Reviving the Golden Ragas_Design Dissertation_2021-22

REVIVING THE GOLDEN RAGAS REJUVENATING IN THE FUSED STATE OF FROZEN MUSIC AND LIQUID ARCHITECTURE

By FALGUNI VISHAKHA VILAS SAKPAL GUIDED BY Ar. Ashley Fialho A Dissertation submitted in partial fulfillment Of the requirements for SEM-IX The Degree

BACHELOR OF ARCHITECTURE MUMBAI UNIVERSITY MUMBAI, MAHARASHTRA.

5TH YEAR SEM-IX NOV’2021 Conducted at: RACHANA SANSAD’S ACADEMY OF ARCHITECTURE, AIDED COURSE RACHANA SANSAD, 278, SHANKAR GHANEKAR MARG, PRABHADEVI, MUMBAI 400025.

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Declaration I hereby declare that this written submission entitled “Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture” represents my ideas in my own words and has not been taken from the work of others (as from books, articles, essays, dissertations, other media and online); and where others’ ideas or words have been included, I have adequately cited and referenced the original sources. Direct quotations from books, journal articles, internet sources, other texts, or any other source whatsoever are acknowledged and the source cited are identified in the dissertation references.

No material other than that cited and listed has been used.

I have read and know the meaning of plagiarism* and I understand that plagiarism, collusion, and copying are grave and serious offences in the university and accept the consequences should I engage in plagiarism, collusion or copying.

I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/data/fact source in my submission.

This work, or any part of it, has not been previously submitted by me or any other person for assessment on this or any other course of study.

Signature of the Student: Name of the Student: Falguni Vishakha Vilas Sakpal Exam Roll No: 46 Date: 22.11.2021 Place: Mumbai *The following defines plagiarism: “Plagiarism” occurs when a student misrepresents, as his/her own work, the work, written or otherwise, of any other person (including another student) or of any institution. Examples of forms of plagiarism include: • • • • •

the verbatim (word for word) copying of another’s work without appropriate and correctly presented acknowledgement; the close paraphrasing of another’s work by simply changing a few words or altering the order of presentation, without appropriate and correctly presented acknowledgement; unacknowledged quotation of phrases from another’s work; the deliberate and detailed presentation of another’s concept as one’s own.

“Another’s work” covers all material, including, for example, written work, diagrams, designs, charts, photographs, musical compositions and pictures, from all sources, including, for example, journals, books, dissertations and essays and online resources.

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Approval Certificate The following Under-Grad Design Dissertation Study is hereby approved as satisfactory work on the approved subject carried out and presented in a manner sufficiently satisfactory to warrant its acceptance as a pre-requisite and partial fulfillment of requirement to the 5th Year Semester IX of Bachelor Of Architecture Degree for which it has been submitted.

This is to certify that this student Falguni Vishakha Vilas Sakpal is a bonafide Final Year student of our institute and has completed this Design Dissertation under the guidance of the Guide as undersigned, adhering to the norms of the Mumbai University & our Institute Thesis Committee.

It is understood that by this approval and certification the Institute and the Thesis Guide do not necessarily endorse or approve any statement made, opinion expressed or conclusions drawn therein; but approves the study only for the purpose for which it has been submitted and satisfied the requirements laid down by our Thesis Committee.

Name of the Student: Falguni Vishakha Vilas Sakpal Date: 22nd November 2021

Approved By Principal

Ar. Prof. Suresh Singh

College Seal

Certified By Thesis Guide Ar. Prof. Ashley Fialho Certified Seal

Examined By

External Examiner-1

External Examiner-2 5

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Acknowledgement I take great pleasure in expressing my gratitude and sincere appreciation to the people whose constant guidance, support and inspiration rendered to me and went a long way in rearing this project along in its inference. I would like to first thank my guide Ar. Ashley Fialho for leading me in the right direction, providing me with all the useful knowledge of the selected subject and guiding me in every aspect in conducting this dissertation work. Furthermore, I would also like to acknowledge with much appreciation for the crucial role of my dissertation Ar. Neha Panchal for her guidance and for helping me understand the process of research better.

Also, I would like to thank the respected professors of our college who have always guided me to the achievement of this project. I am ever grateful to my family, Mrs Vishakha Vilas Sakpal, Mr Vilas Devaram Sakpal, Mrs Manasi Kulkarni, Sukhada Nachankar and Nisarga Sakpal who supported me throughout this dissertation giving me all the encouragement whenever required. Lastly but not least my special thanks goes out to all my close friends for they have been my greatest strength.

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Reviving the Golden Ragas

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Rejuvenating in the Fused State of Frozen Music and Liquid Architecture Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

1.0 Abstract India has been grateful for its owned Classical Music and Ragas since the very beginning. Indian Music has helped convey the social problems and in creating conversations in society. It is remarkable how every element in the universe originates from a sound vibration and hence it is no wonder how music can harness nature. Its instantaneous pleasing effect can be an answer to misery. Their social and cultural associations can be understood to extract symbols and create meaningful architecture. However, these classical ragas are now getting eroded in the entire system of globalization and in exchanging value art forms globally. The western classical concepts of music when are getting introduced to the country are mixed or rather creating fusions to reach out to more audiences at a global level but more with the economic purposes, and somewhere in that process the true Indian Music is getting aside and as it is one of the intangibles, after some years, it will only be in people’s memories and records.

