chapter_3

3

Demonstration

C h a p t e r The

3

demonstration

61

Hotel de l’ Orient, Pondicherry

62

Thedemonstration

Hotel de l’ Orient, Pondicherry

Hotel de l’ Orient, Pondicherry Pondicherry being a French town has a character distinct from the rest of Tamil Nadu. The original building, known as the Education Directorate , was built in 18th century. After serving as the office of the FrenchdepartmentofEducation,itfellintodisuseand ultimately all that was left of it was the overgrown gardens and the shell of a once handsome building.

Now it has been restored into a hotel exuding “nostalgicglamour”.

At the time of transfer the building was in a critical condition, hence a detailed site inspection and documentation was done. After retaining most of the existing features, the building has been restored and the interiors have been subjected to only minor alterationsto improve theadaptability.Inmost places theexteriorhasbeenleftinitsoriginalfinish.

Since it is more of a conservation oriented project, certain features are merely restored; they are discussed nevertheless in order to understand the buildingasawhole.

Fig 1. View from the street side, before re-use. One can see the dilapidatedconditionoftheEducationDirectorate.

Fig2. Viewfromthestreetside,afterre-use.Nowconvertedintoa heritagehotel.

63

Thedemonstration

Location and setting

Locationandsetting closely associated with the then French Government.

In the French quarter the buildings are of two main categories– public and residential. The residential buildings form the major building stock, simple and varied accordinglywithfullorpartialfrontageandbuilt wall to wall giving the typical street character. The public buildings are set amidst large plots with transparent enclosures; the plans came from France and were adapted to local conditions, usually grand twostoriedstructureswitharcadesingroundfloorand colonnades in first floor. The sizes of plots and buildings are comparatively larger making this part of thetownalowdensitysettlement.

The French Town The French first landed on the Coromandel Coast centuries ago, and the French town originally developed along the coastline around the Government Square (currently known as Bharathi Park). This square was surrounded by stately government buildings, while residential buildings interspersed by institutional buildings extended on either side. Even now Pondicherry still retains its distinct characterandisunliketherestofIndia. Awalk down thehighwalledstreetsoftheoldquarterfeelsso quintessentiallyFrench, thatitmakesonefeellikeone is in France or along the Mediterranean coast. The houses, some of which date back to the 18th century, lookandfeeldifferent.

Hence the original building was already set amidst a very prominent architectural type belonging to the French. The surrounding buildings also had similar features, and most of the time the buildings shared a wall from the front though the spaces became larger andspaciousinsidewithopencourts.Restorationhas played an important part in this adaptive reuse project, the new building has strong reference to the original and the surrounding buildings in terms of the architectural features. The new additions also follow similar scaleandfeatures.

The avenue along the beach was also reserved for important buildings. The Grand Canal separates the FrenchandTamiltownsandoriginallythere had been only two bridges across this canal. On the northern sideofthetownthereisasettlementoflow-riseTamil stylebuildingsprobablymeantforthelocalemployees

Hotel del’Orient

Fig 3. Schematic Plan and section of Pondicherry town, depicting the organisationof variouskindsofbuildings

64

Thedemonstration

ClimaticAspects

Climaticaspects The Generic built form in the French quarter consists of high ceilings, voluminous rooms, and a large number of openings. Hence the response to hot and humid tropical climate is noticeable. The building is closed on three sides of the plot, hence light and ventilation is derived from an interior court along with smallerlightwells.Thenewbuildingalsohasterraces facingthecourt.

The openings are generous and doors and windows with operable louvers or cane work are aligned, enhancing movementofbreezetoovercometheheat and humidity.Thesemiopencolonnades andarcades provideacomfortableinformallivingspace.

Form andDesign The plan is the local version of the “Hotel particulier “ th

the typical mansion of the 18 century urban upper class in France. The main feature is the symmetrical plan and façade which usually opens onto a large garden of a court.Thelargeroomsareinterconnected with corridors.Infrontoftheroomstowardsthecourt, colonnaded portions were built to provide protection from sun and rain. It also provides a pleasant transition to thegarden.Thebuildingitselfissetwithin highcompoundwalls.Manyofsuchbuildingsfollowed similar ground plan with variations in size, orientation anddetails.

