired. The architecture of the building together with the cultural and social practices connected to it may also be re-invented to fulfil the needs of a contemporary lifestyle. Due to globalization and urbanization, the traditional system of families has shifted to nuclear families. The concept of privacy has changed and this has led to blocks of apartments. At times, these blocks are built responding neither to the climate nor to the social spaces, which existed in earlier times.

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In the course of time, with changing housing types, character of the cities has changed significantly. Particularly, in the twentieth century, the changes in housing types are more dynamic. Though, it is full of excitement living in such a dynamic period, change in the traditional style of living changes the original character of any city. It is necessary to conserve some of the housing types of the past to preserve the original character of the cities so that it could be remembered and appreciated by the generations coming ahead. There have been various reasons for disappearing of this style of traditional housing of Maharashtra. Only a few of the courtyard houses survive since the feudal system is demolishing them to build high rise apartments. The breaking up of the joint family into nuclear, made them difficult to maintain the huge wadas and hence most part of the unused wada was kept closed and left to decay or would demolish to construct apartments. Few wadas were divided and were converted to smaller units to lease. The lack of appreciation and awareness by those who inherit, the tenancies, and the local authorities towards the need to conserve heritage has become a reason for disappearing of the architecture of wadas. The course of time also has damaged the old wadas, making the residents difficult to live in. Rebuilding without skilled artisans who could restore or reconstruct it in the original style also becomes difficult and it is also true amongst all the different modern or contemporary materials like brick and concrete, which are the preferred construction materials, since they are either associated with the term modernisation or, simply, because they are cheap and affordable materials than building in wood of high quality. Only a few traces of these buildings are visible today, which are mostly used as offices of council departments or private agencies other than what they were built for. In few

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instances, these wadas are occupied by the family members of the original owners. Palaces of the kings and the mansions built in stone, brick, and timber are the only structures that have survived over the period. These have been photographed, written and romanticised about, as these wadas exist in different parts of India. However, the decline of Maratha power from 1815 AD onwards affected the construction activity greatly. During the industrialization era, it brought the trend of forming a nuclear family, division of the joint family system which ultimately gave rise to giving up of large land holdings, making it impossible to maintain these large wadas. The sudden and high increase in land and estates value in cities and towns has been responsible for the demolition of these beautiful structures and they are replaced by the arbitrarily developed concrete jungles. The wada house form that flourished until this time made way to present construction style, which had to follow the zoning and bylaws.

6. The 'Marshall' European Conservation Manual- INTACH Indiaâ&#x20AC;&#x2122;s rich history has been punctuated by creation (and destruction) of several historic buildings. In order to preserve its links with history, India and her people have traditionally cared and maintained her historic buildings. Ancient texts such as Mansara provide philosophical and technical details of ancient practices used to preserve and maintain historic buildings. With the advent of the colonial rule and after its consolidation in the 19th Century, the indigenous practices of conservation were superseded by the European practices and techniques.

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In India, Conservation of buildings was strongly influenced by SPAB (Society for the Protection of Ancient Buildings). Even the imported ideology established deep roots in Indian soil. In 1862, The Archaeological Survey of India (ASI) was established under Sir Alexander Cunningham. Sir John Marshall became its first Director General. A uniform legislative system for ASI, based on European traditions, was created by him. He also compiled the Manual for Conservation to guide the practice of this legislative system.9 Marshall approached the question of authenticity on his Manual, giving solutions for the problems in a way that was characteristic to the European countries. His solutions could imply in the loss of the heritage’s authenticity, trying to maintain ancient monuments as ‘undisturbed’ as possible. India became independent in 1947 and in 1958, The Ancient Monuments and Archaeological Sites and Remains Act was passed to replace the colonial Act, and extend protection to monuments of national importance. Similar Acts were adopted by different States to protect monuments of State importance. These Acts consolidated the idea that architectural heritage consisted only of exemplary buildings and that its protection was primarily the responsibility of the government. At the point when the Indian National Trust for Art and Cultural Heritage (INTACH) was established in 1984, ASI and State Departments of Archeology (SDA) between them secured under 10,000 landmarks. Notwithstanding the constrained meaning of what constituted architectural heritage – and consequently the small number of protected buildings – its insurance was additionally thought to be principally the obligation of the

Menon and Piplani 2004

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government. Regardless, a very small number of specialists were accessible outside the administration. This cleared out a huge number of landmarks and entire classes of architectural heritage, including indigenous building traditions and protection practices, unidentified and unprotected, resulting in a process of gradual whittling down. INTACH set out to review this circumstance. INTACHâ&#x20AC;&#x2122;s professionals noticed that both historic buildings and traditional building skills need to be conserved, but they wanted to find a way to conciliate both. This gave rise to the project to formulate the Indian Charter for unprotected heritage. INTACH institutionalised the practice of conservation outside the government fold. It established Chapters all over the country and spread awareness regarding the need to conserve not only monuments but also other categories of heritage as well, focusing on the significance of their meaning to society. In 2002, INTACH conducted a workshop on formulating a National Policy for Heritage Conservation and Management. The need for a national charter for conservation was identified in this workshop. All significant international charters were also evaluated to establish its specific focus. INTACHâ&#x20AC;&#x2122;s Charter details out various reasons to conserve the heritage. It also marks out boundaries for what should be conserved. Indeed, working with unprotected heritage is a difficult task not only because not everything has to be conserved but also because every heritage worthy of conservation requires a critical assessment in order to define parameters for conservations. INTACH emphasizes the importance of Listing as a process, which must determine the characteristics of significance and accordingly prioritise themâ&#x20AC;? (INTACH, 2004).

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INTACH’s Charter divides the heritage in two categories viz. Protected and Unprotected heritage. Protected heritage refers to those buildings which are protected by ASI, SDA and other governmental or non-governmental agencies. Conservation efforts for such heritages can further be streamlined by adopting either official and legal instruments or indigenous building traditions or a mix of both to ensure sustainable conservation. Listing is considered utmost important in the Charter. The Charter mandates that all the buildings that should be preserved must be listed, even when they are not legally protected. The mandate stresses the importance of listing and states that “the inventory of heritage buildings worthy of preservation is the most important task with which to begin the process of conservation” (INTACH, 2004). The Charter also consists of ‘Conservation Ethics’, which are the principles that INTACH is adopting for guiding the conservation practice. These principles guide the preservation of the unprotected heritage. The fundamental aspect of the Charter – Authenticity is the first topic of Conservation Ethics. All the other aspects descend from this aspect. Other topics of the Charter include Listing and its criterions and methodology, Guidelines for conservation and the role of conservation architects, Management and Education and Professionalism. The Charter directs that Authenticity be defined by the traditional knowledge systems and the cultural landscape in which it exists, but in the absence of such contexts “The Nara Document on Authenticity, 1994’,10 should determine the nature of the authenticity of the architectural heritage and site” (INTACH, 2004). The Nara document is so important that it was included in 10

Menon and Piplani 2004

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the Charter as Annexure 1. Authenticity will vary according to local values and culture. Thus, it is important to understand the local culture (or cultures) and its evolution to ascertain the parameters of conservation. This assessment cannot be based on fixed criteria and in most of the cases the traditions must be followed, and the local master builders must be encouraged to keep working with that. Even when there is no documentation about the previous structure, the restoration must ensure the continuity of the traditional building practices. INTACH’s Charter encourages the use of local material, traditional techniques and traditional craftspeople. This is done in order to enrich the idea of valuing Indian culture and traditions and to ensure sustenance of traditional ways of building. Again, the use of local materials and technologies can differ from case to case. This also suggests that in case contemporary adaptations are necessary, in the evolving process of the building, the insertion of new architectonic elements, materials and technologies is accepted when reinforcing, local traditions are insufficient or unavailable. “The introduction of new elements may reflect contemporary aesthetic ideals as modern additions to old buildings” (INTACH, 2004). The integrity of the heritage is not only about the original fabric and the “authentic quality of the past” but the collective knowledge systems and the evolving cultural significance. All the contributions, including contemporary interventions, are important and must be respected as they contribute to the integrity and hence need to be conserved. (INTACH, 2004). The idea is not to reveal the authentic quality of the past or to preserve the original integrity, but to mediate the cultural evolution. The maintenance of ruins is not a priority. But for historical structures with significance and meanings to local people the ruin may be preserved or, if the circumstance does not allow the

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preservation, the ruin should be ‘left undisturbed to meet its natural end’ (INTACH, 2004). This is referred only to the most significant structures. In most of the cases the structure must be regenerated, this is the concept of what is called ‘jeernodharanam’, which literally means “regeneration of what decays”, and this must guide the nature of the intervention, always thinking of the conservation of traditional ways of building. For the patina or the layer formed due to oxidization on the metal surface on historic fabric, the line of thought is the same. It ‘should not compel the preservation of a ruin as it exists, frozen in time and space’ (INTACH, 2004), that means that the patina is not an element that should necessarily be maintained, considered as a sacrificial layer when necessary, in favour of the renewal, restoration, repair or rebuild, according to local aesthetic traditions. More of a contradicting thought suggests for cases where the protecting principle follows only to the limit where it is a sensitive subject for the community to protect the building or site. But if it loses its importance for the contemporary society and the relevance of the conservations is questioned, a modern re-development is something that needs to be considered. Unlike the international charters, which suggest reversible restoration, the national charter provides a flexible notion to use the unprotected heritage site as a factor of development of economic and social regeneration of local communities. The main intention is to use traditional techniques and to create one intervention that allows an appropriate reuse, creating new work that is in harmony with the pre-existent. In some cases, contemporary materials and technologies can be used and ‘it could replicate the old or be distinguished from it, depending on the artistic intent governing the strategy of conservation’. Creating a false historic image is not really a preoccupation. They are more concerned about retaining visual identity. It’s

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important to notice that all the Charters follow one line of thought. The material is not dominant, but the technique, the knowhow is. They want to keep the knowledge of traditional building alive and for that they allow rebuilding, repairing and restoring using same materials and techniques. The authenticity in this point of view is not the one from the original material, but the authenticity of the essence of the traditional building. Some could say that this is not far from Viollet-le-Ducâ&#x20AC;&#x2122;s interventions in the nineteenth century, but nobody is trying to â&#x20AC;&#x2DC;reincarnateâ&#x20AC;&#x2122; the first builder or architect and suppose what that could have been. The immaterial heritage is being preserved by the maintenance of the knowledge of traditional building, and the imaginary of people is also maintained.

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7. Case study -Vishrambaug Wada

Fig.9: VishrambaugWada eastern entrance

Fig.10: VishrambaugWada eastern

(www.tourmet.com)

entrance. (Author)

General Information: The wada was originally built as a second house for Peshwa Bajirao II as the earlier palace, â&#x20AC;&#x2DC;Shaniwar wadaâ&#x20AC;&#x2122; was considered ill-fated as it was superstitiously believed it brought bad luck to the king. The Wada is located in the heart of the city of Pune, which is the cultural capital of Maharashtra (Appendix B for Description of the Building). It is a grade I listed building by the SDA based on the criteria of listing and grading of building by CPWD. According to the article 2.6 of INTACH Charter states, the ideology of preserving the structure with minimal intervention is practiced only on protected monuments. But, for unprotected structures like the Vishrambaug Wada, the Indian conservation ideology of conserving these structures focuses on conserving the indigenous practices. This provides an opportunity

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to encourage indigenous practices and keeping them alive. (for A INTACH Charter Appendix) Few basic guidelines followed by CPWD and the Heritage Committee of India to list Vishrambaug Wada as a Grade I structure was, the structure and precincts is of historic importance, which symbolizes an example of excellent architectural style, design, construction technology and use of material and aesthetics qualities. Also, since it is associated with the great Maratha empire and the eminent ruler like Bajirao Peshwa II. After the decline of the Maratha rule also, it gained a high value of respect due to the personalities, incidents and the events it housed. Vishrambaug Wada is a significant structure in the history of Pune. It is significant in the aspect of education in India as, formal education first started in this building in the city of Pune, and one of the first universities of the state was started here, the ‘Deccan College’, where formal official courses of study were taught and which earlier housed a Vedic school and was later called the ‘Oxford and Cambridge of the East’. It is one of the successes in consideration to the architectural restoration of the city, which brought back life in the building and is now used for various purposes. It is being conserved as a rare specimen of cultural heritage and the history of Pune. Its importance roots from the fact that it stood witness to, if not affected, the course of history. It has survived the orderly past formed of a series of progressive change, encouraged looking towards the future in anticipation of continuing change and stands dominant on the site. When the wada was inspected to carry out the works of restoration, it was in a poor condition. Since this building is a brick structure, due to low or no maintenance, small and large cracks were seen in the walls. The large cracks

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were also structural making the building unstable. Wooden members were damaged and cracked due to weathering. The roof of the building had country or clay tiles, which were broken, which seeped water in the building. The earlier restored area which had metal truss roof to support the roof structure had rusted. The Restoration Attempt: The decision of saving the building made by the city government and the public had a great involvement in the project. The government initiated the project involving various specialized people to be involved and welcomed proposals for restoration and ensured the working of the project. The Wada, which was built as a residence for the Peshwa, changed its use according to the time and was used as a school, then college and now houses different semi-government offices and a museum and a library. The transition in the uses seems to be successful over time in an attempt to keep the building lively. These activities and the uses are part of long and continuous traditions and constitute the heritage of the Vishrambaugwada complex specifically and Pune City in general. Attempts are made to inquire into the roots of these practices and maintain those which were passed on through several generations of people of Pune were recorded and treated as an authentic source of information. An attempt to retrieve the life of the wada, certain new activities and uses are encouraged which explain the glorious traditions, facts about Pune and the history of the Vishrambaugwada are expressed in the form of museums, displays and such ways of public education by displaying them in the museum and opening a library on the first floor of the Wada. Before the conservation proposal was put forth, intense research on the building was done. Later, various techniques were used for the investigation

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and assessment of the building like the basic visual assessment along with Pseudo - NDE Methods like Tapping and Micro-drill resistance. Also, Non Destructive Testing technique was used like the Rebound Hammer Test and Ultrasonic Pulse Velocity Test. Bricks were tested in the laboratories to know the composition of the brick and to know the age of the brick and to understand the type of brick required to carry out the repair work. The visual observation technique was carried out by expert technical personnel who made a qualitative appraisal of the structural integrity of individual members. Deficiencies were easily identified, including external damage, decay, presence of severe checks and splits. It was carried out to check the foundations, walls, floors, and the roof. Various restoration works were carried out in the interior as well as the exterior. The work is being carried out in three stages. The first stage was to restore the third courtyard and then the second. The open area of the first courtyard was cleared from the new temporary interventions. In the third and second courtyard, the flooring of the passage round the courtyard was

Fig.11: Passage around courtyard. (Author)

Fig.12: Placing of Siporex Blocks in the flooring of First Floor Hall. (Author)

Fig.13: First Floor Hall. (Author)

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severely damaged which required the replacement of the basalt stone. Most of the original material was reused.

Fig.14: Opened flooring of First Floor Hall. (Author)

Fig.15: Opened flooring of First Floor Hall. (Author)

The wooden flooring on the first floor was opened to find mud and wooden members which supported the floor. Due to decay, the wood was severely damaged and the load of the mud and the building was a cause for the wooden members to sag. To reduce the load, light mud and siporex blocks were placed in the flooring and was covered by wooden planks. The wooden columns were also decayed and the decayed part was replaced by new portions of Burma teak wood joined by metal plates and was polished by linseed oil. The major restoration work was the roof. The roof structure was dismantled, retaining much of the original material and replacing the decayed timber truss by new members and the broken roof covering was replaced by new clay tiles. The timber truss roof of other area was decayed since the roof was open which caused constant dampness.

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Fig.16: Attic of Northern Wing. (Author)

Fig.17: Laying of new Clay tiles on the Roof of Northern Wing. (Author)

The plaster work of the entire house was damaged due to the weathering. The plaster was removed and new lime plaster of the original colour was done.