The qualitative research practiced holds two independent approaches; to identify the ragas and their

impacts on biodiversity and thereafter investigate the statement “Architecture is frozen music” by Johann Wolfgang von Goethe. Interestingly, the unbiased study reveals the fused state between frozen music and liquid architecture throughout the process and comes from a deep understanding that, in its very essence, architecture exceeds building and music exceeds sound. The research findings indicate the approach of the intervention will be celebrating and reviving Indian Classical Music and defining its relation to biodiversity via architecture and suggesting easy accessibility to the art form.

Simultaneously, it will be a creation of a common platform for Indian origin artists, the true listeners, learners and worshipers. The thesis will be decoding and translating the intangible components of music into visual, physical, spatial architecture. This will be an opportunity to explore the interrelationship between architecture and Indian classical music in the local context and contribute to the dissemination of classical music, student-oriented activities and nature conservation.

Figure 1.1: Illustration by Kacper H. Kiec_Source Behance

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1.

Introduction 1.0 1.1 1.2 1.3 1.4

Abstract Primary Concern Aim Project Relevance Keywords

2.

Study of Topic Research Stage

2.1 2.2

Author’s Relationship to the Topic

Approach to the Thesis Project

Indian Classical Music

Background

2.3.1 Research Questions 2.3.2 Who is the User Profile?

Who is this being done for?

2.3.3 How will it benefit them?

2.3.4 Will there be any Impact on Society as a Large?

Is the topic relevant as a tool for a Social Change?

2.3.5 Methodology

Qualitative Research Methodology

2.4 2.5

Survey Results

Program Generating Questions

Literature Review

3.

Case Studies

4.

5.

6.

7.

1.

Introduction Figure 1.2: A Tale of Misplaced Trust in News Media Wins 2018 Fairy Tales Competition; 2nd Place: Ascension. Image Courtesy of Blank Space_Source Archdaily

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

1.1 Primary Concern The entire globe deals with never-ending problems, human suffering has become constant. They take rallies, they get treatments and medications. Do every possible thing to get away from it. But here the whole point again revolves around the existing issues and problems, and somewhere in between people get stuck and are not able to find the right conclusions. In ancient history, people use to gather to solve difficulties and provide solutions for the

same via art forms such as dance or music. This was done so that the people can comprehend those in a better way. Along with that, the eroding of Indian Classical Music and Ragas is increasing day by day. These ancient Indian origin ragas needed to be revived, restored and preserved immediately. This suggests building social capital, better mental health and quality of life.

1.2 Aim To revive Indian Classical Music by integrating it into Biodiversity Park and by procuring a physical presence to these Ragas, thus making them more accessible to society.

1.3 Project Relevance The project is an attempt to revive and restore the Indian Ragas for future generations by building a sensitive architecture. It will also be focused on providing opportunities for Music Therapy as a profession. Thus ensuring the economic and cultural exchange. Indian Classical Ragas could be revived

by integrating them into the bio-diversity park and by procuring a physical presence to these Ragas, making them more accessible to society. It will be an opportunity to decode the intangibles into the tangibles thus providing the materials to the immaterial and vice versa.

Figure 1.3: Illustration by Lieke van der Vorst_Source Artisticmoods

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1.4 Keywords Music: vocal or instrumental sounds (or both) combined in such a way as to produce beauty of form, harmony, and expression of emotion.

Dance

Auralization: the ability to render accurately the sound of a space, whether built or not, while immersed in a controlled listening environment.

Sound: n. 1 sensation caused in the ear by the vibration of the surrounding air or other medium. 2 vibrations causing this sensation. 3 what is or may be heard. 4 idea or impression conveyed by words

Conversations

Space: n.1 a continuous expanse in which things exist and move. b amount of this taken by a thing or available.

2 interval between points or objects Classical Music: serious music following longestablished principles rather than a folk, jazz, or popular tradition Indian Classical Music: Indian classical music is the classical music of the Indian subcontinent. It has two major traditions: Hindustani and Carnatic.

Economic Growth

Dance: move rhythmically to music, typically following a set sequence of steps.

Social Issues: Social issues are the source of a conflicting opinions on the grounds of what are perceived as morally correct or incorrect personal life or interpersonal social life decisions.

Social Issues

Society: the aggregate of people living together in a more or less ordered community.

Translating: be expressed or be capable of being expressed in another language; convert something or be converted into (another form or medium).

Intangible: unable to be touched; not having physical presence.

Globalization

Layers: a person who listens, especially someone who does so in an attentive manner.

Visual: relating to seeing or sight.

Physical: relating to things perceived through the senses as opposed to the mind; tangible or concrete.

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Figure 1.4: Keywords in Lines and Dots

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Memory

Spatial: relating to or occupying space.

Interrelation: the way in which each of two or more things is related to the other or others.

Society

Conversations: a talk, especially an informal one, between two or more people, in which news and ideas are exchanged.

Globalization: the process by which businesses or other organizations develop international influence or start operating on an international scale.

Exchanging

Exchanging: give something and receive something of the same kind in return.