Fig 4. Plan and section of typical a residential Frenchbuilding

A major change from the French type was the use of flatterracedroofs.Insteadofthesteeppitchedroofsof the villas, flat “madras terrace”roofwereused to suit localclimateandconstructiontechniques.

Fig 5. A typical section ofapublicbuildingintheFrenchquarter of Pondicherry showing rooms with high ceilings, colonnade and the courtyard.

The private garden forms the major open space onto which the other closed and semi-open volumes open.

If there is an entrance court, it usually combines with the private court and the interior arcades and colonnades facethecourtyard.Theinteriorsaremore ornate than the exteriors and usually the rooms are marked by high ceilings with highdoorsandwindows with louvered shutters. A series of arched openings

65

Thedemonstration

Hotel de l’ Orient, Pondicherry

Existing Demolished part

Ground floor plan before reuse

Existing Newconstruction

Ground floor plan afterreuse

Plate

Drawing: Ground Floor Plans, before and after reuse

1

Hotel de l’orient, Pondicherry.

66

Thedemonstration

Form and design

Parapet Potbalusters MadrasTerraceRoog (brick onedgeinlimemortar)

Cornice

Wooden joists

Rendered pilaster

Rear Court

Segmentalarchedwindow

Colonnaded portico

Bifurcated staircase

Entrance court Entrance gate with piers Fig 6. Isometricviewshowingthetypical features of a French building in Pondicherry

The existing building has two storeys. The new additions do not go beyond this height and the floor slabs follow the same level as the existing building hence not disrupting the scale of the original. The fenestration present on the inner and outer facade alsomatchtheoriginal.

adjoin long halls connecting to the courtyard. The ceilings are made out of madras terrace construction supported with heavy iron or wooden beams and wooden joists. The facades are sometimes divided into ornate panels by plaster decoration. The floors are of plain cement or coloured with red oxide occasionallywithteakwoodenflooring.

The original floor plan featuring size, proportion, configuration, and relationship between spaces has been retained. The extensions are added in a harmonious waysuchthattheirlaterremovaldoesnot affecttheessentialcharacter of thebuilding.Thenew additions are also made to match the traditional plan features of the whole precinct. The principal walls havebeenretainedwhichcreatesminimumimpacton the quality and relationship of spaces the original building had. The extensions retain the originality of thebuilding.Thegrandscaleisasignificantfeatureof the French town. The new rooms added provide a similar generous scale, and yield to the proportional characteristic of the precinct. The height of the room added over the garage on the street side has been kept lower. Hence it does not disturb the original symmetrical facadeofthebuilding.

Scale andproportion Ifoneslooksaroundinother parts ofPondicherry,the new construction following “French style� are mostly misunderstood interpretations of European baroque features. The buildings end up being elaborately decorative, elaborated cornice detailed over disproportionatecolumns, oftenmadeoutofsynthetic cladding materials. The additions done to the old building follows the simple style thatisfollowed inthe adjoining buildings. The harmony in the simple fenestration and symmetrically placed doors and windows have been retained. The layout follows the existing circulation in the building and only the

67

Thedemonstration

Hotel de l’ Orient, Pondicherry

Existing Demolished part

First floor plan before reuse

Existing Newconstruction

First floor plan after reuse

Plate

Drawing: First Floor Plans, before and after reuse

2

Hotel de l’orient, Pondicherry.

68

Thedemonstration

Streetscape

Staircase Staircases form an interesting part of the building typology. Though a wide variety exists otherwise, in this case the existing staircase is a straight flight connecting the two floors. There is one near the front andanother at the backyard. The soffitisarchedand formspartofthemainstructuralsystem.Theflighthas plain wooden railing over wrought iron balusters.The existing staircase has been restored to its original condition, and there is another spiral stair added for extracirculation.