Fig.18: Removal of Plaster in Fig.19: Removed Plaster in Fig.20: Removed Plaster in the second courtyard. passage of the second the second courtyard. (Author) courtyard. (Author) (Author) Page | 44

The wooden windows were broken and in the second and third courtyard. Since the first courtyard housed a post office, it was maintained to the least. This area had several interventions of having a bike stand in the court and having air conditioning units outside in the court. The colored of the structure had faded to lighter shades which greyed the aesthetics of the structure. The most significant was restoration of the external wall which originally was exposed brick façade. The façade was brought back to original keeping in mind the size of the original bricks and also the timber members used are if the same type, as it was when built which was plastered later.

Fig 21: Southern external wall before restoration (Architect’s archive)

Fig 22: Southern external wall after restoration (Architect’s archive)

Considering the authenticity of the building and since most parts of the building was in the original state, decision was taken to only repair the defects and remove the inappropriate interventions which were included in the past which hid the original fabric of the building like AC window units/ electrical caballing/ light fixtures, inappropriate Doors & Windows, of later additions, such as broken and damaged existing windows, ventilators/ G.I partitions, galvanized iron chajjah, damaged and broken iron or MS Jalis.

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Fig 25: Courtyard 1 (Architect’s archive) Fig 23: Courtyard 1 (Architect’s archive)

Fig 24: Courtyard 1 (Architect’s archive)

All these interventions damaged and hid the original fabric of the building which was exposed later. For places where structural stability is critical, various crucial measures need to be taken. To structurally strengthen the building, steel sections were used and were cladded with teak wood panels of the similar quality of the original wood used. The earlier restoring work was redone to give better stability by inserting horizontal metal strips inside the wooden members.

Fig.26: Steel plate used for connecting new and old portions of timber beam. (Architect’s archive)

Fig.27: Siporex blocks filled in void above staircase (Architect’s archive) Page | 46

The eastern part, and the partial central part of the building was restored earlier and restoration work of this area which was damaged due to fire. During this restoration, steel trusses were installed on the roof, the central part and the beautiful ‘meghdambari’ (balcony) on the eastern facade was added with the Bengal style roof. During the current restoration work, these areas are kept true to the time they were constructed and are maintained and restoration plan for restoring the meghdambari is proposed. (Fig.16, 17) As the article of ICOMOS Venice Charters 8 suggests, “Items of sculpture, painting or decoration, which form an integral part of a monument, may only be removed from it if this is the sole means of ensuring their preservation.”11 The conservation architect was of the similar opinion about keeping the decorative elements of the building like the brackets (peacock head motifs), columns and the entrance doorways to its original by repairing or

Fig.28: Motif on protruding beam ed Western Courtyard, (Author)

replacing only the part which was damaged.

Fig.29: Wood work restored. Western Courtyard (Author) 11

Fig.30: Wooden ornamented brackets Eastern entrance foyer works restored (Author)

ICOMOS Venice Charter (1964, p. 2)

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Respecting the fabric becomes the key motive in the work of conservation. The deliberate attempt was made to distinguish between the original fabric and the restored work where replacements in the timber were needed by having a slight difference in the polishing and by using an almost match of the stone wherever stone rework was required. It was done to differentiate between the original fabric and the rework done and not to falsify the work by displaying as an original piece. Opinions were debatable when the decision of exposing the exterior wall made which was lime plastered. The decision of exposing the brick wall was made to display the original fabric as it was when it was built as the western wing was restored to original as found. ICOMOS Burra Charter notes correspond to the same which suggests, to respect and assist the earlier additions and alterations and the restoration work done as it is the evidence of the history and the use of the structure. The opinion of every individual differs according to the building or structure to be restored. While rejuvenation of the main fountains was in a debate as to what extent it should be restored, enough evidence was collected from the archives to understand the design of the fountains. Only the original plumbing system was altered as the original water pipe was connected to the main city water pipe. Later, this was connected to the area pipeline to control the flow of water. Although Vishrambaug Wada has changed over the time, its journey has been interesting so has its conservation. Since it has been restored twice in different periods, it sees different styles of restoration done. The recent work seems to be following a channel where a lot of its authenticity and the original fabric is tried to be preserved. The time spent on the restoration work seems to be large which resulted in its success. The conservation plan

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put forth for this project show evidence of the prior study done for such work to be carried out by studying various case studies and making a valid restoration plan. I believe, the decision made by the architect and the government to restore the Wada to its present condition and retaining the building to its fullest has restored the historical value and character as well. It has made the building culturally more significant and appears to be a success. This holds true as per the opinion if ICOMOS Burra Charter as change which depreciates a monument is inappropriate. So does William Morris say in SPAB Manifesto principle, â&#x20AC;&#x153;A repair done today should not preclude treatment tomorrow, nor should it result in further loss of fabric.â&#x20AC;? The need for conservation of such wadas is important. The conservation of this building has achieved its motive of elevating the value of the place architecturally, historically and culturally since such structures are vanishing to an alarming rate. Also, it reconciles with the past.

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8. Site study 8.1. Site Study 1- Chitnavis Wada

Fig.31: Western side of First Courtyard (Author)

Fig.32: Southern side of First Courtyard (Author)

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Chitnaviswada in Vidarbha region is one amongst the biggest and magnificent wadas of Nagpur. It is located in Chitnavispura area of Nagpur which is the old town of Nagpur. It is one of the few surviving wadas of Nagpur. It is located on a low sloping terrain in central Nagpur, from where the city originated. The wada was built in 1740 by Ganesh Rakhamaji Ranade who was called ‘Nawab Chitnis’ (head secretary) to the Bhosle rulers of Nagpur. The wada received royal patronage and proliferated in the latter half of the 18th century. It is a typical example if Maratha style of architecture built during the rule of Peshwas. Chitnaviswada belonged to the Chitnavis family who were the noblemen in the Vidarbha of Maharashtra. They were the administrators of the Vidarbha region. Hence, the spatial arrangement slightly differs from the royal palaces found in Pune and Satara. They housed their own office in the wada. It houses a temple also. The temple is built of sandstone and timber columns and beams. The conical roof of the temple is called the ‘Shikhra’, built of sandstone. The wada is an introvert house form, and thus the courtyard becomes the focus of the house. The periphery is clearly defined by the built form surrounding the court. The Wada is three storied structure, also known as ‘Teen Chowki (courtyard or quadrangle) Wada’ as it consists of three open quadrangles as the central axis and all the rooms open to them, oriented long east-west. The wada has a grand open entrance on the north side which houses a Devdi (a place for guards) on either sides opening into a garden, followed by the administrative office area and the first courtyard. The rooms around the courtyard were the weapon store rooms and granaries. The second courtyard was elaborated with wooden carvings and a fountain which was meant for the social activities. The rooms around this were designed for

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guests and had a grand dining area. The stairways were located within the walls which separated the second and third courtyard.

Fig.33: First Courtyard (Author)

Fig.35: Second Courtyard (Author)

Fig.37: Third Courtyard (Author)

Fig.34: First Courtyard (Author)

Fig.36: Second Courtyard (Author)

Fig.38: Third Courtyard (Author)

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The third court was the area for women. It housed areas for cooking, store which end with cow shed. The temple is situated next to this courtyard. The first floor has highly decorated halls called Diwankhana. It was used to organize cultural programs for entertainment. Rooms parallel to this were used as meeting halls and to attend important invitees. Several other Diwankahana were constructed adjacent to the main which are used for religious performances. The rooms above the second courtyard were the private bedrooms and the area above the third courtyard was the service area. Each Diwankhana and the bedrooms were highly decorated with wooden carvings and niches to keep the night lamps. Although the wada was constructed in different period, the juxtaposition of the wada seems to be in harmony. Along with the old traditional materials like the bricks, stone and timber, the material of construction was different of the part of the house built in the last period. The wada being a non-load bearing, the timber columns and beams are the pivot of all construction. The columns are of a typical Maratha style with a stone base with brackets from the capital. The brackets have decorative motifs. The flooring of the ground floor is the traditional â&#x20AC;&#x2DC;Cobaâ&#x20AC;&#x2122; and the first floor has wooden planks with rammed mud underneath. The roofing system has wooden trusses covered with country or clay tiles.

Fig.39: Flooring section (Dr. Rupa Raje Gupta)

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The wada is considered to be in a poor condition. Major problems noticed is the weathering of the sandstone which is used for the plinth. It exhibits exfoliation and due to the weathering, the movement of moisture is restricted in the stone which affected the brick construction above. Due to the seepage and constant dampness, the lime plaster on the exterior is fallen out. Cracking of wooden columns and beams is a major threat. Several cracks have developed over the years due to low maintenance.

Fig.40: Eastern wall of third Courtyard (Author)

Several structural cracks due to the overload of the superstructure and due to the growth of vegetation on the building is a major concern. The growth of algae caused discoloration of plaster in the interiors and exterior caused due to dampness and keeping the wada closed for years, which has also deteriorated the brick construction. Due to the seepage, the bond between the masonry and the lime plaster has weakened causing gaps between the brick work and the plaster. The steel member of later construction in the third courtyard has corroded due to moisture in the air.

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The part of the wada which has sloping roof is in a poor condition. It is covered with clay tiles. Many portions of the roof covering are missing and is covered with metal sheets. The drain pipes along the roof lines are either missing or broken at places. This causes dampness in the walls which has also washed off the plaster from the exterior. The wada also has flat roof which is a character of wadas in Vidarbha region as an adaption to the weather condition. We find this combination of sloping and flat roofs only in Vidarbha region. The flat roof area is accessible through wooden staircases which are poorly maintained as they are rarely used. The flat roof area is poorly maintained. As a method of water proofing, tar mixture is applied which makes it non accessible as the tar always remains sticky and displaces water.

Fig.41: Terrace (Author)

Fig.42: Terrace (Author)

Later, a sloping roof with metal truss was added to cover a partial area of the flat roof. It appears to be in fair condition, but the truss is corroded due to the

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weathering. Few parts of the clay tiles are missing resulting in rain water seepage. The parapet of the roof is also in poor condition. The plaster from the parapet is washed out and several cracks have formed making it vulnerable. Few cracks on the shikhara of the temple are noticed, which could be due to the biological growth and due to the exposure to the harsh sun. The later structure built in concrete shows severe damage. The internal reinforcement of the columns is exposed due to the cracking of concrete. Hence, the metal is corroded due to weathering due to the climate.

Fig.43: Third Courtyard (Author)

The entire house has projecting wooden balconies which open in all the courtyards and in the front. The timber used for these balconies is severely damaged. These balconies are closed as it is unsafe. These balconies form the passage to access the individual rooms. These balconies have decorative cast iron railing a few of which are missing, some are corroded and others have deformed over the period.

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8.2. Site study 2 Raste Wada, Pune

Fig.44: Raste Wada Entrance (Author)

As Pune is known for being the Head of the rule, there are several other wadas in the vicinity which hold equal importance as that of Vishrambaug Wada. One of such wada is the Raste Wada. It is one of the few surviving wadas of Pune which need to be significantly noted. It is a Grade II structure, listed as an unprotected historic structure by the state. It is also associated to the Peshwa rule where the Raste family served the Peshwas. The wada was built between 1779-1784 by Anandrao Raste who was a Sardar or the commander-in-chief for the Peshwaâ&#x20AC;&#x2122;s cavalry.12 It is one amongst the large and glorious wadas of Pune. It is located in Rasta Peth, an area of Pune which is the old town of Pune or central Pune close to the Vishrambaug

Virasat pune

http://www.virasatpune.com/raste-wada/

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Wada from where the city originated. It is a typical example of Maratha style of architecture built during the rule of Peshwas. Since the profession reflected the lifestyle of the people, which influenced the various sociocultural aspect of the family. This influence affected the housing development. Since Raste family were ‘Kshatriya’ (warriors), the daily rituals and the social conduct differed from the noblemen and hence, the spacial arrangement slightly differs from the royal palaces. Similar to the Chitnaviswada, this wada is also an introvert house form, and thus the courtyard becomes the focus of the house. The wada has a huge boundary wall which supports parts of the wada. It is a two storied wada, also known as ‘Dwi Chowki (two courtyard or quadrangle) Wada’ as it consists of two open courtyards and all the rooms open to them, oriented long east-west. The wada has a grand balcony at the entrance on the east side which has weapon store rooms and Devdi (a place for guards) on either sides which opens into the first courtyard. The area of the first courtyard was meant for the social and administrative purposes combined.

Fig.45: First Courtyard (Author) Page | 58

Fig.46: First Courtyard (Author)

This courtyard was elaborated with wooden carvings and a fountain which was meant for the social activities. The rooms on the first floor of this courtyard was meant for guests which had huge halls for entertainment on both sides of the courtyard. Although, the second courtyard was supposed to be the area for women to carry out their daily routine, it was a transitional area for guests and the private area for women. Only special guests were entertained here. The rooms above this courtyard was the private area of the residents which had their bedrooms. Both the courtyards have decorated projections above the window to protect from weather conditions. Another distinctive feature of this wada is, spaces were created for the birds to rest and provision of water was made by providing clay water pots for the birds below the projection of the wada entrance. The wada had fountain in the first courtyard which doesnâ&#x20AC;&#x2122;t exist

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anymore. An aqueduct was built for the wada, which was connected to the springs from Wanowrire hills that supplied water inside and outside the wada.

Fig.47: Projections above the main entrance balcony (Author)

Fig.48: Projections above the main entrance balcony (Author)

The wada has narrow stairways on the lefts side of the entrance doorway for (Author) (Author) guests and other stairways are located within the walls which separated the courtyards. The area beyond the second court was the area for women which opened in a backyard. It housed areas for cooking and the store which ended with cow shed. The area above the kitchen area was the service area. The wada houses a simple decorated hall called Diwankhana on the first floor of the wada, but it also has an additional highly decorated â&#x20AC;&#x2DC;Diwankhanaâ&#x20AC;&#x2122; (performance hall) on the first floor of the stable at the main entrance of the wada. It was the performance hall for the general public that is currently used to run a government primary school. It was used to organize cultural programs for entertainment. We do not find meeting halls in this wada. It was mostly a residential wada. The main Diwankahana is the only hall used for religious performances. Every room decorated with wooden carvings and niches to keep the night lamps.

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Similar to the Vishrambaug wada and Chitnaviswada, this wada is also a non-load bearing structure with timber columns and beams are the pivot of all construction. The columns are of a typical Maratha style with a stone base with brackets from the capital. The brackets have decorative motifs. (ref fig. 45,46) The flooring of the ground floor is of basalt stone and the first floor has wooden planks with rammed mud underneath. The roofing system has wooden trusses covered with country or clay tiles. These construction techniques are the features of Maratha architecture. Hence they are observed in structures built in 17th and 18th Century. The partial wadaâ&#x20AC;&#x2122;s condition is considered to be in a poor condition. Due to the family division, which led to division of the wada has left the wada in despair. Major problems noticed is the timber work in both courtyards. The major issue is with the projections above the windows. Portions of these projections are either broken or completely decayed. Due to the negligence, vegetation growth on these projections has become a major concern.

Fig.49: Elevation of the East side of the Second Courtyard (Author)

Fig.50: Elevation of the East side of the First Courtyard (Author)

(Author)

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The discoloration of the plaster polish of the timber of the projections and the motifs is mainly because of weathering and no maintenance. Cracking of wooden columns and beams is a major threat. Several cracks have developed over the years due to low maintenance. Several structural cracks due to the overload of the superstructure and due to the growth of vegetation on the building is a major concern. Constant dampness, due to the seepage of water and due to the weather conditions of this area of Maharashtra, the exterior is affected greatly. Hence, lime plaster on the exterior is fallen out which has exposed the bricks and the brick work is getting weathered. The growth of algae caused discoloration of plaster in the interiors and exterior caused due to dampness and almost no maintenance of the wada despite residents residing in the wada over the years, which has also deteriorated the brick construction. Minor cracking in the brick work is noticed. Due to the seepage, the bond between the masonry n the lime plaster has weakened which caused gaps between the brick work and the plaster.

Fig.51: Windows below the roof of the North side (Author) (Author)

The sloping roof of the wada is in a poor condition. It is covered with clay tiles. Many portions of the roof covering are missing and is covered with

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metal sheets. The windows under the roofs are also damaged. The timber doors and the protection are missing. The drain pipes along the roof lines are either missing or broken at places which causes dampness in the walls which has also washed off the plaster from the exterior.