Economic Growth: an increase in the amount of goods and services produced per head of the population over a period of time.

Memory: the faculty by which the mind stores and remembers information.

Performance Art

Platform: a raised floor or stage used by public speakers or performers so that they can be seen by their audience.

Records: set down in writing or some other permanent form for later reference Artists: a person who practices or performs any of the creative arts, such as a sculptor, film-maker, actor, or dancer; a person skilled at a particular task or occupation; a person who habitually practices a specified reprehensible activity.

Art

Listener: a person who listens, especially someone who does so in an attentive manner.

Learners: a person who is learning a subject or skill.

Worshipers: a person who shows reverence and adoration for a deity.

Traditions

Decoding: convert (a coded message) into intelligible language; analyze and interpret (a communication or image); convert (audio or video signals) into a different or usable form, for example to analogue from digital in sound reproduction.

Figure 1.4: Keywords in Lines and Dots

Indian Classical Music 19

2.

Study of Topic Research Stage

Figure 2.1: Illustration by Object-e Net_Kozani Train Station Area Honorable Mention

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

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2.1 Author’s Relationship to the Topic Approach to the Thesis Project

Mapping the Time-line

KINDERGARTEN

Figure 2.2: Mapping the Time-line Figure 2.3:10th English Textbook Chapter titled “The Garden of Sacred Plants”

Having been trained professionally in Indian Classical Music since kindergarten, I always wanted to understand and process the structure and decode the relations between the four, i.e. Music,

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Architecture, Gardens and Indian Ragas/Emotions.

It started with the 10th English Textbook Chapter titled “The Garden of Sacred Plants”, which represented a garden where plants react in a

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

particular way to different ragas and grow healthier.

It was the time when I started to think, what are the relationships that these three hold, i.e. ragas, gardens and architecture?

And well, that was one of the main reasons why I decided to pursue architecture!

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2.2 Indian Classical Music

Figure 2.4: Indian Classical Music Background

Background

The chart above illustrates the basic historical layout of the Indian Classical Ragas and Music. It reflects the evolution and explains how the general public was incapable of having complete access to 24

classical music except for the wealthier people like the royal families and classic musical Gharanas.

And then how they developed and had their selfconstituted folk music!

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

‘Whether the music of a region developed as predominantly melodic or rhythmic depends on whether the race of people were historically housed or unhoused, dwelling in reed huts or in tents, in houses of wood or stone, in houses and temples high vaulted or low roofed, of heavily furnishings or light.’

Wallace Sabine. ‘Buildings for music’ cited by Michael Forsyth 1985.

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‘The acoustic behavior of caves lends itself to the evolution of melodic music.

The relative lack of acoustic reflection afforded to people who lived outside or in huts lent itself to the evolution of predominantly rhythmic music.’

Wallace Sabine. ‘In the place of sound’ cited by David Prior 2007.

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

1. From very ancient times, philosophers like Plato and Confucius have emphasized the need for musical training for statesmen. Ancient Greeks, Arabs, and Indians were well aware of the healing property of music, and legends are confirming the same. Hippocratic tradition emphasized applying natural methods of healing in medical practice. The first to use music’s therapeutic effects to conquer “passion” was Asclepius (the Greek God of Medicine).

2. Ancient Hindus believed that suffering caused by man’s uncontrolled thinking could be handled by music therapy. In India, literature on the science of music (Gandharva tattva) dates back to the fourth century B.C. “Raga Chikitsa”, one of the ancient texts elaborates on the therapeutic role of musical melodies. Swami Haridas, a classical musician who lived in the 16th century, was one of the many who used music in treating illnesses during olden times. A 17th-century work titled “Sangita Sudha” authored by Nayaka King Raghunatha Nayak and his minister Govinda Dikshitar gives an account of the effects of music on emotions. Ancient works collected by King Sahaja (1684–1711) that have been preserved in the Thanjavur Saraswati Mahal Library in the form of palm-leaf manuscripts serve as a record of remedial use of music in psychological ailments. The resilience of the character of ancient people as observed by Indian historians can probably be attributed to the musical practices of the olden days.

Figure 2.5: David Jouant De La Harpe Devant Sauk by Belgian Flemish Masters_Source Wikipedia Figure 2.6: Experiences in Music Therapy_Source Wikipedia

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“Architecture is frozen music.”

-Johann Wolfgang von Goethe

Likewise, “Is Music liquid architecture?”

Architecture is “frozen music”; the tone of mind produced by architecture approaches the effect of music. The statement, “Architecture is frozen music,” reveals a universal theme of expression underlining all creative disciplines. Goethe’s idea suggests all processes of creation and invention are connected by a humans need to express something, despite the final medium of construction. The expression could be a new idea, an evolution of an existing solution, or a purely aesthetic creation.

It could be said that the architect “paints” with building materials, the composer “constructs” using vibrations, and the scientist “composes” forms and formulas using the “modes” of math and physics.

The 18th-century writer, Johann Wolfgang (von Goethe) was the prominent literary and aesthetic critic of Germany of his time. Like Shakespeare, his work was translated into many languages and continues to be relevant.

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Goethe stated, “I call architecture frozen music”. The studies have also stated that that was not the 1st time this comparison was made. The articulated carved stonework among England’s Gothic cathedral’s motifs was repeated in architecture like music. Rhythm etc were other phrases that compare architectural design and music. There’s a pattern of point and counterpoint in music and design which is aesthetically pleasing to the eye, just like listening to music. Goethe’s statement was most likely a reflection on the predominant style of Goethe’s time, it was an architectural style, graceful, flowing contours that seem to solidify all that is intangible.

This is the second approach to design research. The study revolves around this very statement and understanding of what was intentions of Johann were to the end and if there were any or could be any view counter viewpoints to his statement.

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

The Fused State

The stage where the statement “Architecture is a frozen Music” was understood and broken down into bits and parts in a flow chart. In this very segment, the fused state between frozen music and liquid architecture was developed.

Figure 2.7: The Fused State Understandings Figure 2.8: The Fused State Triangle Figure 2.9: The Fused State Association

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Figure 2.10: Source Jan Gehl, Life Between Buildings (1971), 6th edition, The Danish Architecture Press, 2010

To invite or repel — seeing and hearing contacts The modest seeing and hearing contacts can be highlighted as the most important and common form of contact between people in public spaces.

Under all circumstances, seeing and hearing other people provides information, overview and inspiration. It can also be a beginning: more extensive contacts all start with seeing and hearing.

This also describes how throughout the history of their development, people have been linear, frontal, horizontal. This is the starting point for the development of people’s sensory apparatus 30

and for the capacity and way our senses function.

Senses also have a major impact on the interaction between people. With this in mind, it is simple to describe how physical planning can invite or repel basic seeing and hearing contacts. Inviting requires unobstructed views, short distances, low speeds, staying on the same level and orientation towards what is to be experienced. Looking closer at these prerequisites, we can see that these same physical frameworks are found in old pedestrian cities and lively pedestrian streets.

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Figure 2.11: Source Jan Gehl, Life Between Buildings (1971), 6th edition, The Danish Architecture Press, 2010.

Further developed: Gehl Architects - Urban Quality Consultants, 2009.

The city at eye level: 12 quality criteria The city at eye level is the preferred theme in which a systematic overview of the most important quality criteria is presented. Before any other deliberations are made, it is crucial to ensure reasonable protection against risk, physical injury, insecurity and unpleasant sensory influences, the negative aspects of climate in particular. If only one of these major problems concerning protection is unmet, safeguarding the other qualities can prove meaningless.

The next step is to ensure that the spaces offer good comfort and invite people to the most

important activities underlying their use of public spacewalking, standing, sitting, seeing, talking, hearing and self-expression. Considerations about the situation during the day and at night as well as in the four seasons of the year are naturally part of the work to optimize city space. Celebrating local amenities primarily involves ensuring a good human scale, opportunities to enjoy the positive aspects of the climate in the region, as well as providing aesthetic experiences and pleasant sensory impressions.

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2.3.1 Research Questions How would you formulate a program helping them revive and restore Indian Classical Ragas and simultaneously adopt them for Raga Therapy?

As the idea of both architecture and music is the composition of layers, despite the fact of one being visual, physical, and the other acoustical, intangible, they share a common language. How then can these elements like structure, rhythm, harmony, texture, form, balance, movement, and extra which are integral to classical music be interpreted in an architectural space?

What will be the proportion of the people who will be using what space?

What mediums of communication could be used to bring about awareness for the society at large that these Indian Ragas and Raga Therapy exist and protect them for future generations?

2.3.2 Who is the User Profile?

Who is this being done for?

The architectural intervention will be based on the inclusive user group, the Indian Artists, Learners, Listeners and Worshipers. The user group is irrespective of age, sex, type, castes, religion and background. Also, the aim is to have an exceptional user group for Indian Classical Gharanas and their disciples. The two forms of classical music, Hindustani and Carnatic Indian Classical music will be attended and followed at the intervention.

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2.3.3 How will it benefit them?

The idea of local before global will be attended here. These committed Indian artists and true disciples of Indian Classical Music will be provided with an arena of architectural intervention that will help them in rendering their art form flourish and to reach out to more Indians who wish to pursue the same and are the true audiences. In this way, these artists can reach out to the locals and will be able to spread and pass on their Indian music at a local level. These could be done traditionally along with new technological techniques both in terms of the spaces introduced and the production methods of classical music. The architectural intervention will be composed in such a way that it will help these artists to expand their connectivity linkages and livelihoods and not make the music commercial level businesses.

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

2.3.4 Will there be any Impact on Society as a Large?

Is the topic relevant as a tool for a Social Change?

Today the entire globe is facing several social issues, human suffering has become constant. They take rallies, they get treatments and medications. Do every possible thing to get away from it. But here the whole point again revolves around the existing issues and problems, and somewhere in between people get stuck and are not able to find the right conclusions. In ancient history, people use to gather to solve difficulties and use to provide solutions for the same via art forms such as dance or music.

This was done so that the people can understand and comprehend those in a better and an easy way.

The entire music industry has now become a commercial business and in this whole situation are not able to provide the true platform to the true talents of the country. These people need nothing but to reach out to the actual audience and worshipers who help them shape their talents in a better way. The thesis will be formulated in such a way that these issues are observed and catered to.