Fig.52: Roof of the West Side (Author)

Fig.53: Windows below the Roof of the West Side (Author)

(Author)

Recently, half part of the wada is being restored to its original form and is being maintained by the owners. The owners who are sensitive towards this historic structure are trying to maintain the wada and the work being carried out is considerably good. The interior is the first part they are working on where the flooring and the columns were repaired. The flooring had the rammed mud underneath the stone slabs. The one and half feet layer of mud was reduced to just half feet which reduced the load on the lower beams and columns and the part of the columns which were decayed were replaced and attached with metal plates. The repair work has been impressive as it is not done by any professional contractor. A proposal of a new hall in the design of the Diwankahana is proposed in the wada to promote culture and host cultural performances for local public and upcoming artists. â&#x20AC;&#x153;Our motive is to promote our culture which is close to 250 years old and it becomes our duty to preserve it in this wada where it was nurtured and the main reason to

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propose an open performance hall is to create and experience the different forms of our culture the same area and create a royal ambience for the audience. It will also create a platform for new upcoming, nurturing artists to present their art.â&#x20AC;? Says Mr Raste about the new proposal of the hall.

8.3. Site study 3 Sathe Wada, Kalyan

Fig.54: North Entrance (Author)

Kalyan was another princely area of the great rulers who ruled Maharashtra in different years. In the later Middle Ages, Ahmadnagar Sultanates, established in 1490, occupied Kalyan and formed the empire. During the Peshwa rule, Kalyan was conquered by the Marathas from the Mughal, which became a part of the adminstrtive unit. Holding the administrative unit of the Maratha empire of the Konkan region, it also became the trading unit.

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Several notable noblemen managed and controlled the area. They were the representatives to the British India province and maintained their stature. Unlike the wada in Nagpur, the Vidarbha region, although the wadas of administrators were highly aristocratic, the wadas in Kalyan were not much of aesthetical. The Sathe wada of Kalyan, the Konkan region is much of simple design. Although, it was the residence of one of the notable administrators of Konkan region. It is one of the few surviving wadas in Kalyan which need to be significantly noted. It is a Grade II structure, listed as an unprotected historic structure by the state which has not gained much importance. It is also associated to the Peshwa rule and the British India Province where the Sathe family served the Peshwas as administrators and tax collectors. The construction of wada started in 1872 and was completed in 1874 built by Sadashiv Moreshwar. It is considered to be one amongst the simple yet large wada in Kalyan. It is located in Gandhi Chowk Bazar Peth of Kalyan, which was the Hindu communal area. It is a simple yet a typical example of Maratha style of architecture built during the rule of Peshwas. Since the profession reflected the lifestyle of the people, which influenced the various socio-cultural aspect of the family. This influence affected the housing development. Since Sathe family were administrators of a smaller area, the daily rituals and the social conduct were almost similar to those of administrators from other areas who required office spaces and gathering spaces. Although, the spatial arrangement slightly differs from the royal palaces. Unlike the other site studies and the case study, this is an extrovert wada, with front and back courtyards, which makes it different from the other wadas. Keeping the courtyard, the focal point of the wada, the other rooms were aligned and arranged according to the utilities. The wada has a well-

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defined boundary wall which supports parts of the wada. It is a two storied wada. Although it is not similar to the above mentioned wadas, since it has two courtyards, it is also known as ‘Dwi Chowki (two courtyard or quadrangle) Wada’, oriented North-South. The wada has an interesting entrance on the North side with low entrance leading to a lower level than the street level. Since this was a residence of an administrator, it neither had the rooms to store weapons store rooms nor the Devdi (a place for guards). The rooms around the courtyard on either side was the cow-pen. Opposite to the entrance was the house entrance which opened into the living room which lead to the kitchen and the ‘Balantini chi Kholi’ (labour room). These rooms opened in the back courtyard which was used as a small kitchen garden and where the women of the house spent most of their time. Since it doesn’t have the central courtyard, the first floor is the replica of the ground floor. The office area was housed next to the living room where only the officials had access. General public was entertained in the front courtyard.

Fig.55: North side Elevation (Author)

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The Diwankhana of this wada is on the first floor above the living room which is almost the length of the house. This hall was used for entertainment purposes, where the delegates were welcomed and entertained by singing performances. The private areas were around the Diwankhana, where the women of the house would watch the performance. The first courtyard is more elaborate than the rear courtyard with wooden frames protruding to define the structure. The projections to the openings act as protection from weather conditions. A distinctive feature of this wada is that it has several openings with minimum wall. The interiors also have several openings aligned to the openings on the exterior to provide cross ventilation which keeps the house cool, since this region has highest humidity level. Unlike the other wadas, this wada has a huge stairway on the right side of the wada to receive guests and other stairways are located within the walls which separated the courtyards. There are small and large cabinets within the walls and also the flooring of the first floor to keep expensive and important materials. These cabinets are about 2' deep which shows the depth of the flooring.

Fig.56: Cabinets in The Floor at The First Floor Level (Author)

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Part from the office area, the wada does not have meeting halls. It is a residential wada. The main Diwankahana is the only hall used for religious performances. Every room is decorated with wooden planks reaching upto the ceiling, which was the false ceiling method used during the time and niches to keep the night lamps. Similar to the other wadas, this wada is also a non-load bearing structure with timber columns and beams are the pivot of all construction. The columns are of a typical Maratha style with a stone base with brackets from the capital. This can be seen from the exteriors. The flooring of the ground floor is of basalt stone and the first floor has wooden planks with rammed mud underneath. The roofing system has wooden trusses hidden by the false ceiling, covered externally with country or clay tiles. These construction techniques are the features of Maratha architecture. Hence they are observed in structures built in 17th and 18th Century. The condition of the wada is considered very good. No major defects or problems are noticed in the wada. The only issue the current residents face is the load on the upper floor which is dealt by not allowing excess live load on the first floor. Another measure taken by the residents is, originally, the roof had four layered covering, which was removed and replaces by single layer clay tiles. This helped reduce the load on the frames. No major issues or defects were noticed except that on the boundary wall. The plaster of the wall has worn off due to low maintained. Later interventions were made within the boundary wall to adapt to the modern needs of the family. The flooring of the front courtyard was replaced by

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paver tiles during the repair work of the front courtyard which was needed to elevate the courtyard to avoid water logging during the rainy season. Additional partitions were added to the interiors of the wada to divide into smaller and private rooms. The partitions are temporary made of wood which can be removed when necessary. The main hall is kept to its original with the original paint and plaster made of lime. The windows and the metal railings were brought from Mumbai which is still in good condition.

Fig.57: Living room on First Floor (Author)

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Fig.58: Bathrooms on Exteriors (Author)

A major intervention made by the owners was adding the bathrooms only on the exteriors to avoid any additional pipelines to inset in the heritage walls of the wada. The separate bathrooms provided on exteriors on both levels which provide bracing to the structure. This also supports the wada structurally which could have become vulnerable after the earthquake that occurred several years ago. The only regular maintenance done is the termite treatment to protect the wood used for the wada which is done once in two years. The advantages according to Mr. Sathe are that since the wada is being maintained since it was built, the maintenance cost is low and the building is eco-friendly, which does not require air conditioning during harsh summers. The saving on land and estate tax is huge. The saving is nearly 100 times to what the houses in the commercial units pay yearly. Also, he mentions the advantage of having the own land and complete privacy which is the major

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necessity. Living in the wada since he was a child, has made him sensitive towards the life and the existence of the wada which is now seen in the next generations, which made them sensitive towards the heritage of the country.

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9. Conclusion The objectives of this research paper were to understand the evolution of and complexities in the conservation of traditional dwellings of Maharashtra Wadas. Culture is an important aspect of any region and history and culture are intertwined. Culture continuously evolves and can be studied by knowing history. Historical monuments also help in preserving culture. They stand as a witness to the major historical events and remain an emblem of heritage and the rich historical architectural values of a region, in this case, Maharashtra. They also stand as a testimony to the socioeconomic aspects of people of the bygone era and give a peek into the social organisation of our forefathers. Currently, due to the rising real estate prices, the necessity of conserving such structures can be questioned; especially when the population density is growing day by day and land available for housing is decreasing. Under the name of modernization and to satisfy the never ending human greed, a common practice followed these days is to construct multi-storied apartments on any vacant land. However, this practice has many disadvantages. If this practice continues, all the gardens and forests will be converted into concrete jungles. This will affect the fragile environmental equilibrium. The desire to construct multistory buildings has even swallowed many historical structures depicting the heritage and culture of a region. These structures testify many historical events and if this ruthless destruction continues, there will be a time when the future generations will see them

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only in pictures or photographs. Hence, it is important to preserve these structure and embrace them in our present times and remind the future generations about their forefathers and also the rich culture that they inherit. Conservation of these structures by converting the structures into a museum will help preserve the essence of the building as these buildings have housed famous personalities and have stood as witness to important historical events. These structures showcase the evolution and development of architectural style, creativity, principles of design, choice of materials, construction techniques with minimal tools and the workmanship of the bygone era. Undoubtedly, such architectural marvels should be scientifically studied and documented in books and photographs but by preserving them, one can experience the history in close quarters and feel connected to the past. The national, state and local governments are working towards conserving the heritage. But, as cultured global citizens of the society, it is one of our fundamental duties to preserve and revive such structures and pass them in the same state if not in a better state to the next generation to make them understand the history. However, one of the biggest challenges that conservationists face is the strict regulations and norms of the bureaucratic system. The laws and regulations need to be assessed and revised to encourage preservation and promotion of heritage structures. Lately, the bureaucratic system is becoming aware of the threat of extinction of these structures and is initiating preservation programs for not only the popular, large and already protected monuments but also for the unprotected cultural monuments that are not only architectural marvels but also glorious reminisce of the past.

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It is very true that the foundation of sustainable and modern architectural marvels cannot be reinforced by ignoring and neglecting the rich architectural history of India. In sum, if we are aware of our past, only then, can we confidently tread into the future for Confucius said "Study the past if you would define the future".

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ICOMOS. (1964). The Venice Charter, International Charter For the Conservation And Restoration of Monuments And Sites. Venice, ICOMOS, 1964. http://www.icomos.org/charters/venice_e.pdf. ICOMOS. (1987). The Washington Charter, Charter for the Conservation Of Historic Towns And Urban Areas. Washington. ICOMOS. 1987. http://www.icomos.org/charters/towns_e.pdf. ICOMOS. (1999). The Tourism Charter, International Cultural Tourism Charter Managing Tourism at Places of Heritage Significance. Mexico. ICOMOS. 1999.

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Indentification anddocumenttion pdf from net http://cipa.icomos.org/fileadmin/template/doc/RECORDIM/INDIA_2007.pd f Menon, AG Krishna and Navin Piplani. 2004. "Charter For The Conservation Of Unprotected Architectural Heritage And Sites In India". Charter For The Conservation Of Unprotected Architectural Heritage And Sites In India (Working Papers). http://architexturez.net/doc/az-cf-21208. Rao, B. 2016. "Vishrambaug Wada And Mastani Mahal". Ramrao1.Tripod.Com. http://ramrao1.tripod.com/vbwada.html. Riegl, Alois. The Modern Cult of Monuments: Its Character and Its Origin. Cambridge (Mass.): MIT Press, 1982. The Society For The Protection Of Ancient Buildings PRINCIPLES AND PHILOSOPHY. 2016. Ebook. http://www.spabfim.org.uk/data/files/pages/spab_principles.pdf.

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Vishrambaug Wada In Pune. 2016. Punesite.Com. http://www.punesite.com/vishrambaug-wada-in-pune.html. Warren, John. Conservation of Brick. Oxford: Butterworth Heinemann, 1999. William Morris. (2009). Spab.Org.Uk. SPAB Manifesto. https://www.spab.org.uk/what-is-spab-/the-manifesto/.

Appendix Appendix A: Charter for Conservation of Unprotected Architectural Heritage and Sites in India. PART I: PRINCIPLES ARTICLE 1: WHY CONSERVE? 1.1. The majority of Indiaâ&#x20AC;&#x2122;s architectural heritage and sites are unprotected. They constitute a unique civilisational legacy, as valuable as the monuments legally protected by ASI/ SDA and other governmental and non-governmental agencies. This legacy is being steadily eroded as a result of insensitive modernization and urbanization, and the fact that it does not command the same respect as legally protected monuments. Many unprotected heritage sites are still in use, and the manner in which

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they continue to be kept in use represents the ‘living’ heritage of India. This heritage is manifest in both tangible and intangible forms (Article 2.2), and in its diversity defines the composite culture of the country. Beyond its role as a historic document, this unprotected heritage embodies values of enduring relevance to contemporary Indian society, thus making it worthy of conservation. 1.2. This ‘living’ heritage is not legally protected. The buildings and sites which constitute it are subject to demolition or unsympathetic interventions. The knowledge of traditional building skills with which it is associated is also in danger of being lost in the absence of patronage and official recognition. Conserving the ‘living’ heritage, therefore, offers the potential to conserve both traditional buildings and traditional ways of building. 1.3. Conserving the unprotected architectural heritage and sites ensures the survival of the country’s sense of place and its very character in a globalising environment. It offers the opportunity not only to conserve the past, but also to define the future. It provides alternate avenues for employment and a parallel market for local building materials and technologies, which needs to be taken into account when resources for development are severely constrained. 1.4. This ‘living’ heritage also has symbiotic relationships with the natural environments within which it originally evolved. Understanding this interdependent ecological network and conserving it can make a significant contribution to improving the quality of the environment.

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ARTICLE 2: WHAT TO CONSERVE? 2.1. The objective of conservation is to maintain the significance of the architectural heritage or site. Significance is constituted in both the tangible and intangible forms. The process of Listing (Article 5) must determine the characteristics of significance and prioritise them. 2.2. The tangible heritage includes historic buildings of all periods, their setting in the historic precincts of cities and their relationship to the natural environment. It also includes culturally significant modern buildings and towns. The intangible heritage includes the extant culture of traditional building skills and knowledge, rites and rituals, social life and lifestyles of the inhabitants, which together with the tangible heritage constitutes the â&#x20AC;&#x2DC;livingâ&#x20AC;&#x2122; heritage. Both tangible and intangible heritage, and especially the link between them, should be conserved. 2.3. Conservation of architectural heritage and sites must retain meaning for the society in which it exists. This meaning may change over time, but taking it into consideration ensures that conservation will, at all times, have a contemporary logic underpinning its practice. This necessitates viewing conservation as a multi-disciplinary activity. 2.4. Where the evidence of the tangible or intangible architectural heritage exists in fragments, it is necessary to conserve it, even in part, as representative of a historic past. Such conservation must ideally be undertaken in-situ, but if this is not possible, then it should be relocated to a place where it would be safe for continued contemplation. 2.5. Conservation in India is heir not only to Western conservation theories and principles introduced through colonialism and, later, by the

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adoption of guidelines formulated by UNESCO, ICOMOS and international funding agencies, but also to pre-existing, indigenous knowledge systems and skills of building. These indigenous practices vary regionally and cannot be considered as a single system operating all over India. This necessitates viewing conservation practices as a multicultural activity. 2.6. While the Western ideology of conservation advocates minimal intervention, Indiaâ&#x20AC;&#x2122;s indigenous traditions idealise the opposite. Western ideology underpins official and legal conservation practice in India and is appropriate for conserving protected monuments. However, conserving unprotected architectural heritage offers the opportunity to use indigenous practices. This does not imply a hierarchy of either practice or site, but provides a rationale for encouraging indigenous practices and thus keeping them alive. Before undertaking conservation, therefore, it is necessary to identify where one system should be applied and where the other. For this purpose, it is necessary at the outset to make a comprehensive inventory (see Article 5) of extant heritage, both tangible and intangible, and separate it into two categories: 2.6.1. Buildings and sites protected by ASI, SDA and other government or non-government agencies. Only the official and legal instruments of conservation and internationally accepted principles should be adopted here; 2.6.2. Other listed buildings and sites which, though not protected by ASI, SDA and other government or non-government agencies, possessing heritage value or significance equivalent to that of protected monuments.