2.3.5 Methodology

Qualitative Research Methodology

Figure 2.12: Qualitative Research Methodology Chart

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2.4 Survey Results Program Generating Questions

58.9% of the people who responded listen to music a day at least for some time. The exact time they have elaborated is 1/4th of the day. Also, 22.2% of the people listen to music most of the time.

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

90.3% of the people responded think music affects people’s lives.

69.9% believe that Indian Ragas have a unique effect on the human body and mind.

Survey Results 35

2.4 Survey Results Program Generating Questions

When asked whether you are an artist or a performer, 100%, i.e. all of them believe that the area and the vibe of the space, i.e. architecture affect the creation of music. 84% of them also think that there is a need to develop a strong community for these arts and it’s adjoining practices.

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

When asked whether they believe in therapy for a healthy mind, the general public strongly believed with 51.3% and others moderately with 39.8%. Rest 19% didn’t know much about it. Also, 70% of the people feel low and stressed out most of the time.

Survey Results 37

2.4 Survey Results Program Generating Questions

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When asked whether they knew about Music Therapy, 42.7% didn’t know about it, and 15.4% agreed to maybe.

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

The people who know what music therapy is were asked if they would prefer getting Music Therapy 65.7% said yes, and 28.4% said maybe. The genres that they are inclined to are of all types with immediate higher ratings for Indian classical music.

Survey Results 39

2.4 Survey Results Program Generating Questions

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After asking to choose the ones who didn’t know what music therapy is, 99% of them selected a picture where people are more joyful and enjoying the session with more greener spaces with music that’s the therapy have imagined, and that is what they might also seek. These people also preference biophilic spaces, both internal and external.

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

‘As an architect, you have to provide a shelter to enjoy art. And you have to love art. It’s like when you make a concert hall. You must love music. This is the reason why you should make space, to enjoy music - making a space for art is the same thing.’

Renzo Piano

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2.5 Literature Review

Figure 2.12: 14 Patterns of Biophilic Design

Psychology behind Music and Architecture Many emotions such as balance, focus, excitement, sadness, desperation expressed in music, can also be expressed in architecture. Only the elements of the art forms differ. Similarities are present in the usage and proportion of these elements to be implied for deriving a similar emotional experience. The graphs derived from ragas expressing similar emotional qualities exhibit similar characteristics in the arrangement of spatial intervals between consecutive notes. The comparison of graphs derived from the volumetric proportion of architectural spaces vs the spatial interval between the intermediate notes of ragas shows similar characteristics for the emotions balance and astonishment/majestic. Hence a logical relationship is established between architectural spaces and the

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structure of ragas when considering similar emotional qualities from both sides. The emotional quality of a raga can be expressed in architecture by studying and incorporating its proportion of spatial intervals into the designing of spatial volumes. Experiments on ragas for curing cardiovascular disorders and stress reduction are present similarly by incorporating the characteristics of ragas proved with medical values in architectural designs, designing of medically curing spaces can be made possible. This research focuses only on comparing the space inbuilt forms and spatial intervals in ragas. Further study can be done by comparing other elements of light, color, texture, etc. The similarities in emotional qualities between selective spaces and ragas can be proved by exhibiting them to human subjects.

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Emotional Responses to Hindustani Raga Music The role of musical structure This study reports emotional responses of North Indian Classical ragas when rendered in two distinct presentation modes, namely, alaap and gat.

1. Distinct emotional responses are associated with alaap and gat of a raga.

2. Pulse clarity and tempo significantly influenced the emotion experienced in terms of arousal.

3. Major intervals (shuddh swaras) are predictive of reported positive valence while minor intervals (komal swaras) are predictive of reported negative valence.

4. The minor second is a significant predictor of negatively valenced emotional response.

Figure 2.13: Emotional Responses to Hindustani Raga Music

Raga Therapy for Healing Mind and Body There are 72 hours which are known as melakarta ragas from which other ragas known as the Janya Ragas are obtained. Neural research proves that 72 Ragas can control 72 nerves in the human body. Singing are performing a Raga when bound to its specifications and with purity which gives the performer complete control of the corresponding nerve. Raag Ahir Bhairav and Thodi are prescribed for patients suffering from hypertension. Karnatak ki raagas like punnagavarali and Sahana are useful to call on the mind and control anger.

Literature Review

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3.

Case Studies Stage 3

Figure 3.1: Pablo Valbuena Illuminates Architecture with Projection - Based Installations

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

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PI. Park Güell Location : Barcelona, Spain Function : Public Space, Installations & Structures, Landscape Architecture, Park Client : Count Eusebi Guell Architects : Antoni Gaudí Area : 1,71,800 m² Year : 1900-1914 Design Intent : A stylish park for the aristocrats of Barcelona.

It was planned to build a housing development that would take advantage of the areas views and fresh air.

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Figure 3.2: Pictures Source Archdaily

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PI. Park Güell

Antoni Gaudi is a personality who is named God’s Architect. His works are completely based on nature and are nature-inspired. Every detail that he had used in his architecture is unconventional and merges into the environment. Most importantly, Gaudí mixes his flamboyant style with nature to come up with 48

structures that rise from the ground like trees but can be also identified as built elements. The respect for nature is one of the most extraordinary qualities of this work, where Gaudí is said to make visual jokes, experimenting with the relationship between nature and architecture. On these very similar lines, the

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Figure 3.2: Pictures Source Archdaily

thesis project aims to allow the integration between the landscape and the architectural built form.