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Here too, the official and legal instruments should be adopted for their conservation; 2.6.3. The remaining listed buildings and sites both modern and historic, including those produced within the last hundred years. Here, the conservation strategy may adopt either the official and legal instruments of conservation or those rooted in indigenous building traditions. Hybrid strategies, inventively combining indigenous and official practices, can also be employed to conserve this heritage category. The decision to adopt indigenous practices should be based on the availability of skilled and knowledgeable raj mistris. In all cases a rationale for the decision taken to adopt one or another system of conservation must be recorded. 2.7. The overarching objective for undertaking conservation of unprotected architectural heritage and sites is to establish the efficacy of conservation as a development goal. What to conserve will, therefore, be determined by those strategies of conservation which accommodate the imperatives of development and the welfare of the community while seeking economically to achieve maximum protection of the significant values of the architectural heritage and site. ARTICLE 3: CONSERVATION ETHICS 3.1. Authenticity 3.1.1. The traditional knowledge systems and the cultural landscape in which it exists, particularly if these are â&#x20AC;&#x2DC;livingâ&#x20AC;&#x2122;, should define the authenticity of the heritage value to be conserved. In the absence of such contexts, the official and legal guidelines, particularly as defined by the

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“Nara Document on Authenticity, 1994”, should determine the nature of the authenticity of the architectural heritage and site. 3.1.2. Traditional knowledge systems and cultural landscapes vary from one regional/cultural context to another or within the same region/culture. Thus, the values of ‘living’ architectural heritage can differ from one context to another, reflecting the cultural diversity of the country. In each case, however, conservation should faithfully reflect the significant values which define the heritage. 3.2. Conjecture 3.2.1. Local master builders build, rebuild, restore, renew and make additions/alterations to historic buildings in response to contemporary exigencies or evolving local needs of the community; they must be encouraged to follow their traditions even when there is no available evidence in the form of documentation, oral histories or physical remains of previous structures. Appropriate craftspeople for undertaking such works should be identified as described in Article 5.1.4. 3.2.2. An exact replacement, restoration or rebuilding must be valued when it ensures continuity of traditional building practices. 3.2.3. Conjectural restoration or rebuilding must nevertheless respect the overall spatial and volumetric composition of historic settings. The parameters of the historical setting should be defined through comprehensive urban design studies. These parameters should also guide new urban development in the vicinity of heritage buildings and sites.

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3.2.4. The ASI/ SDA rule prohibiting development within a 100-metre radius of a protected building restricts the practice of restoration or rebuilding of sites, conjectural or otherwise, and thereby may result in harming the welfare of society. This rule should not be applied to conserve unprotected architectural heritages and sites. 3.3. Integrity 3.3.1. The integrity of the heritage is to be defined and interpreted not only in terms of the physical fabric of the building, but also with respect to the collective knowledge systems and cultural landscape it represents. This knowledge system, where it exists, must mediate the process of conservation/ restoration/ rebuilding of the unprotected architectural heritage in order to reinforce an appreciation of the cultural landscape. This dynamic concept understands the integrity of the individual building as one which evolves in response to contemporary needs of local society. 3.3.2. The concept of an evolving integrity accepts the introduction of new architectonic elements, materials and technologies when local traditions are insufficient or unavailable. The introduction of new elements may reflect contemporary aesthetic ideals as modern additions to old buildings 3.4. Patina 3.4.1. The patination of historic fabric due to age or natural decay should not compel the preservation of a ruin as it exists, frozen in time and space. In conformity with local aesthetic traditions, and for the well being of the heritage building or site, renewal, restoration, repair or

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rebuilding is acceptable. Patina may, where necessary, be considered as a sacrificial layer. 3.5. Rights of the indigenous community 3.5.1. Each community has its own distinctive culture constituted by its traditions, beliefs, rituals and practices - all intrinsic to defining the significance of the unprotected architectural heritage and site. The conservation strategy must respect the fact that local cultures are not static and, therefore, encourage active community involvement in the process of decision-making. This will ensure that the symbiotic relation between the indigenous community and its own heritage is strengthened through conservation. 3.6. Respect for the contributions of all periods 3.6.1. The contributions of earlier periods which produced the historic fabric and consequent interventions, including contemporary interventions, based on either traditional systems of building knowledge or modern practices, must be respected as constituting the integrity of the heritage sought to be conserved. The objective of conserving the unprotected architectural heritage and site is not so much to reveal the authentic quality of the past or preserve its original integrity, but rather to mediate its evolving cultural significance to achieve beneficial results. 3.6.2. The holistic coherence of the heritage in terms of its urban design, architectural composition and the meaning it holds for the local community should determine any intervention in the process of conservation.

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3.7. Inseparable bond with setting 3.7.1. An unprotected heritage building or site is inseparable from its physical and cultural context, and belongs to the local society as long as its members continue to value and nurture it. The conservation process must be sensitive to this relationship, and reinforce it. 3.7.2. If the unprotected heritage does not possess any bond with contemporary society, then its relevance for conservation may be questioned and modern re-development may be considered an option to meet the welfare needs of society. This decision must invariably be taken in consultation with INTACHâ&#x20AC;&#x2122;s Advisory Committees as described in Article 7.2.5. 3.8. Minimal intervention 3.8.1. Conservation may include additions and alterations of the physical fabric, in part or whole, in order to reinstate the meaning and coherence of the unprotected architectural heritage and site. In the first instance, however, conservation should attempt minimal intervention. 3.8.2. However, substantial additions and alterations may be acceptable provided the significance of the heritage is retained or enhanced. 3.8.3.

Minimal loss of fabric

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3.9. Reversibility 3.9.1. The principle of reversibility of interventions need not dictate conservation strategy. In order to use the unprotected heritage for the socio-economic regeneration of the local communities, the historic building and site can be suitably adapted and modified for an appropriate reuse. For this it is only essential that the process of intervention contributes to conserving the traditional context as far as possible in the modified form. This decision must invariably be taken in consultation with INTACHâ&#x20AC;&#x2122;s Advisory Committees as described in Article 7.2.5. 3.10.

Legibility

3.10.1. The legibility of any intervention must be viewed in its own context. If traditional craftspeople are employed then it must be accepted that their pride derives from the fact that the new work is in complete harmony with the old and is not distinguishable from it. Thus, historic ways of building must be valued more than the imperative to put a contemporary stamp on any intervention in a historic building. 3.10.2. Where modern material or technology is used, it could be used to replicate the old or be distinguished from it, depending on the artistic intent governing the strategy of conservation. 3.11.

Demolish/ Rebuild

3.11.1. The concept of jeernodharanam, or regeneration of what decays, must guide the nature of conservation. This belief is fundamental to

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conserving traditional ways of building and maintaining the continuity of local knowledge systems. 3.11.2. If, however, local conditions are such that all strategies to conserve the unprotected architectural heritage and site are found to be inadequate, then the option of replacing it should be examined. This process is also rooted in tradition because it recognises â&#x20AC;&#x2DC;cyclicalâ&#x20AC;&#x2122; perceptions of time, whereby buildings live, die and are rebuilt. This option must be discussed, debated and decided in consultation with all concerned stakeholders, including INTACHâ&#x20AC;&#x2122;s Advisory Committee as described in Article 7.2.5. 3.11.3. Where the existence of a cultural resource is under severe threat by natural calamities or man-made hazards, the building may be dismantled and reassembled at another appropriate site after undertaking thorough documentation of its extant condition. 3.11.4. If a historic structure has outlived its significance and its meanings to local people are lost, it may be preserved as a ruin or, if circumstances do not permit that, left undisturbed to meet its natural end. 3.11.5. If removal in whole or part from the original site or context is the only means of ensuring the security and preservation of a building, then a comprehensive documentation of all valuable and significant components of the cultural resource must be undertaken before it is dismantled. 3.12.

Relationship between the conservation architect and the

community

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3.12.1. In dealing with the conservation of unprotected architectural heritage and sites, it may become necessary to temper the role of the conservation architect as an expert professional by taking into account the desires and aspirations of the local community and the traditional practices of raj mistris. This does not assume, a priori, that the interests of conservation architects and those of the community and traditional master builders are incompatible, but rather that there must be room in the process of conservation for dialogue and negotiated decision making. 3.12.2. In order to achieve a more satisfying result for the community it may be necessary to override the professional imperative to adhere to the principles governing the conservation of legally protected monuments. This is acceptable when dealing with unprotected architectural heritage and sites provided, as stated in Article 2.7, that conservation strategies seek economically to achieve maximum protection of the significant values of the architectural heritage and site. PART II: GUIDELINES ARTICLE 4: CONSERVATION OBJECTIVES 4.1. Retain visual identity 4.1.1. In a globalising world, where visual spaces are rapidly becoming homogenised, it is necessary to retain the specific visual identity of a place created by the presence of unprotected architectural heritage and sites. Yet, this image should not be preserved in the manner of legally protected monuments, but must accommodate the imperatives of change in making the heritage relevant in contemporary society. The objective must be to integrate unprotected heritage and sites into daily social life by balancing their needs so that neither overshadows the other.

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4.1.2. The visual cacophony created by advertisement boards, signage, hanging electric cables, air conditioning units, dish antennas, etc. must be carefully controlled to enhance the visual character of the architectural heritage and site. Additions of street furniture, pavement material, lighting, signage, etc. can add to the experience and appreciation of the heritage. 4.1.3. In this respect the objectives of conservation can mediate even new buildings or neighbourhoods by requiring them to make reference to the old by employing elements, methods and devices characterising the architectural heritage of the area so that the new is linked with the old. 4.2. Adaptive re-use 4.2.1. The re-use of historic buildings and neighbourhoods is economically sensible. It is an effective strategy to conserve architectural heritage, particularly by using traditional craftspeople in the process. Such re-use distinguishes between preservation as an ideal on the one hand and, on the other, the goal to prolong the useful life of architectural heritage by retaining as much (and not necessarily, all) of the surviving evidence as a vestigial presence. 4.2.2. Priority must be accorded to retaining the continuity of original functions. Any new use must be introduced only after studying its effect on the local context, and must conform to the carrying capacity and vulnerability of the architectural heritage. 4.2.3. All changes to the original fabric should be preceded and followed by comprehensive documentation. Additions and alterations

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must respect the coherence of the whole, and must, to the extent possible, engage traditional materials, skills and knowledge in the process. 4.2.4. When it becomes necessary to modernise and comprehensively alter the original internal functional characteristics of the building or site, its external image must be retained. 4.2.5. At the outset, the local community must be made aware of the changes envisaged and explained the benefits to be derived. 4.3. Restoration/ Replication/ Rebuilding 4.3.1. Restoration is an appropriate conservation strategy to reinstate the integrity or complete the fractured â&#x20AC;&#x2DC;wholeâ&#x20AC;&#x2122; of the architectural heritage/ site. It must aim to convey the meaning of the heritage in the most effective manner. It may include reassembling of displaced and dismembered components of the structure and conjectural building or replacement of missing or severely deteriorated parts of the fabric. Invariably, restoration work must be preceded and followed by comprehensive documentation in order to base interventions on informed understanding of the resource and its context, and in conformity with contemporary practices of local craftspeople. 4.3.2. In consonance with traditional ideals, replication can be accepted as an appropriate strategy not only to conserve unprotected historic buildings, but especially if such replication encourages historic ways of building. 4.3.3. At the urban level, the objective of rebuilding historic structures should be to enhance the visual and experiential quality of the built

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environment, thereby providing a local distinctiveness to contest the homogenising influence of globalisation. 4.3.4. In addition, reconstruction/ rebuilding can provide the impetus to develop a parallel market for local buildings materials and new opportunities for the use of alternative systems of building. 4.3.5. Reconstruction based on minimal physical evidence is appropriate where it is supported by the knowledge of local craftspeople, including folklore, beliefs, myths and legends, rituals, customs, oral traditions, etc. The objective of this practice must be to interpret the original meanings of the resource in the contemporary context and reinforce its bond with society. 4.4. Employment generation 4.4.1. Conservation strategy must focus on the potential for employing local raj mistris, labour and materials because this will prolong the economic viability of traditional ways of building. In conditions of resource scarcity, the use of architectural heritage can provide an alternate and more economic strategy to meet contemporary needs as well. 4.5. Local material and traditional technology 4.5.1. The use of local materials and traditional technologies must invariably be preferred. Their choice must be based on the availability of traditional knowledge systems. Modern substitutes should be considered only after their use is proven efficient and judicious, and must not compromise the integrity and continuity of local building traditions.

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4.5.2. It is necessary to recognise that the use of certain traditional building materials may be inadvisable on account of the damage this can cause to the natural ecological systems. Thus the use of shell lime in coastal areas and wood generally may need to be judicially substituted with alternate materials. 4.6. Integrated conservation 4.6.1. Conservation of architectural heritage and sites must be integrated with the social and economic aspirations of society. Conservationoriented development must be the preferred strategy for social and economic progress. This necessitates the formation of multi-disciplinary teams to undertake integrated conservation projects. Since social aspirations are diverse and often at odds with each other, the conservation team must include social workers to facilitate dialogue and decisionmaking. 4.7. Sustainability 4.7.1. The objective of conservation should be to sustain the building and/or the traditional skill and knowledge system of building. In this context, continuity must be seen as evolving over time. The test of its validity must be the positive contribution it makes to the quality of life of the local community. ARTICLE 5: LISTING 5.1. Introduction 5.1.1. Through the ASI, the Central Government protects monuments more than 100 years old declared to be of national importance.

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Monuments of importance to States are protected by the respective SDAs. However, the existing legislation covers only about 5,000 monuments at the national level and approximately 3,500 at the state level. Considering India’s vast cultural heritage, these numbers are inadequate and their focus monument-centric. 5.1.2. INTACH has undertaken an inventory of built heritage in India which includes notable buildings aged 50 years or more which are deemed to be of architectural, historical, archaeological or aesthetic importance. 5.1.3. This inventory will become INTACH’s National Register of Historic Properties. It attempts to create a systematic, accessible and retrievable inventory of the built heritage of this country. It will serve as resource material for developing heritage conservation policies and regulations. In due course, this database should be made more comprehensive and the information compiled should be available online. It should also be made compatible with similar registers of other countries to facilitate international research. 5.1.4. A similar Register of Craftspeople associated with the architectural heritage must be undertaken by specialist cultural organizations (Article 8.6.3). It is important to reiterate that both buildings being listed and associated activities that keep these building in use constitute the ‘living’ heritage. The Register of Craftspeople is, therefore, essential to viewing the architectural heritage in a holistic manner. 5.2. Inventory of properties/ buildings

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5.2.1. Since a large part of Indiaâ&#x20AC;&#x2122;s cultural heritage has so far remained undocumented, preparing an inventory of heritage buildings worthy of preservation is the most important task with which to begin the process of conservation. 5.2.2. The primary aim of listing is to document the fast disappearing built heritage and then present it to scholars and the general public in a user-friendly format, which aids conservation by generating public awareness. Once a property/ building is included in such a list, it becomes justifiable to undertake necessary conservation activities by formulating special regulations for its conservation or according it due protection under Town Planning Acts. Ideally, the footprints of all listed buildings should be included in the Master Plan documents of cities. 5.2.3. Buildings protected by the ASI and SDA should also be included in the list prepared by INTACH. 5.2.4. Selection criteria 5.2.5. Although interrelated, the following three key attributes will determine whether a property is worthy of listing: i. Historic significance ii. Historic integrity iii. Historic context One or more of these attributes need to be present in a building to make it worthy of listing. 5.3. Historic significance

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5.3.1. Historic significance refers to the importance of a property to the history, architecture, archaeology, engineering or culture of a community, region or nation. In selecting a building, particular attention should be paid to the following: i. Association with events, activities or patterns. ii. Association with important persons, including ordinary people who have made significant contribution to India’s living heritage. iii. Distinctive physical characteristics of design, construction or form, representing the work of a master craftsperson. iv. Potential to yield important information, such as socio-economic history. Railway stations, town halls, clubs, markets, water works etc. are examples of such sites v. Technological innovation represented. For example: dams, bridges, etc. vi. Town planning features such as squares, streets, avenues, etc. For example: Rajpath in New Delhi.

5.4. Historic integrity 5.4.1. Historic integrity refers to the property’s historic identity, evidenced by the survival of physical characteristics and significant elements that existed during the property’s historic period. The “original” identity includes changes and additions over historic time.

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5.4.2. Historic integrity enables a property to illustrate significant aspects of its past. Not only must a property resemble its historic appearance, but it must also retain original materials, design features and aspects of construction dating from the period when it attained significance. 5.4.3. Historic integrity also relates to intangible values such as the building or siteâ&#x20AC;&#x2122;s cultural associations and traditions. Historic context Historic context refers to information about historic trends and properties grouped by an important theme in the history of a community, region or nation during a particular period of time. Knowledge of historic context enables the public to understand a historic property as a product of its time. Precincts or properties with multiple owners A historic building complex may comprise of numerous ancillary structures besides the main structure. Each structure of the complex must be documented on individual proformas. For example, Jahangir Mahal, Diwan-i-Aam, Diwan-i-Khas and Moti Masjid all form part of the Agra Fort complex but are also individual buildings in their own right and, as such, must be documented individually. 5.5. Methodology

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5.5.1. The determination of significance is the key component of methodology. All conservation decisions follow from the level of significance that is assigned to a building or site. 5.5.2. Listing work is comprised of two phases: i. Background research ii. Field work 5.6. Background research 5.6.1. Before commencing actual fieldwork, the lister should gather basic information from various sources including gazetteers, travel books and other specialised books containing information about the architecture and history of the area to be listed and documented. This work could be done in university libraries, the ASI, the National Museum, the Central Secretariat, the respective State Secretariats, Institutes of Advanced Studies and Schools of Planning and Architecture. In a given area, local experts and university scholars are resource persons who could also provide required guidance and help. 5.6.2. Background research helps to ensure that no important structure or representative style of building is left out of the list. It enables the identification of historic areas, historic development of the area, significant events in the area and important persons associated with the area. In some well-documented areas, distinctive physical characteristics of design, construction or form of building resource can also be identified. 5.7. Field work

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5.7.1. First and foremost it is necessary to carry out a field survey to identify the buildings and the areas to be listed. Following this, a detailed physical inspection of the property and dialogues with appropriate local people such as the owners of the property, area residents, local panchayats, etc. need to be undertaken. By physically inspecting the property the lister can gather information regarding the physical fabric of the building, such as physical characteristics, period of construction, etc. that need to be cross-checked with the literature survey. By conducting a dialogue with area residents, the lister can determine the changes to the property over time, ownership details, historic function and activities, association with events and persons and the role of the property in local, regional or national history. 5.7.2. When gathering information, the lister must be mindful of proforma requirements (Article 5.12). The proforma is, first of all, a record of the property at the time of listing and consists of current name; historic or other name(s), location, approach and accessibility, current ownership, historic usage, and present use. 5.7.3. Claims of historic significance and integrity should be supported with descriptions of special features, state of preservation, relevant dates, etc.

5.8. Mapping of vernacular architecture and historic settlements

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5.8.1. The major shortcoming of the current list of legally protected architectural heritage is that it does not recognise vernacular architecture and historic settlements as categories of heritage worthy of being conserved. The listing of unprotected architectural heritage and sites must, therefore, include this category. An example of such an inclusive document is INTACH’s “Listing of Built Heritage of Delhi” published in 1999. 5.8.2. Sacred sites must be dealt with due sensitivity and knowledge of the local social and cultural imperatives governing their sanctity. Listing must record such characteristics associated with these sites. 5.8.3. Detailed format for all the structures 5.8.4. Information for each building or site should be recorded as per INTACH’s standard format as described below. 5.8.5. Each proforma must contain information about listers and reviewers. Listing must be carried out by or under the supervision of experienced conservation architects. 5.8.6. At least one photograph of the property/ building should be recorded for identification purposes. All significant elements of the property also need to be photographed. All photographs should be properly catalogued. 5.8.7. A conceptual plan (if available, a measured drawing) should be given for each building/ area listed. 5.8.8. Any additional information related to or affecting the built heritage of the city/town/region documented and its conservation should

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be included as appendices, for example: laws and regulations on planning and conservation, etc. 5.8.9. A glossary should be provided explaining the technical and the special words used must be provided. For example: â&#x20AC;&#x153;Imambara - a shrine/ religious structure of Shia Muslimsâ&#x20AC;?. 5.8.10. A bibliography of all books, publications, articles and unpublished work must be provided. The uniform format should be followed throughout. 5.9. Grading 5.9.1. The primary objective of listing is to record extant architectural heritage and sites. But the outcome of this process should invariably be to grade the listed heritage into a hierarchical series. This process must be undertaken in a rigorous and transparent manner by a multi-disciplinary team of experts whose recommendations should be available for public scrutiny. The importance of this process cannot be underestimated because its results determine subsequent conservation decisions. Such hierarchical categorisation facilitates the prioritisation of decisions relating to the future of architectural heritage and sites. 5.9.2. This Charter recommends that buildings and sites be classified as Grade I*, I, II and III in descending order of importance. 5.9.3. Buildings and sites classified as Grade I*, I and II should be conserved in accordance with the provisions of official and legal manuals of practice (for example, ASIâ&#x20AC;&#x2122;s Works Manual). Some Grade II buildings, however, and all other listed buildings and sites, i.e. Grade III, may be

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conserved in accordance with principles enunciated in this Charter (Article 2.6). The decision to apply the principles enunciated in this Charter to Grade II buildings must invariably be based on the concurrence of the Advisory Committees of INTACH (Article 7.2.5). 5.9.4. The process of listing should be constantly upgraded and the list updated in keeping with the availability of fresh information, financial and material resources, advances in technology and developments in the understanding of architectural heritage and its constituents. ARTICLE 6: GUIDELINES FOR CONSERVATION 6.1. Guidelines for Conservation 6.1.1. For the present, the latest edition of INTACHâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Guidelines for Conservationâ&#x20AC;? should be followed, unless otherwise indicated by the imperatives of this Charter. These Guidelines should be updated by conservation architects periodically. It may also be necessary to bring out region-specific guidelines so that conservation practices can be sensitive to regional material and cultural attributes. 6.2. Heritage zone 6.2.1. Conservation of architectural heritage sites can be undertaken in terms of the Heritage Zone concept propagated by INTACH. In general, Heritage Zones are sensitive development areas, which are a part of larger urban agglomeration possessing significant evidence of heritage. The Heritage Zone concept requires that the conservation of unprotected architectural heritage and sites must be sensitively planned, but also aligned with the imperatives of routine development process.

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6.2.2. Urban conservation plans must be incorporated into the statutory Master Plan of cities. This necessitates undertaking a process of dialogue and negotiation with government town planning departments as part of the conservation strategy. Regulations to control or mediate development within the Heritage Zone, including new construction, demolition or modification to existing buildings around historic structures or within historic precincts can be formulated and incorporated within the â&#x20AC;&#x153;Special Areaâ&#x20AC;? provision of the respective Town Planning Acts of different States. 6.3. Role of conservation architects 6.3.1. The role of the conservation architect is to provide expert advice for conserving the architectural heritage and site. Conservation, however, is a multi-disciplinary activity and conservation architects must work closely with professionals of other disciplines in order to address its diverse objectives. Depending on circumstances, the conservation architect may either lead the project team or simply participate as a team member with specific expertise. In any event, the role of conservation architects must be clearly defined, either by conservation architects themselves or by the initiator of the project. 6.3.2. Conservation architects also have an important advocacy role to play in promoting the conservation of unprotected architectural heritage and sites. They need to catalyse awareness both among administrators and beneficiaries to achieve the objectives of conservation enunciated in this Charter.

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PART III: MANAGEMENT AND EDUCATION ARTICLE 7: MANAGEMENT 7.1. Role of local communities 7.1.1. Local communities or individuals must be entrusted with responsibilities to conserve their own heritage. Where outside expertise is necessary, local stakeholders must be made active participants at all stages of the conservation process. All decisions regarding the conservation and management of heritage must be taken in consultation with local communities in consonance with the 73rd and 74th Amendments to the Constitution of India. 7.2. Role of INTACH 7.2.1. The role of INTACH is to institutionalise the conservation of the unprotected architectural heritage all over India. It should accomplish this objective by establishing Local Chapters. 7.2.2. INTACH’s local Chapters should promote the culture of conservation (Article 8), and make an inventory of architectural heritage (Article 5). They should develop ways and means to conserve local architectural heritage in consultation with INTACH’s Regional and Central offices. 7.2.3. Each Local Chapter should compile an annual “State of the Architectural Heritage Report” for its area and submit annual and quinquennial plans for conservation works to be undertaken in its locality. 7.2.4. INTACH’s Regional and Central offices should compile this data to produce an annual national “State of the Architectural Heritage Report”

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which should highlight heritage in danger and formulate conservation strategies for its protection. 7.2.5. To further facilitate its goal of protecting architectural heritage, INTACH should establish inter-disciplinary Advisory Committees at the regional and national level. These Committees should act as clearinghouses for awarding grading for listed buildings and sites, conservation plans, assessment reports, scientific studies, funding proposals, legal and administrative measures for conserving the unprotected architectural heritage. 7.2.6. INTACH should facilitate and coordinate its activities with the Government and other interest groups, local, national and international, which are concerned with the conservation of architectural heritage. 7.2.7. INTACH should establish appropriate benchmarks for professional fees for conservation work and promote adherence to this scale in all conservation projects (see Article 9.1.8). 7.2.8. INTACH should review this Charter and if necessary, make amendments to it every five years. 7.3. Fiscal measures 7.3.1. Innovative financial schemes must be offered to individuals or communities in order to encourage their involvement and interest in the preservation of their own heritage. INTACHâ&#x20AC;&#x2122;s Advisory Committee should engage in dialogue with the Government to initiate the formulation of appropriate fiscal policies to promote conservation.

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7.3.2. INTACH should lobby for the provision for a ‘Heritage Fund’ to be included in the annual or quinquennial budgetary allocations of Central and State governments. It should endeavour to ensure that local governing bodies have access to these funds through transparent mechanisms. 7.3.3. The policy of the ‘adoption’ of historic buildings/areas by competent and concerned community groups, trusts or private entrepreneurs of repute, that in no way harms the interests or well-being of the heritage or the society in which it exists, must be encouraged. 7.3.4. The owners or caretakers of listed heritage should be offered incentives by way of favourable tax rebates, grants, loans, transfer of development rights and so forth, in order to encourage and foster their interest in the conservation of their cultural property. 7.3.5. Public authorities, private companies, governmental bodies and non-governmental organisations should be encouraged to offer adequate financial assistance to traditional craftspeople and agencies involved in craft promotion and trade. 7.4. Tourism 7.4.1. The strong affinity between tourism and heritage should be leveraged to promote the conservation of unprotected architectural heritage and sites. 7.4.2. The potentials of domestic tourism, particularly pilgrimage tourism, need to be developed. 7.4.3. At the same time, however, there must be adequate safeguards to mitigate problems created by aggressive tourism promotion in areas

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where traditional communities are associated with unprotected architectural heritage and sites.

7.5. Punitive measures 7.5.1. Punitive measures as defined in the existing legislative framework concerning heritage protection, town planning acts and building byelaws must be extended to cover all listed buildings. In principle, permission must be sought for any intervention in listed buildings or precincts. Where the opportunity exists, a new set of regulations to deal specifically with unprotected heritage should be drafted. 7.5.2. Administrative or criminal prosecution must be considered in cases of deliberate damage to listed architectural heritage. ARTICLE 8: EDUCATION AND PUBLIC AWARENESS 8.1. Public responsibilities 8.1.1. The responsibility for care and maintenance of heritage must be entrusted to the local community, for the protection and conservation of any cultural resource is ensured only if it enjoys the love and respect of the local people. 8.1.2. In conformity with the intent of the Constitution of India, conservation of heritage must be the duty of every Indian citizen, and all administrative, legislative and financial assistance must be provided in this regard at all levels.

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8.2. Public awareness 8.2.1. It is essential to create public interest, awareness and concern regarding the significance of cultural heritage, its protection, conservation and enhancement for the benefit of both present and future generations. This public education can be achieved by utilising communication and promotion techniques: thematic publications, print and electronic media, cultural programmes, educational fairs, heritage site visits and excursions, exhibitions, workshops, lectures, seminars and so on. 8.2.2. Regional, national or international historically significant days, festivals and similar occasions could provide opportunities for community celebrations sensitively designed to draw public attention. Such events can be organised in or around historic structures/areas thereby reinforcing the role of heritage in the well-being of society. 8.2.3. Heritage walks can be used as an effective tool to involve local people in the informed appreciation and protection of their historic surroundings and cultural context. Such small-scale activities could precipitate a chain reaction of localised conservation projects involving community participation and contribution. These collective efforts need to be publicised so that they can serve as models to be adopted and adapted by other communities. Cultural walks linking various historic nodes must also be tailored to promote tourism, thereby creating economic benefits for the local community. 8.2.4. The legislation and regulations laid down in the administrative system, building by-laws, town planning acts and other measures relevant

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8.3. Education in primary and secondary schools 8.3.1. Respect and affection for heritage - both natural and cultural - and concern for its protection and conservation should be inculcated in school children, and this must form a crucial aspect of education. Children must be encouraged to experience historic environs by engaging them in outdoor play activities, cultural events, picnics and extra-curricular subjects involving drawing or painting of cultural sites. 8.3.2. School teachers should be given specialised training in order to make them aware of the issues involved in the appreciation and preservation of heritage. 8.3.3. Education curricula should include subjects on Indiaâ&#x20AC;&#x2122;s natural, cultural, and living heritage that highlight the multifaceted relationship between cultural resources and society, reinforcing their inseparable bond. 8.4. Undergraduate education

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8.4.1. The institutes, colleges and universities for the education of architects, engineers, archaeologists, planners, administrative service officers, management professionals, material chemists and other professions relevant to heritage conservation and management should encourage inter-disciplinary interaction on shared issues and common concerns and inculcate a holistic understanding of heritage with reference to social, cultural and economic aspects of the society. 8.4.2. The education of conservation professionals must include short training periods when students work with master craftspeople in their own learning environment or at building/conservation sites. This would provide an opportunity for students to acquire practical experience in the application of skills and use of materials, thus strengthening their theoretical training. 8.4.3. In order to respond sensitively and constructively to Indiaâ&#x20AC;&#x2122;s special conservation challenges, conservation professionals must be trained to appreciate and integrate both traditional and modern principles in their work. 8.5. Post-graduate education 8.5.1. In addition to history and theory of conservation, which will principally include the Western perspective, and a thorough understanding of UNESCO, ICOMOS and other recognised international conventions, recommendations, Charters and guidelines, the specialized education and training of conservation professionals must build upon traditional indigenous principles and practices of building and conservation. Professional must be trained to adopt a flexible stance most

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relevant to the specificity of their own context - which will frequently require using indigenous principles and practices â&#x20AC;&#x201C; rather than adhere blindly to the conservation ideology advocated by UNESCO/ ICOMOS and other international aid giving agencies. Working with an interdisciplinary team of professionals should be encouraged as an effective conservation and management mechanism. 8.5.2. It must be stressed that conservation architects acquire hands-on experience and practical understanding of indigenous materials and technologies through training or working with local master craftspeople. This will facilitate a healthy and sustained relationship amongst teachers, students and craftspeople, which can be mutually beneficial for future collaborative work on conservation projects, training workshops, awareness programmes and so forth.

8.6. Education and training of craftspeople 8.6.1. The ideal way to preserve a craft is to practice it. In order to ensure the continuity of craft traditions, it is essential that systematic education and training environments be provided and supported at all levels by the Government, non-governmental organisations and private entrepreneurs. In addition to individual initiatives of modest scale within limited resources, NGOs can support small to medium-sized schools, and Central and State governments can operate fully equipped training centres that specialise in traditional building and conservation crafts. 8.6.2. Building Centres set up by HUDCO (Housing and Urban Development Corporation of the Government of India) are important

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initiatives that can be leveraged to promote traditional conservation practices. These Centres train and upgrade the skills of various trades of builders, with a focus on the use of appropriate materials and technologies. Conservation architects should associate themselves with these Centres in order to systemise the dissemination of traditional building principles and practices. 8.6.3. A comprehensive list of specialised crafts and craftspeople must be prepared that can serve as a resource base for owners, care-takers or managers of heritage properties, as also for professionals involved in the conservation and management of historic buildings/areas. 8.6.4. The monologue aspect of the modern ‘teaching’ system should be abandoned and a dialogue of mutual ‘learning’ must be adopted as a training principle, where both the instructor and the crafts person benefit from each other by exchanging ideas, ideologies and experiences. Training programmes must aim toward the sustainability of indigenous building system, and skills that are rooted in traditional knowledge bases and local cultures. 8.6.5. The education of crafts people seeking advanced skills or specialisation must reconcile the crucial aspects of both traditional texts and techniques and modern theories and technologies, consequently bridging the gap between indigenous and Western (glossed as ‘universal’) principles and practices of conservation.