Keywords Nature-Based and Nature-Inspired, Biophilic Architecture, Unconventional Forms, Merges into

the Environment, Structures rising from the ground like trees, Respect for Nature, Relationship between nature and architecture, etc.

Case Studies

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PII. Maggie’s Centre Barts Location : London, United Kingdom Function : Center for practical, social and emotional support for people with cancer/Healthcare Center Client : Maggie Keswick Jencks Cancer Caring Centers Trust Architects : Steven Holl Architects Area : 607 m²/6,564 sq ft Year : 2017 Ecological Innovation:

Ecological Okalux Insulating Glass Green Roof Terrace Natural Bamboo Interior Transparent Glass Cavity Wall

Active Slab Insulating with Natural Ventilation

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Figure 3.3: Pictures Source Archdaily

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PII. Maggie’s Centre Barts

The process of decoding the musical notes and their application in treating the facade of the building with the touch of the natural material and allowing the natural lighting to pass through it to enter into the structure thus staying 52

connected with the outer world is something that needs to be appreciated in the building.

The use of three primary materials in the facade, the opaque glass with colorful tinted glass sheets within, then the concrete cross framing and a

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Figure 3.2: Pictures Source Archdaily

bamboo interior, is something to be appreciated in the whole architectural composition of the building.

Also, these layers of music represented through the facade and the inner composition of spaces is like unwrapping the architectural spaces of the building.

Keywords Musical Notes into the Facade, Vessel in Vessel in Vessel, Natural Light Source, Natural + Opaque Material Palette, etc Case Studies

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PIII. Superkilen Park Location Function Client Architects Area Year Budget

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: Copenhagen, Denmark : Public Space (Pre-Qualified Competition) : Copenhagen Municipality, Realdania : BIG Architects, Superflex, Topotek 1 : 33,000 m² : 2012 :11 MIO USD/80,30.0 L Indian Rupee

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Figure 3.3: Pictures Source BIG Architects

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PIII. Superkilen Park

The urban space that has been developed in the busy cityscape is quite relevant to make a community involve and have a good decent spot in the city to celebrate, engage and interact with the neighborhoods. The theme that BIG here has used is the sports and activities that had been considered 56

or followed in almost 60 countries. In the following research, Indian Classical Music and Ragas are something that was not accessible to all, especially to the general public and that’s the reason why people lost their interest and got detached from the genre.

Now, to make it more accessible so that the golden

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Figure 3.3: Pictures Source BIG Architects

treasure of Indian Classical Ragas could be revived, urban public spaces could be one of the ways to increase the engagement of the general public to the Music. Spaces such as Musical Street, Musical Parks could be introduced within the cityscape for the same.

Keywords Urban Insert, Community Involvement, Engage, Interact, Universal Language for the Spaces and Objects Used, Accessibility, etc

Case Studies

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PIV. Jewish Museum Location Function Client Architects Area Year

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: Berlin, Germany : Preservation Site : Stiftung Juedisches Museum Berlin : Studio Libeskind : 15,500 m²/166,840 sq.ft : 1999

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Figure 3.4: Pictures Source Archdaily

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PIV. Jewish Museum

The building was an extension of the Jewish Museum.

For Libeskind, it was about establishing and securing an identity within Berlin, which was lost during 60

WWII. Conceptually, he wanted to express feelings of absence, emptiness, and invisibility – expressions of the disappearance of the Jewish Culture.

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Figure 3.4: Pictures Source Archdaily

It was the act of using architecture as a means of narrative and emotion providing visitors with an experience of the effects of the Holocaust on both

the Jewish culture and the city of Berlin.

Keywords Identity, Feelings, Culture, Narrative and Emotions Case Studies

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

‘I’ve always thought that it would be very difficult to do in architecture what some contemporary composers have suggested in music, to have rotating players, to have players interpret, and yet I think what architecture can do is involve the audience in it.’

Daniel Libeskind. Interview on BBC Radio. 4August 2002.

‘Architecture is not a synchronizing phenomenon, but a gradual unfolding.

It consists of a sequence of tableaux, associated in time and space. Like music it is a means of conceiving in time.’

Le Corbusier. Die Reihe: periodical devoted to development in contemporary music. Cited by T. Pressor, 1958.

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Case studies based on Emotions i.e. Identifying Raasa’s in Architecture The ragas express balance and have symmetry in their structure when the Aroha and the Avaroha contain the same notes. The emotion Balance is achieved when the user experiences simplicity and finds logic in predicting the spaces. These spaces have precise visual clarity and symmetry in their planning. Also, lighting is homogeneous with clarity in perceiving these spaces. For example, Salk University. This emotional character can be seen in architectural designs expressing balance when the user experiences consecutive spatial volumes having similar proportions, with minimum variation in height, such as instances of balance in the volumetric proportions of spaces seen in Sabarmati Ashram.