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PART IV: PROFESSIONALISM ARTICLE 9: CODE OF PROFESSIONAL COMMITMENT AND PRACTICE 9.1. Conservation professionals shall: 9.1.1. Ensure that their professional activities do not conflict with their general responsibility to contribute positively to the quality of the environment and welfare of society. 9.1.2. Apply their knowledge and skills towards the creative, responsible and economical development of the nation and its heritage. 9.1.3. Provide professional services of a high standard, to the best of their ability. 9.1.4. Maintain a high standard of integrity. 9.1.5. Conduct themselves in a manner which is not derogatory to their professional character, nor likely to lessen the confidence of the public in the profession, nor likely to bring conservation professionals into disrepute. 9.1.6. Promote the profession of conservation, standards of conservation education, research, training and practice. 9.1.7. Act with fairness and impartiality when administering a conservation contract. 9.1.8. Observe and uphold INTACHâ&#x20AC;&#x2122;s conditions of engagement and scale of charges, which will be prepared in due course, in consultation with conservation professionals.

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9.1.9. If in private practice, inform their client of the conditions of engagement and scale of consultancy fee, and agree that these conditions be the basis of their appointment. 9.1.10. Not sub-commission to other professional(s) the work for which they have been commissioned, without prior agreement of their client. 9.1.11. Not give or take discounts, commissions, gifts or other inducements for obtaining work. 9.1.12. Compete fairly with other professional colleagues. 9.1.13. Not supplant or attempt to supplant another conservation professional. 9.1.14. Not prepare project reports in competition with other professionals for a client without payment or for a reduced fee (except in a competition conducted in accordance with the competition guidelines approved by INTACH). 9.1.15. Not attempt to obtain, offer to undertake or accept a commission for which they know another professional has been selected or employed until they have evidence that the selection, employment or agreement has been terminated, and the client has given the previous professional written notice to that effect. 9.1.16. Allow the client to consult as many professional as desired/ required provided that each professional so consulted is adequately compensated and that the project is in the preliminary stages.

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9.1.17. Comply with guidelines for project competitions and inform INTACH of their appointment as assessor for a competition. 9.1.18. Not have or take as partner in their firm any person who is disqualified. 9.1.19. Provide their employees with a suitable working environment, compensate them fairly and facilitate their professional development. 9.1.20. Recognise and respect the professional contributions of their employees. 9.1.21. Provide their associates with a suitable working environment, compensate them fairly and facilitate their professional development. 9.1.22. Recognise and respect the professional contributions of their associates. 9.1.23. Recognise and respect the professional contributions of all consultants. 9.1.24. Enter into agreements with consultants defining the scope of their work, responsibilities, functions, fees and mode of payment. 9.1.25. Not advertise their professional services nor allow their name to be included in advertisements or be used for publicity purposes except under the following circumstances: i.

Notice of change of address may be published on three occasions and correspondents may be informed by post.

ii.

Professionals may exhibit their name outside their office and on a conservation site, either under implementation or completed, for

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which they are or were consultant, provided that the lettering does not exceed 10 cm. in height and this in agreement with the client. iii.

Advertisements including the name and address of professionals may be published in connection with calling of tenders, staff requirements and similar matters.

iv.

Professionals may allow their name to be associated with illustrations and/or descriptions of their work in the press or public media, provided that they neither give nor accept any compensation for such appearances.

Professionals may allow their name to appear in advertisements inserted in the press by suppliers or manufacturers of materials used in a project they have undertaken, provided that their name is included in an unostentatious manner and they neither give nor accept any compensation for its use.

vi.

Professionals may allow their name to appear in publications prepared by clients for the purpose of advertising or promoting projects for which they have been commissioned.

vii.

Professionals may produce or publish brochures, and pamphlets describing their experience and capabilities, for distribution to those potential clients whom they can identify by name and position. 9.1.26.

Professionals may allow their name to appear in the

classified columns of trade/ professional directories and/ or the telephone directory.

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When working in other countries, comply with the codes of conduct applicable there. 9.1.27. If a conservation professional practices as a partner in a partnership firm or is in charge and responsible to a company registered under the Companies Act 1956 for the conduct of business of such company, he/she shall ensure that such partnership firm or company, as the case may be, complies with the provisions of Article 9.1. 9.1.28. Violation of any of the provisions of Article 9.1 shall constitute professional misconduct.

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Appendix B Vishrambaugwada: History: Vishrambaugwada is the only structure built by Bajirao Peshwa II in 1800. It was once surrounded by well-planned gardens and was located on the then outskirts of Pune city. The site was larger than what it is today. It also consisted of few smaller stables, sheds for cattle and a small water body. The construction work of the Wada started in 1800 AD and was completed by 1807 AD. It is entirely constructed of timber and bricks. It is a perfect example of a palace wada. It is a three storied structure with intricate wood work. This wada is an inward looking complex which housed the large social gathering space where performances were held and also the office areas. This is an example off introvert wada. In 1818, the Peshwas evacuated the Wada and in 1821, a school called ‘Sanskrit Pathashala’ was started which taught Vedas and Shastras. In 1842, the Vedic education was stopped, and English was taught in the building. In 1921, the school was officially inaugurated which taught additional subjects like law, science, medics, etc. English was made compulsory in 1850’s and hence in 1856, the Poona College and the Deccan College started from here along with primary school. Hence, this is an important building in the history of education as well, and it was then called ‘Oxford and Cambridge’ of the east.

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The condition of the original wada was very different as it stands today. On May 13, 1879, the building about the front courtyard was set on fire using incendiaries. It was noticed that the wada was determined to flame by one Mr. Ranade to hide the proof against him for charges of misrepresentation. This portion was later restored to the current look. The front balcony (on the eastern entrance) was added during the restoration of this part as it is not visible in the earlier views of the building. During the time, two more additional staircases were added in the eastern courtyard. The level of the courtyard was raised to drain the storm water. Extension work started in Oct 1932 in the central courtyard. Hence, we find the steel framework in this area. Only the portion of the western courtyard survives as it was built originally. Since 1959, the building is used for various government offices like the post office, library of the State Govt., land acquisition office, etc. Currently, weaponry museum is installed in the performance hall on the first floor. Building Description of Case Study This building assertively stands for its time adding richness to contemporary urban living. The Wada is an introvert house form, and thus the courtyard becomes the focus of the house. The periphery is clearly defined by the built form surrounding the court. The Wada is three storied structure, also known as â&#x20AC;&#x2DC;Teen Chowki Wadaâ&#x20AC;&#x2122; as it consists of three open quadrangles as the central axis and all the rooms open to them, oriented long east-west. The building consists of three wings divided along the courtyards;

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The eastern and the western wings are entirely of timber frame structure whereas the central wing or the spaces around the central courtyard is partly timber and partly steel framed structure. A huge performance hall on the first floor ornately carved ceiling and beautiful pillars carved in teakwood and beautiful chandeliers. The court and the surrounding spaces constitute the two basic elements of the Wada. The court is the primary element of spaces, and all other functional spaces are oriented towards it. 1. The East wing of the wada is occupied and used as a display shop on ground floor and as a museum on the first floor 2. The Central wing of the wada is occupied and used by Post Office on the ground floor. The first floor houses a museum, and for the library on the second floor. 3. The East wing of the wada is occupied and used for weapon museum in Darbar Hall on the first floor, and the majority of the ground floor is presently vacant. The westernmost courtyard contained three small cisterns placed in a line in the centre and two in the central courtyard. The attractive entrance of the Wada roofed by the balcony catches the eye of all at the outset. It has astonishing wooden facade & carved Suru (cypress tree) formed columns. Beautifully carved ornamentation, teardrop like teakwood pillars shaped like Suru (cypress tree) trunks, with banana flower embellishments are the characteristic of Peshwa-era artisanship. They support a teak wood gallery on the lower floor on both sides of the entrance.

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The basalt stone floor gives a cool respite from the harsh summer sun, and vagrants have taken refuge for an afternoon siesta. The decorative elements of the Wada are the arches, the intricately carved brackets, the well-lit passages projecting on rows of such brackets. It is said that Bajirao's musicians played music in the evenings in the balcony. Now, since the balcony is weathered, it is considered unsafe as the wooden beams are no longer considered safe to hold human weight and hence the balcony is restricted to visitors. The dark oxidized ancient hooks and hasps on the doors have modern padlocks which jolt the mind back from the delightful reverie of history back to the present.

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Appendix Appendix A: Charter for Conservation of Unprotected Architectural Heritage and Sites in India. PART I: PRINCIPLES ARTICLE 1: WHY CONSERVE? 1.1. The majority of India’s architectural heritage and sites are unprotected. They constitute a unique civilisational legacy, as valuable as the monuments legally protected by ASI/ SDA and other governmental and non-governmental agencies. This legacy is being steadily eroded as a result of insensitive modernization and urbanization, and the fact that it does not command the same respect as legally protected monuments. Many unprotected heritage sites are still in use, and the manner in which they continue to be kept in use represents the ‘living’ heritage of India. This heritage is manifest in both tangible and intangible forms (Article 2.2), and in its diversity defines the composite culture of the country. Beyond its role as a historic document, this unprotected heritage embodies values of enduring relevance to contemporary Indian society, thus making it worthy of conservation. 1.2. This ‘living’ heritage is not legally protected. The buildings and sites which constitute it are subject to demolition or unsympathetic interventions. The knowledge of traditional building skills with which it is associated is also in danger of being lost in the absence of patronage and official recognition. Conserving the ‘living’ heritage, therefore, offers

the potential to conserve both traditional buildings and traditional ways of building. 1.3. Conserving the unprotected architectural heritage and sites ensures the survival of the countryâ&#x20AC;&#x2122;s sense of place and its very character in a globalising environment. It offers the opportunity not only to conserve the past, but also to define the future. It provides alternate avenues for employment and a parallel market for local building materials and technologies, which needs to be taken into account when resources for development are severely constrained. 1.4. This â&#x20AC;&#x2DC;livingâ&#x20AC;&#x2122; heritage also has symbiotic relationships with the natural environments within which it originally evolved. Understanding this interdependent ecological network and conserving it can make a significant contribution to improving the quality of the environment. ARTICLE 2: WHAT TO CONSERVE? 2.1. The objective of conservation is to maintain the significance of the architectural heritage or site. Significance is constituted in both the tangible and intangible forms. The process of Listing (Article 5) must determine the characteristics of significance and prioritise them. 2.2. The tangible heritage includes historic buildings of all periods, their setting in the historic precincts of cities and their relationship to the natural environment. It also includes culturally significant modern buildings and towns. The intangible heritage includes the extant culture of traditional building skills and knowledge, rites and rituals, social life and lifestyles of the inhabitants, which together with the tangible heritage

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constitutes the â&#x20AC;&#x2DC;livingâ&#x20AC;&#x2122; heritage. Both tangible and intangible heritage, and especially the link between them, should be conserved. 2.3. Conservation of architectural heritage and sites must retain meaning for the society in which it exists. This meaning may change over time, but taking it into consideration ensures that conservation will, at all times, have a contemporary logic underpinning its practice. This necessitates viewing conservation as a multi-disciplinary activity. 2.4. Where the evidence of the tangible or intangible architectural heritage exists in fragments, it is necessary to conserve it, even in part, as representative of a historic past. Such conservation must ideally be undertaken in-situ, but if this is not possible, then it should be relocated to a place where it would be safe for continued contemplation. 2.5. Conservation in India is heir not only to Western conservation theories and principles introduced through colonialism and, later, by the adoption of guidelines formulated by UNESCO, ICOMOS and international funding agencies, but also to pre-existing, indigenous knowledge systems and skills of building. These indigenous practices vary regionally and cannot be considered as a single system operating all over India. This necessitates viewing conservation practices as a multicultural activity. 2.6. While the Western ideology of conservation advocates minimal intervention, Indiaâ&#x20AC;&#x2122;s indigenous traditions idealise the opposite. Western ideology underpins official and legal conservation practice in India and is appropriate for conserving protected monuments. However, conserving unprotected architectural heritage offers the opportunity to use indigenous

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practices. This does not imply a hierarchy of either practice or site, but provides a rationale for encouraging indigenous practices and thus keeping them alive. Before undertaking conservation, therefore, it is necessary to identify where one system should be applied and where the other. For this purpose, it is necessary at the outset to make a comprehensive inventory (see Article 5) of extant heritage, both tangible and intangible, and separate it into two categories: 2.6.1. Buildings and sites protected by ASI, SDA and other government or non-government agencies. Only the official and legal instruments of conservation and internationally accepted principles should be adopted here; 2.6.2. Other listed buildings and sites which, though not protected by ASI, SDA and other government or non-government agencies, possessing heritage value or significance equivalent to that of protected monuments. Here too, the official and legal instruments should be adopted for their conservation; 2.6.3. The remaining listed buildings and sites both modern and historic, including those produced within the last hundred years. Here, the conservation strategy may adopt either the official and legal instruments of conservation or those rooted in indigenous building traditions. Hybrid strategies, inventively combining indigenous and official practices, can also be employed to conserve this heritage category. The decision to adopt indigenous practices should be based on the availability of skilled and knowledgeable raj mistris. In all cases a rationale for the decision taken to adopt one or another system of conservation must be recorded.

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2.7. The overarching objective for undertaking conservation of unprotected architectural heritage and sites is to establish the efficacy of conservation as a development goal. What to conserve will, therefore, be determined by those strategies of conservation which accommodate the imperatives of development and the welfare of the community while seeking economically to achieve maximum protection of the significant values of the architectural heritage and site. ARTICLE 3: CONSERVATION ETHICS 3.1. Authenticity 3.1.1. The traditional knowledge systems and the cultural landscape in which it exists, particularly if these are ‘living’, should define the authenticity of the heritage value to be conserved. In the absence of such contexts, the official and legal guidelines, particularly as defined by the “Nara Document on Authenticity, 1994”, should determine the nature of the authenticity of the architectural heritage and site. 3.1.2. Traditional knowledge systems and cultural landscapes vary from one regional/cultural context to another or within the same region/culture. Thus, the values of ‘living’ architectural heritage can differ from one context to another, reflecting the cultural diversity of the country. In each case, however, conservation should faithfully reflect the significant values which define the heritage. 3.2. Conjecture 3.2.1. Local master builders build, rebuild, restore, renew and make additions/alterations to historic buildings in response to contemporary exigencies or evolving local needs of the community; they must be

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encouraged to follow their traditions even when there is no available evidence in the form of documentation, oral histories or physical remains of previous structures. Appropriate craftspeople for undertaking such works should be identified as described in Article 5.1.4. 3.2.2. An exact replacement, restoration or rebuilding must be valued when it ensures continuity of traditional building practices. 3.2.3. Conjectural restoration or rebuilding must nevertheless respect the overall spatial and volumetric composition of historic settings. The parameters of the historical setting should be defined through comprehensive urban design studies. These parameters should also guide new urban development in the vicinity of heritage buildings and sites. 3.2.4. The ASI/ SDA rule prohibiting development within a 100-metre radius of a protected building restricts the practice of restoration or rebuilding of sites, conjectural or otherwise, and thereby may result in harming the welfare of society. This rule should not be applied to conserve unprotected architectural heritages and sites. 3.3. Integrity 3.3.1. The integrity of the heritage is to be defined and interpreted not only in terms of the physical fabric of the building, but also with respect to the collective knowledge systems and cultural landscape it represents. This knowledge system, where it exists, must mediate the process of conservation/ restoration/ rebuilding of the unprotected architectural heritage in order to reinforce an appreciation of the cultural landscape. This dynamic concept understands the integrity of the individual building as one which evolves in response to contemporary needs of local society.

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3.3.2. The concept of an evolving integrity accepts the introduction of new architectonic elements, materials and technologies when local traditions are insufficient or unavailable. The introduction of new elements may reflect contemporary aesthetic ideals as modern additions to old buildings 3.4. Patina 3.4.1. The patination of historic fabric due to age or natural decay should not compel the preservation of a ruin as it exists, frozen in time and space. In conformity with local aesthetic traditions, and for the well being of the heritage building or site, renewal, restoration, repair or rebuilding is acceptable. Patina may, where necessary, be considered as a sacrificial layer. 3.5. Rights of the indigenous community 3.5.1. Each community has its own distinctive culture constituted by its traditions, beliefs, rituals and practices - all intrinsic to defining the significance of the unprotected architectural heritage and site. The conservation strategy must respect the fact that local cultures are not static and, therefore, encourage active community involvement in the process of decision-making. This will ensure that the symbiotic relation between the indigenous community and its own heritage is strengthened through conservation. 3.6. Respect for the contributions of all periods 3.6.1. The contributions of earlier periods which produced the historic fabric and consequent interventions, including contemporary

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interventions, based on either traditional systems of building knowledge or modern practices, must be respected as constituting the integrity of the heritage sought to be conserved. The objective of conserving the unprotected architectural heritage and site is not so much to reveal the authentic quality of the past or preserve its original integrity, but rather to mediate its evolving cultural significance to achieve beneficial results. 3.6.2. The holistic coherence of the heritage in terms of its urban design, architectural composition and the meaning it holds for the local community should determine any intervention in the process of conservation. 3.7. Inseparable bond with setting 3.7.1. An unprotected heritage building or site is inseparable from its physical and cultural context, and belongs to the local society as long as its members continue to value and nurture it. The conservation process must be sensitive to this relationship, and reinforce it. 3.7.2. If the unprotected heritage does not possess any bond with contemporary society, then its relevance for conservation may be questioned and modern re-development may be considered an option to meet the welfare needs of society. This decision must invariably be taken in consultation with INTACHâ&#x20AC;&#x2122;s Advisory Committees as described in Article 7.2.5. 3.8. Minimal intervention 3.8.1. Conservation may include additions and alterations of the physical fabric, in part or whole, in order to reinstate the meaning and

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coherence of the unprotected architectural heritage and site. In the first instance, however, conservation should attempt minimal intervention. 3.8.2. However, substantial additions and alterations may be acceptable provided the significance of the heritage is retained or enhanced. 3.8.3.

Minimal loss of fabric

3.8.4. The nature and degree of intervention for repairing, restoring, rebuilding, reuse or introducing new use, should be determined on the basis of the interventionâ&#x20AC;&#x2122;s contribution to the continuity of cultural practices, including traditional building skills and knowledge, and the extent to which the changes envisaged meet the needs of the community. 3.9. Reversibility 3.9.1. The principle of reversibility of interventions need not dictate conservation strategy. In order to use the unprotected heritage for the socio-economic regeneration of the local communities, the historic building and site can be suitably adapted and modified for an appropriate reuse. For this it is only essential that the process of intervention contributes to conserving the traditional context as far as possible in the modified form. This decision must invariably be taken in consultation with INTACHâ&#x20AC;&#x2122;s Advisory Committees as described in Article 7.2.5. 3.10.

Legibility

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ways of building must be valued more than the imperative to put a contemporary stamp on any intervention in a historic building. 3.10.2. Where modern material or technology is used, it could be used to replicate the old or be distinguished from it, depending on the artistic intent governing the strategy of conservation. 3.11.

Demolish/ Rebuild

3.11.1. The concept of jeernodharanam, or regeneration of what decays, must guide the nature of conservation. This belief is fundamental to conserving traditional ways of building and maintaining the continuity of local knowledge systems. 3.11.2. If, however, local conditions are such that all strategies to conserve the unprotected architectural heritage and site are found to be inadequate, then the option of replacing it should be examined. This process is also rooted in tradition because it recognises â&#x20AC;&#x2DC;cyclicalâ&#x20AC;&#x2122; perceptions of time, whereby buildings live, die and are rebuilt. This option must be discussed, debated and decided in consultation with all concerned stakeholders, including INTACHâ&#x20AC;&#x2122;s Advisory Committee as described in Article 7.2.5. 3.11.3. Where the existence of a cultural resource is under severe threat by natural calamities or man-made hazards, the building may be dismantled and reassembled at another appropriate site after undertaking thorough documentation of its extant condition.

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3.11.4. If a historic structure has outlived its significance and its meanings to local people are lost, it may be preserved as a ruin or, if circumstances do not permit that, left undisturbed to meet its natural end. 3.11.5. If removal in whole or part from the original site or context is the only means of ensuring the security and preservation of a building, then a comprehensive documentation of all valuable and significant components of the cultural resource must be undertaken before it is dismantled. 3.12.

Relationship between the conservation architect and the

community 3.12.1. In dealing with the conservation of unprotected architectural heritage and sites, it may become necessary to temper the role of the conservation architect as an expert professional by taking into account the desires and aspirations of the local community and the traditional practices of raj mistris. This does not assume, a priori, that the interests of conservation architects and those of the community and traditional master builders are incompatible, but rather that there must be room in the process of conservation for dialogue and negotiated decision making. 3.12.2. In order to achieve a more satisfying result for the community it may be necessary to override the professional imperative to adhere to the principles governing the conservation of legally protected monuments. This is acceptable when dealing with unprotected architectural heritage and sites provided, as stated in Article 2.7, that conservation strategies seek economically to achieve maximum protection of the significant values of the architectural heritage and site.

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PART II: GUIDELINES ARTICLE 4: CONSERVATION OBJECTIVES 4.1. Retain visual identity 4.1.1. In a globalising world, where visual spaces are rapidly becoming homogenised, it is necessary to retain the specific visual identity of a place created by the presence of unprotected architectural heritage and sites. Yet, this image should not be preserved in the manner of legally protected monuments, but must accommodate the imperatives of change in making the heritage relevant in contemporary society. The objective must be to integrate unprotected heritage and sites into daily social life by balancing their needs so that neither overshadows the other. 4.1.2. The visual cacophony created by advertisement boards, signage, hanging electric cables, air conditioning units, dish antennas, etc. must be carefully controlled to enhance the visual character of the architectural heritage and site. Additions of street furniture, pavement material, lighting, signage, etc. can add to the experience and appreciation of the heritage. 4.1.3. In this respect the objectives of conservation can mediate even new buildings or neighbourhoods by requiring them to make reference to the old by employing elements, methods and devices characterising the architectural heritage of the area so that the new is linked with the old. 4.2. Adaptive re-use 4.2.1. The re-use of historic buildings and neighbourhoods is economically sensible. It is an effective strategy to conserve architectural heritage, particularly by using traditional craftspeople in the process.

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Such re-use distinguishes between preservation as an ideal on the one hand and, on the other, the goal to prolong the useful life of architectural heritage by retaining as much (and not necessarily, all) of the surviving evidence as a vestigial presence. 4.2.2. Priority must be accorded to retaining the continuity of original functions. Any new use must be introduced only after studying its effect on the local context, and must conform to the carrying capacity and vulnerability of the architectural heritage. 4.2.3. All changes to the original fabric should be preceded and followed by comprehensive documentation. Additions and alterations must respect the coherence of the whole, and must, to the extent possible, engage traditional materials, skills and knowledge in the process. 4.2.4. When it becomes necessary to modernise and comprehensively alter the original internal functional characteristics of the building or site, its external image must be retained. 4.2.5. At the outset, the local community must be made aware of the changes envisaged and explained the benefits to be derived. 4.3. Restoration/ Replication/ Rebuilding 4.3.1. Restoration is an appropriate conservation strategy to reinstate the integrity or complete the fractured â&#x20AC;&#x2DC;wholeâ&#x20AC;&#x2122; of the architectural heritage/ site. It must aim to convey the meaning of the heritage in the most effective manner. It may include reassembling of displaced and dismembered components of the structure and conjectural building or replacement of missing or severely deteriorated parts of the fabric.

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Invariably, restoration work must be preceded and followed by comprehensive documentation in order to base interventions on informed understanding of the resource and its context, and in conformity with contemporary practices of local craftspeople. 4.3.2. In consonance with traditional ideals, replication can be accepted as an appropriate strategy not only to conserve unprotected historic buildings, but especially if such replication encourages historic ways of building. 4.3.3. At the urban level, the objective of rebuilding historic structures should be to enhance the visual and experiential quality of the built environment, thereby providing a local distinctiveness to contest the homogenising influence of globalisation. 4.3.4. In addition, reconstruction/ rebuilding can provide the impetus to develop a parallel market for local buildings materials and new opportunities for the use of alternative systems of building. 4.3.5. Reconstruction based on minimal physical evidence is appropriate where it is supported by the knowledge of local craftspeople, including folklore, beliefs, myths and legends, rituals, customs, oral traditions, etc. The objective of this practice must be to interpret the original meanings of the resource in the contemporary context and reinforce its bond with society. 4.4. Employment generation 4.4.1. Conservation strategy must focus on the potential for employing local raj mistris, labour and materials because this will prolong the

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economic viability of traditional ways of building. In conditions of resource scarcity, the use of architectural heritage can provide an alternate and more economic strategy to meet contemporary needs as well. 4.5. Local material and traditional technology 4.5.1. The use of local materials and traditional technologies must invariably be preferred. Their choice must be based on the availability of traditional knowledge systems. Modern substitutes should be considered only after their use is proven efficient and judicious, and must not compromise the integrity and continuity of local building traditions. 4.5.2. It is necessary to recognise that the use of certain traditional building materials may be inadvisable on account of the damage this can cause to the natural ecological systems. Thus the use of shell lime in coastal areas and wood generally may need to be judicially substituted with alternate materials. 4.6. Integrated conservation 4.6.1. Conservation of architectural heritage and sites must be integrated with the social and economic aspirations of society. Conservationoriented development must be the preferred strategy for social and economic progress. This necessitates the formation of multi-disciplinary teams to undertake integrated conservation projects. Since social aspirations are diverse and often at odds with each other, the conservation team must include social workers to facilitate dialogue and decisionmaking. 4.6.2.

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4.7. Sustainability 4.7.1. The objective of conservation should be to sustain the building and/or the traditional skill and knowledge system of building. In this context, continuity must be seen as evolving over time. The test of its validity must be the positive contribution it makes to the quality of life of the local community. ARTICLE 5: LISTING 5.1. Introduction 5.1.1. Through the ASI, the Central Government protects monuments more than 100 years old declared to be of national importance. Monuments of importance to States are protected by the respective SDAs. However, the existing legislation covers only about 5,000 monuments at the national level and approximately 3,500 at the state level. Considering Indiaâ&#x20AC;&#x2122;s vast cultural heritage, these numbers are inadequate and their focus monument-centric. 5.1.2. INTACH has undertaken an inventory of built heritage in India which includes notable buildings aged 50 years or more which are deemed to be of architectural, historical, archaeological or aesthetic importance. 5.1.3. This inventory will become INTACHâ&#x20AC;&#x2122;s National Register of Historic Properties. It attempts to create a systematic, accessible and retrievable inventory of the built heritage of this country. It will serve as resource material for developing heritage conservation policies and regulations. In due course, this database should be made more comprehensive and the information compiled should be available online.

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It should also be made compatible with similar registers of other countries to facilitate international research. 5.1.4. A similar Register of Craftspeople associated with the architectural heritage must be undertaken by specialist cultural organizations (Article 8.6.3). It is important to reiterate that both buildings being listed and associated activities that keep these building in use constitute the â&#x20AC;&#x2DC;livingâ&#x20AC;&#x2122; heritage. The Register of Craftspeople is, therefore, essential to viewing the architectural heritage in a holistic manner. 5.2. Inventory of properties/ buildings 5.2.1. Since a large part of Indiaâ&#x20AC;&#x2122;s cultural heritage has so far remained undocumented, preparing an inventory of heritage buildings worthy of preservation is the most important task with which to begin the process of conservation. 5.2.2. The primary aim of listing is to document the fast disappearing built heritage and then present it to scholars and the general public in a user-friendly format, which aids conservation by generating public awareness. Once a property/ building is included in such a list, it becomes justifiable to undertake necessary conservation activities by formulating special regulations for its conservation or according it due protection under Town Planning Acts. Ideally, the footprints of all listed buildings should be included in the Master Plan documents of cities. 5.2.3. Buildings protected by the ASI and SDA should also be included in the list prepared by INTACH.

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5.2.4. Selection criteria 5.2.5. Although interrelated, the following three key attributes will determine whether a property is worthy of listing: i. Historic significance ii. Historic integrity iii. Historic context One or more of these attributes need to be present in a building to make it worthy of listing. 5.3. Historic significance 5.3.1. Historic significance refers to the importance of a property to the history, architecture, archaeology, engineering or culture of a community, region or nation. In selecting a building, particular attention should be paid to the following: i. Association with events, activities or patterns. ii. Association with important persons, including ordinary people who have made significant contribution to Indiaâ&#x20AC;&#x2122;s living heritage. iii. Distinctive physical characteristics of design, construction or form, representing the work of a master craftsperson. iv. Potential to yield important information, such as socio-economic history. Railway stations, town halls, clubs, markets, water works etc. are examples of such sites

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v. Technological innovation represented. For example: dams, bridges, etc. vi. Town planning features such as squares, streets, avenues, etc. For example: Rajpath in New Delhi. 5.4. Historic integrity 5.4.1. Historic integrity refers to the property’s historic identity, evidenced by the survival of physical characteristics and significant elements that existed during the property’s historic period. The “original” identity includes changes and additions over historic time. 5.4.2. Historic integrity enables a property to illustrate significant aspects of its past. Not only must a property resemble its historic appearance, but it must also retain original materials, design features and aspects of construction dating from the period when it attained significance. 5.4.3. Historic integrity also relates to intangible values such as the building or site’s cultural associations and traditions. Historic context Historic context refers to information about historic trends and properties grouped by an important theme in the history of a community, region or nation during a particular period of time. Knowledge of historic context enables the public to understand a historic property as a product of its time. Precincts or properties with multiple owners

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A historic building complex may comprise of numerous ancillary structures besides the main structure. Each structure of the complex must be documented on individual proformas. For example, Jahangir Mahal, Diwan-i-Aam, Diwan-i-Khas and Moti Masjid all form part of the Agra Fort complex but are also individual buildings in their own right and, as such, must be documented individually. 5.5. Methodology 5.5.1. The determination of significance is the key component of methodology. All conservation decisions follow from the level of significance that is assigned to a building or site. 5.5.2. Listing work is comprised of two phases: i. Background research ii. Field work 5.6. Background research 5.6.1. Before commencing actual fieldwork, the lister should gather basic information from various sources including gazetteers, travel books and other specialised books containing information about the architecture and history of the area to be listed and documented. This work could be done in university libraries, the ASI, the National Museum, the Central Secretariat, the respective State Secretariats, Institutes of Advanced Studies and Schools of Planning and Architecture. In a given area, local experts and university scholars are resource persons who could also provide required guidance and help.

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5.6.2. Background research helps to ensure that no important structure or representative style of building is left out of the list. It enables the identification of historic areas, historic development of the area, significant events in the area and important persons associated with the area. In some well-documented areas, distinctive physical characteristics of design, construction or form of building resource can also be identified. 5.7. Field work 5.7.1. First and foremost it is necessary to carry out a field survey to identify the buildings and the areas to be listed. Following this, a detailed physical inspection of the property and dialogues with appropriate local people such as the owners of the property, area residents, local panchayats, etc. need to be undertaken. By physically inspecting the property the lister can gather information regarding the physical fabric of the building, such as physical characteristics, period of construction, etc. that need to be cross-checked with the literature survey. By conducting a dialogue with area residents, the lister can determine the changes to the property over time, ownership details, historic function and activities, association with events and persons and the role of the property in local, regional or national history. 5.7.2. When gathering information, the lister must be mindful of proforma requirements (Article 5.12). The proforma is, first of all, a record of the property at the time of listing and consists of current name; historic or other name(s), location, approach and accessibility, current ownership, historic usage, and present use.