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Dynamism exists in the pattern of consecutive spatial intervals, likewise, it is hard to predict the sequential arrangement in the same when compared to ragas expressing balance. If the structure of the ragas are not symmetrical, i.e. if the Aroha and the Avaroha contain a different variety of notes and hence can form a different variety of spatial intervals. This is seen in spaces such as Malls, convention centers and many modern deconstructive designs, where the user experiences a variety of volumetric enclosures with varying proportions in its dimensions.

Now, excitement is also achieved in spaces through extreme visual clarity and the contrast of light and shadow. This creates a series of patterns using

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Figure 3.5: Pictures Source Wikipedia

bright spots and shade. The source of light may or may not be visible but the path of light is direct making bright impressions inside the volume. This increases the complexity and gives the human mind lots to perceive making it highly enthusiastic.

This character is seen especially in religious spaces such as temples, cathedrals and where the might and of power of the deity is expressed and also in top priority government buildings such as senate, national assembly, etc. exhibiting the power and capability of a nation to the rest of the world.

The majestic is predominantly expressed through the sudden increase in the scale of the space.

The scale of the emphasized volumes has

high visual clarity, where the source of light is very bright, well defined and out of reach for a human observer. The light source is either peripheral or direct along the longest axis along the longest dimension emphasizing the scale of the spatial volume in a space especially when the longest axis is the height.

Case Studies

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4.

Stage 4

Figure 4.1: Illustration Artist Unknown

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

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Figure 4.2: Initial Intuitions of the Program

Programmatic Formulation/Initial Intuitions

The layout of the program is divided into two parts.

Part A and B. This is due to the research aligning in a pattern where the part of the program needed to be recognized to understand what the site criteria are and to lead to the next step of a site study. The above 68

is the Formulation part of the program, wherein the initial intuitions of the program are arranged according to their proximity to each other. This creates a base for structuring out the program for the further segments.

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

‘Anyone who has entranced by the sound of dripping water in the darkness of a ruin can attest to the extraordinary capacity of the ear to carve a volume into the void of darkness. The space traced by the ear in the darkness becomes a cavity sculpted directly in the interior of the mind.’

Juhani Pallasmaa. The Eyes of the Skin: Architecture of the Senses. Chichester 2005.

‘Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us.

When we listen to it, we find it fascinating.’

John Cage. The Future of Music: Credo. Seattle 1937.

Program: Part A

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Programmatic Structuring Part II

Initial Intuitions

The detailed layout of the program wherein the initial intuitions are structured in a detailed manner.

Starting from what the program is and where is it leading. It is an out and out public space intervention 70

for experiencing, learning and expressing music with melting architecture being the part of the experiential phase, then the middle freeze state for learning music and third as freezing state wherein

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

you built something as you express the music. And then the other aspects of the entire intervention being an identity for the cultural and everyday interaction.

Figure 4.3: Detailed Structured Layout of the Program

Program: Part A

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‘As something becomes a form it occupies a certain space; it has form, a condensation, so as not to be shattered all over in particles - something personal and individual. Automatically, time occurs in a being, but the being isn’t in time.’

Jonathan Cott. Stockhausen: conversations with the composer. London 1973.

‘Hearing shouldn’t be equated with the sense organ “ear”, since our entire body is exposed to sound waves... I sense with my skin, whether or not I can easily speak in a room. That’s an acoustic subconscious that everyone has.’

Bernhard Leitner. English translation taken from ‘Klang als Ban-material’, Eugen Blume in conversation with Bernhard Leitner, Berlin 2008.

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Program Understanding Part III

Figure 4.4: Understanding the relationship between the fused state and the structured program

Initial Intuitions

The understanding of the previous structured layout.

It expresses how the entire formulated is a paradox with the two states as melting and freezing like a

reaction in the fused state. It explains the criteria that will lead to the finding process of site options.

Program: Part A

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5.

Stage 5

Figure 5.1: Illustration Artist Unknown

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Site Selection Criteria

Figure 5.2:The flow chart talks about the phases for selecting the final site option.

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Site Selection and Study

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Urban Peri-Urban as Context

Figure 1 :The comparison chart of the Urban Peri-Urban context and the reasons to have a Peri-urban area by considering the site parameters.

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Site Selection and Study

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Ratnagiri City Plan

Ratnagiri, a small town on the western coast of Maharashtra, is an important urban settlement in the Konkan region. The city examines the uneven spatial and economic development by focusing on the fishing and tourism sectors, with a high historical presence.

The development of the city has been along the coast and then linearly moved to the inner part of the city for expansion and future developments. The very original and untouched core of the city and the coastal edge for

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which is the city is known are turning extinct except the Port areas and the fishing communities. This is happening due to the development of the industrial and infrastructural sectors within the inner part of the city. In this entire procedure, the edge is neglected and turning the historical places into ruins keeping intact the certain areas on the edges that are accessible to the community.

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

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Potential Site Options

The time-line shows the Ratnagiri City Development dating from 1997-2004-2021. The city and the other small villages adjacent to it were built along the coastal edge further moving inwards for the city

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expansion leading to urbanization. The map shows the main central spine of the city along with the other sub arterial roads. The entire coast has witnessed developments overseeing the port development, fishing

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

community businesses, and other sectors. The city is planning to develop tourism in the coming years as it holds an exceptional historical, cultural and economic influence. The marked sites are the potential sites for

the research study considering the accessibility of the population and the tourism both. The sites selected are situated along the very central spine of the city for the maximum influence of the project.