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5.7.3. Claims of historic significance and integrity should be supported with descriptions of special features, state of preservation, relevant dates, etc. 5.8. Mapping of vernacular architecture and historic settlements 5.8.1. The major shortcoming of the current list of legally protected architectural heritage is that it does not recognise vernacular architecture and historic settlements as categories of heritage worthy of being conserved. The listing of unprotected architectural heritage and sites must, therefore, include this category. An example of such an inclusive document is INTACH’s “Listing of Built Heritage of Delhi” published in 1999. 5.8.2. Sacred sites must be dealt with due sensitivity and knowledge of the local social and cultural imperatives governing their sanctity. Listing must record such characteristics associated with these sites. 5.8.3. Detailed format for all the structures 5.8.4. Information for each building or site should be recorded as per INTACH’s standard format as described below. 5.8.5. Each proforma must contain information about listers and reviewers. Listing must be carried out by or under the supervision of experienced conservation architects. 5.8.6. At least one photograph of the property/ building should be recorded for identification purposes. All significant elements of the property also need to be photographed. All photographs should be properly catalogued.

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5.8.7. A conceptual plan (if available, a measured drawing) should be given for each building/ area listed. 5.8.8. Any additional information related to or affecting the built heritage of the city/town/region documented and its conservation should be included as appendices, for example: laws and regulations on planning and conservation, etc. 5.8.9. A glossary should be provided explaining the technical and the special words used must be provided. For example: â&#x20AC;&#x153;Imambara - a shrine/ religious structure of Shia Muslimsâ&#x20AC;?. 5.8.10. A bibliography of all books, publications, articles and unpublished work must be provided. The uniform format should be followed throughout. 5.9. Grading 5.9.1. The primary objective of listing is to record extant architectural heritage and sites. But the outcome of this process should invariably be to grade the listed heritage into a hierarchical series. This process must be undertaken in a rigorous and transparent manner by a multi-disciplinary team of experts whose recommendations should be available for public scrutiny. The importance of this process cannot be underestimated because its results determine subsequent conservation decisions. Such hierarchical categorisation facilitates the prioritisation of decisions relating to the future of architectural heritage and sites. 5.9.2. This Charter recommends that buildings and sites be classified as Grade I*, I, II and III in descending order of importance.

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5.9.3. Buildings and sites classified as Grade I*, I and II should be conserved in accordance with the provisions of official and legal manuals of practice (for example, ASI’s Works Manual). Some Grade II buildings, however, and all other listed buildings and sites, i.e. Grade III, may be conserved in accordance with principles enunciated in this Charter (Article 2.6). The decision to apply the principles enunciated in this Charter to Grade II buildings must invariably be based on the concurrence of the Advisory Committees of INTACH (Article 7.2.5). 5.9.4. The process of listing should be constantly upgraded and the list updated in keeping with the availability of fresh information, financial and material resources, advances in technology and developments in the understanding of architectural heritage and its constituents. ARTICLE 6: GUIDELINES FOR CONSERVATION 6.1. Guidelines for Conservation 6.1.1. For the present, the latest edition of INTACH’s “Guidelines for Conservation” should be followed, unless otherwise indicated by the imperatives of this Charter. These Guidelines should be updated by conservation architects periodically. It may also be necessary to bring out region-specific guidelines so that conservation practices can be sensitive to regional material and cultural attributes. 6.2. Heritage zone 6.2.1. Conservation of architectural heritage sites can be undertaken in terms of the Heritage Zone concept propagated by INTACH. In general, Heritage Zones are sensitive development areas, which are a part of larger urban agglomeration possessing significant evidence of heritage. The

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Heritage Zone concept requires that the conservation of unprotected architectural heritage and sites must be sensitively planned, but also aligned with the imperatives of routine development process. 6.2.2. Urban conservation plans must be incorporated into the statutory Master Plan of cities. This necessitates undertaking a process of dialogue and negotiation with government town planning departments as part of the conservation strategy. Regulations to control or mediate development within the Heritage Zone, including new construction, demolition or modification to existing buildings around historic structures or within historic precincts can be formulated and incorporated within the â&#x20AC;&#x153;Special Areaâ&#x20AC;? provision of the respective Town Planning Acts of different States. 6.3. Role of conservation architects 6.3.1. The role of the conservation architect is to provide expert advice for conserving the architectural heritage and site. Conservation, however, is a multi-disciplinary activity and conservation architects must work closely with professionals of other disciplines in order to address its diverse objectives. Depending on circumstances, the conservation architect may either lead the project team or simply participate as a team member with specific expertise. In any event, the role of conservation architects must be clearly defined, either by conservation architects themselves or by the initiator of the project. 6.3.2. Conservation architects also have an important advocacy role to play in promoting the conservation of unprotected architectural heritage and sites. They need to catalyse awareness both among administrators and

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beneficiaries to achieve the objectives of conservation enunciated in this Charter. PART III: MANAGEMENT AND EDUCATION ARTICLE 7: MANAGEMENT 7.1. Role of local communities 7.1.1. Local communities or individuals must be entrusted with responsibilities to conserve their own heritage. Where outside expertise is necessary, local stakeholders must be made active participants at all stages of the conservation process. All decisions regarding the conservation and management of heritage must be taken in consultation with local communities in consonance with the 73rd and 74th Amendments to the Constitution of India. 7.2. Role of INTACH 7.2.1. The role of INTACH is to institutionalise the conservation of the unprotected architectural heritage all over India. It should accomplish this objective by establishing Local Chapters. 7.2.2. INTACH’s local Chapters should promote the culture of conservation (Article 8), and make an inventory of architectural heritage (Article 5). They should develop ways and means to conserve local architectural heritage in consultation with INTACH’s Regional and Central offices. 7.2.3. Each Local Chapter should compile an annual “State of the Architectural Heritage Report” for its area and submit annual and quinquennial plans for conservation works to be undertaken in its locality.

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7.2.4. INTACH’s Regional and Central offices should compile this data to produce an annual national “State of the Architectural Heritage Report” which should highlight heritage in danger and formulate conservation strategies for its protection. 7.2.5. To further facilitate its goal of protecting architectural heritage, INTACH should establish inter-disciplinary Advisory Committees at the regional and national level. These Committees should act as clearinghouses for awarding grading for listed buildings and sites, conservation plans, assessment reports, scientific studies, funding proposals, legal and administrative measures for conserving the unprotected architectural heritage. 7.2.6. INTACH should facilitate and coordinate its activities with the Government and other interest groups, local, national and international, which are concerned with the conservation of architectural heritage. 7.2.7. INTACH should establish appropriate benchmarks for professional fees for conservation work and promote adherence to this scale in all conservation projects (see Article 9.1.8). 7.2.8. INTACH should review this Charter and if necessary, make amendments to it every five years. 7.3. Fiscal measures 7.3.1. Innovative financial schemes must be offered to individuals or communities in order to encourage their involvement and interest in the preservation of their own heritage. INTACH’s Advisory Committee

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should engage in dialogue with the Government to initiate the formulation of appropriate fiscal policies to promote conservation. 7.3.2. INTACH should lobby for the provision for a ‘Heritage Fund’ to be included in the annual or quinquennial budgetary allocations of Central and State governments. It should endeavour to ensure that local governing bodies have access to these funds through transparent mechanisms. 7.3.3. The policy of the ‘adoption’ of historic buildings/areas by competent and concerned community groups, trusts or private entrepreneurs of repute, that in no way harms the interests or well-being of the heritage or the society in which it exists, must be encouraged. 7.3.4. The owners or caretakers of listed heritage should be offered incentives by way of favourable tax rebates, grants, loans, transfer of development rights and so forth, in order to encourage and foster their interest in the conservation of their cultural property. 7.3.5. Public authorities, private companies, governmental bodies and non-governmental organisations should be encouraged to offer adequate financial assistance to traditional craftspeople and agencies involved in craft promotion and trade. 7.4. Tourism 7.4.1. The strong affinity between tourism and heritage should be leveraged to promote the conservation of unprotected architectural heritage and sites. 7.4.2. The potentials of domestic tourism, particularly pilgrimage tourism, need to be developed.

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7.4.3. At the same time, however, there must be adequate safeguards to mitigate problems created by aggressive tourism promotion in areas where traditional communities are associated with unprotected architectural heritage and sites. 7.5. Punitive measures 7.5.1. Punitive measures as defined in the existing legislative framework concerning heritage protection, town planning acts and building byelaws must be extended to cover all listed buildings. In principle, permission must be sought for any intervention in listed buildings or precincts. Where the opportunity exists, a new set of regulations to deal specifically with unprotected heritage should be drafted. 7.5.2. Administrative or criminal prosecution must be considered in cases of deliberate damage to listed architectural heritage. ARTICLE 8: EDUCATION AND PUBLIC AWARENESS 8.1. Public responsibilities 8.1.1. The responsibility for care and maintenance of heritage must be entrusted to the local community, for the protection and conservation of any cultural resource is ensured only if it enjoys the love and respect of the local people. 8.1.2. In conformity with the intent of the Constitution of India, conservation of heritage must be the duty of every Indian citizen, and all administrative, legislative and financial assistance must be provided in this regard at all levels.

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to the protection and conservation of architectural heritage must be made accessible to the public through user-friendly manuals and publications. 8.2.5. Governments at all levels and their associates authorities should support and facilitate non-government organisations, registered charitable trusts, heritage cooperatives and private initiatives to organise awareness programmes highlighting various aspects of heritage conservation, consequently informing local people of the means to deal with the challenges involved therein. 8.3. Education in primary and secondary schools 8.3.1. Respect and affection for heritage - both natural and cultural - and concern for its protection and conservation should be inculcated in school children, and this must form a crucial aspect of education. Children must be encouraged to experience historic environs by engaging them in outdoor play activities, cultural events, picnics and extra-curricular subjects involving drawing or painting of cultural sites. 8.3.2. School teachers should be given specialised training in order to make them aware of the issues involved in the appreciation and preservation of heritage. 8.3.3. Education curricula should include subjects on Indiaâ&#x20AC;&#x2122;s natural, cultural, and living heritage that highlight the multifaceted relationship between cultural resources and society, reinforcing their inseparable bond.

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8.4. Undergraduate education 8.4.1. The institutes, colleges and universities for the education of architects, engineers, archaeologists, planners, administrative service officers, management professionals, material chemists and other professions relevant to heritage conservation and management should encourage inter-disciplinary interaction on shared issues and common concerns and inculcate a holistic understanding of heritage with reference to social, cultural and economic aspects of the society. 8.4.2. The education of conservation professionals must include short training periods when students work with master craftspeople in their own learning environment or at building/conservation sites. This would provide an opportunity for students to acquire practical experience in the application of skills and use of materials, thus strengthening their theoretical training. 8.4.3. In order to respond sensitively and constructively to Indiaâ&#x20AC;&#x2122;s special conservation challenges, conservation professionals must be trained to appreciate and integrate both traditional and modern principles in their work. 8.5. Post-graduate education 8.5.1. In addition to history and theory of conservation, which will principally include the Western perspective, and a thorough understanding of UNESCO, ICOMOS and other recognised international conventions, recommendations, Charters and guidelines, the specialized education and training of conservation professionals must build upon traditional indigenous principles and practices of building and

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conservation. Professional must be trained to adopt a flexible stance most relevant to the specificity of their own context - which will frequently require using indigenous principles and practices â&#x20AC;&#x201C; rather than adhere blindly to the conservation ideology advocated by UNESCO/ ICOMOS and other international aid giving agencies. Working with an interdisciplinary team of professionals should be encouraged as an effective conservation and management mechanism. 8.5.2. It must be stressed that conservation architects acquire hands-on experience and practical understanding of indigenous materials and technologies through training or working with local master craftspeople. This will facilitate a healthy and sustained relationship amongst teachers, students and craftspeople, which can be mutually beneficial for future collaborative work on conservation projects, training workshops, awareness programmes and so forth. 8.6. Education and training of craftspeople 8.6.1. The ideal way to preserve a craft is to practice it. In order to ensure the continuity of craft traditions, it is essential that systematic education and training environments be provided and supported at all levels by the Government, non-governmental organisations and private entrepreneurs. In addition to individual initiatives of modest scale within limited resources, NGOs can support small to medium-sized schools, and Central and State governments can operate fully equipped training centres that specialise in traditional building and conservation crafts. 8.6.2. Building Centres set up by HUDCO (Housing and Urban Development Corporation of the Government of India) are important

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Notice of change of address may be published on three occasions and correspondents may be informed by post.

ii.

Professionals may exhibit their name outside their office and on a conservation site, either under implementation or completed, for

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which they are or were consultant, provided that the lettering does not exceed 10 cm. in height and this in agreement with the client. iii.

Advertisements including the name and address of professionals may be published in connection with calling of tenders, staff requirements and similar matters.

iv.

vi.

Professionals may allow their name to appear in publications prepared by clients for the purpose of advertising or promoting projects for which they have been commissioned.

vii.

Professionals may allow their name to appear in the

classified columns of trade/ professional directories and/ or the telephone directory.

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This portion was later restored to the current look. The front balcony (on the eastern entrance) was added during the restoration of this part as it is not visible in the earlier views of the building. During the time, two more additional staircases were added in the eastern courtyard. The level of the courtyard was raised to drain the storm water. Extension work started in Oct 1932 in the central courtyard. Hence, we find the steel framework in this area. Only the portion of the western courtyard survives as it was built originally. Since 1959, the building is used for various government offices like the post office, library of the State Govt., land acquisition office, etc. Currently, weaponry museum is installed in the performance hall on the first floor. Building Description of Case Study This building assertively stands for its time adding richness to contemporary urban living. The Wada is an introvert house form, and thus the courtyard becomes the focus of the house. The periphery is clearly defined by the built form surrounding the court. The Wada is three storied structure, also known as â&#x20AC;&#x2DC;Teen Chowki Wadaâ&#x20AC;&#x2122; as it consists of three open quadrangles as the central axis and all the rooms open to them, oriented long east-west. The building consists of three wings divided along the courtyards; The eastern and the western wings are entirely of timber frame structure whereas the central wing or the spaces around the central courtyard is partly timber and partly steel framed structure.

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A huge performance hall on the first floor ornately carved ceiling and beautiful pillars carved in teakwood and beautiful chandeliers. The court and the surrounding spaces constitute the two basic elements of the Wada. The court is the primary element of spaces, and all other functional spaces are oriented towards it. 1. The East wing of the wada is occupied and used as a display shop on ground floor and as a museum on the first floor 2. The Central wing of the wada is occupied and used by Post Office on the ground floor. The first floor houses a museum, and for the library on the second floor. 3. The East wing of the wada is occupied and used for weapon museum in Darbar Hall on the first floor, and the majority of the ground floor is presently vacant. The westernmost courtyard contained three small cisterns placed in a line in the centre and two in the central courtyard. The attractive entrance of the Wada roofed by the balcony catches the eye of all at the outset. It has astonishing wooden facade & carved Suru (cypress tree) formed columns. Beautifully carved ornamentation, teardrop like teakwood pillars shaped like Suru (cypress tree) trunks, with banana flower embellishments are the characteristic of Peshwa-era artisanship. They support a teak wood gallery on the lower floor on both sides of the entrance. The basalt stone floor gives a cool respite from the harsh summer sun, and vagrants have taken refuge for an afternoon siesta.

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The decorative elements of the Wada are the arches, the intricately carved brackets, the well-lit passages projecting on rows of such brackets. It is said that Bajirao's musicians played music in the evenings in the balcony. Now, since the balcony is weathered, it is considered unsafe as the wooden beams are no longer considered safe to hold human weight and hence the balcony is restricted to visitors. The dark oxidized ancient hooks and hasps on the doors have modern padlocks which jolt the mind back from the delightful reverie of history back to the present.

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Plate 1: Ground Floor Plan of Vishrambaug Wada

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Plate 2: First Floor Plan of Vishrmbaug Wada

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Plate 3: Section of Vishrambaug Wada

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Plate 4: Ground Floor Plan of Chitnaviswada Page | liii

Plate 5: First Floor Plan of Chitnaviswada

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Plate 6: Sections of Chitnavis wada

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Plate 7: Floor Plan of RasteWada Page | lvi

Plate 8: Ground Floor Plan of Sathe Wada Page | lvii

Plate 9: First Floor Plan of Sathe Wada

Plate 10: Section of Sathe Wada

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