Site Selection and Study

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Site Options

Site Option 1: Shivaji Nagar Park

The Site Shivaji Nagar Park is a vacant plot allotted as a park or recreational area in the development plan of the city. The plot surrounds the residential zones such as the residential buildings and individual plots with bungalows. The adjacent plot to the site is the burial

ground. The plot aligns with the arterial road networks of the city. The upcoming development to the plot is being proposed for the residential building where 2/3rd of the plot will be reserved for RG.

Site Option 2: Shivaji Stadium

The Shivaji Stadium Site is a stadium area reserved for a community center under the development plan of the city. The huge plot has central ground and stadium stands. The peripheral edge is developed for the market

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area. The plot is quite old and the stadium and the marketplace requires a redevelopment. It is situated in the very center of the city in the Maruti Mandir area.

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Site Option 3: Bhagwati Bandar

The Bhagwati Bandar Site is a vacant plot assigned for a park in the development plan of the city. The site is located at the very coastal edge with the Ratnadurga Fort, Ratnagiri Lighthouse in the immediate context.

The other contexts that the site holds are the Ratnagiri

Jetty and the community and part of it that is dependent on the fishing businesses, tourism at the fort, etc. The area at the lighthouse has become extinct and is now treated as dead space due to which there are no visitors due to safety.

Site Option 4: RG, Sadanand Wadi

The plot at the Sadanand Wadi is allotted as Recreational Ground in the development plan. The site has MSEB Office Areas to the very corner edge of the plot. It has a Nalla that runs through the site and has dense trees

with the plot. It surrounds the residential areas in the immediate context and industrial zones in the not so immediate context.

Site Selection and Study

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Site Comparison

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

The comparison chart of all the four site options and then selecting one from all by considering all the site parameters that I had according to the research and study.

The site that was then selected is the Bhagwati Bandar

Site along the coastal line of the city for which the city is known and it is connected to the central spine of the city yet secluded. The site fits in all the parameters with more percentage than that of the rest three.

Site Selection and Study

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Selected Site at Bhagwati Bandar

Site Option 3: Bhagwati Bandar Proposed Upcoming Project_Park, Near Ratnagiri City Lighthouse

The approach to the site is from the sub arterial kaccha road that divides the lighthouse access

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road and the community village road. Further at the site, this road continues by being the only road

Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

adjacent to the plot and connecting to the lighthouse entrance gate.

The plot exhibits a vacant area with a low rising green indigenous field.

All three sides of the island or the

plot are covered with the Arabian Ocean and are almost 72 meters high from sea level.

Site Selection and Study

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Selected Site at Bhagwati Bandar

Site Option 3: Bhagwati Bandar Proposed Upcoming Project_Park, Near Ratnagiri City Lighthouse

The immediate context of the selected site includes the Ratnadurga Fort area, the Bhagwati Bandar Community/Village, the Fort Land and the Lighthouse area.

The yellow ones that are marked are the religious places.

Site Topography in Isometric

Site Topography in Elevation

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Site and Networks

Ridge Lines

Topography

Water Rise Level Up to 10 M

The road network to and along with the site with the topography for the terrain; the contours and the ridge lines; the water rise level up to 10m. This shows how

the selected site can become the spot for refuge to the community around the site.

Site Selection and Study

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SWOT Analysis

Of the Selected Site Option

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Site Selection and Study

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UDCPR Guidelines

Unified Development Control and Promotion Regulations For Maharashtra 2020 ACCESS AND REGIONAL PARK ZONE

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Site Selection and Study

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UDCPR Guidelines

Unified Development Control and Promotion Regulations For Maharashtra 2020 TOURISM DEVELOPMENT, HILL TOP-HILL SLOPE ZONE AND SPECIAL ECONOMIC ZONES

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Site Selection and Study

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6.

Stage 6

Figure 5.1: Illustration Artist Unknown

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

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6.1 Musical Garden Hokkaiddo Japan The Journey of the User in Space - Music

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

An example of how the music will be a part of the biodiversity park, the musical garden is in Hokkaido Japan. The garden represents the journey of the sphere throughout the quest. The sketches are the journey of the same in the space.

The Program: Part B

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Program

Site Development and Zoning Ideas

Details of the population

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Detailed Functions with Areas Tentative area statement

Functions

The Program: Part B

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Scope and Limitations of the Thesis

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

The Program: Part B

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7.

Stage 7 Figure 5.1: Illustration Artist Unknown

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Objectives

What achievements are aimed through thesis?

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Design Objectives and Architectural Statement

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Architectural Statement Hypothesis

Indian Classical Music could be revived by integrating it into the bio-diversity park and by procuring a physical presence to these Ragas; making them more accessible to society. This will lead to evolving of the fused state between architecture and music thus reshaping the constructed architecture when there is a shift in the Ragas and vice versa.

This will be measured by decoding both the entities and looking for a completely new typology or a superset of it. The thesis will run for whether the creation will be inclusive or exclusive and will there be any consequences.

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Reviving the Golden Ragas: Rejuvenating in the Fused State of Frozen Music and Liquid Architecture

Design Objectives and Architectural Statement

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