Fig7. (Left)Viewofstaircaseintheoldbuilding (Right)therestoredstaircaseinthereusedbuilding.

Streetscape The main characteristic of the street are continuous wall to wallconstruction, full or partial street frontage, high garden walls and elaborate gateways. The solid walls are divided into smaller panels by the use of vertical (pilasters) or horizontal (cornices) ornamentation. The streets are laid out in a clean straightgrid,thecolourscream,yellow,pink,andgrey.

Street facades though colourful are usually plain and austere which enhances the effect of the straight and perpendicular grid play of the town. The exterior wall panels feature flat orsegmental arched windows with band and louvered wooden shutters. In the case of the two storiedbuilding, wooden balconies supported onwroughtironbracketsarecommon.

Fig8. (Left)Viewofolddirectoratefromthestreetbeforereuse.

(Right) view of thebuildingatpresent.Pastelshadesareusedfor theexteriorfinish,andfeaturesofthefacadearehighlighted.

The composition is completed by a continuous parapet usuallydecorated with loopholes orterracotta pot balusters, or curved. Depending on the importance of the building, decorative features and end ornaments are added. To go with the decoration, dominating bougainvillea burst over gates and compoundwallsofcourtyards.

After restoration, the faรงade towards the street is not very different and hence the building also meets the street in the same way. The windows follow thesame proportion and balcony is retained as it was. Typical French town features like the uninterrupted building line and continuous wall to wall construction are maintained. The outer facade respects the building line and composition of individual facades, hence it compliments the overallstreet scapeestablishingthe part-to-wholerelationshipofthestreet.

69

Thedemonstration

Hotel de l’ Orient, Pondicherry

Existing Demolished part

Front elevation before reuse

Existing Newconstruction

Front elevation after reuse

Plate

Drawing: Elevations, before and after reuse

3

Hotel de l’orient, Pondicherry.

70

Thedemonstration

Architecturalfeatures

Architectural Features Entrance Door/Gate Compound walls and entrance gates are a very important feature in such buildings. But, in this case, the frontfacadeisdirectlyontothestreet,hencethere is a full frontage without a compound wall. But the entrance door has a unique featureadding to the rest of the French street scape. In this case the gates are marked by subtle pilaster projections along the main facade. The doors are of heavy woodwork with a “postern� whichisasmallexitdoor.Themaindoorhas been retained and restored to its original wooden finish. The original bands and pilaster frames have also been done tocompliment thedoor, similar to the traditionalentrances.

Fig9. (Left)Viewofoldentrancedoor (Right) thedooriskeptasitwas,thepainthasbeenremoved,and theoriginalwoodismadevisible.

Doorsandwindows In the existing house, windows are mostly high with flat,segmentalorsemicirculararcheswithbands.The shutters are wooden and had wrought iron bars bent outwards in the lower half below a horizontal bar to provideaprotectviewofthestreetfrominside.Lintels are made out of brick arches and decorated with plaster decorations.Framesaregenerallynotpresent and shutters are fixed with hinges straight from the wall,withbrassandwroughtironfixtures.

Fig10. Detailsofatypicalsegmentalarchedwindow

Doors are similar to windows, with high arches or flat with bands. Some doors have a second operable shutter with cane workthatcutsoffvisionandensures privacy. Doors are also fixed withhinges directly from the wall and fastened by long brass or wrought iron bolts. Strong cross bolts and in some cases holes in the jambs are provided to accommodate wooden cross bars for secure closing.Thewindows andsome exterior doors were renewed, and the old pattern of panesandpanelhavebeenretained.Thenewlymade doors are also of similar wood, and crafted to match the original doors. Materials other than wood and glasshavebeenavoided.

Fig11. (lefttoright)Beforeandafterreuseviewsofacorridorspace showingtherelationshipoftheopeningswiththespace

71

Thedemonstration

Hotel de l’ Orient, Pondicherry

Existing Demolished part

Cross section before reuse

Existing Newconstruction

Cross section after reuse

Plate

Drawing: Cross sections- before and after reuse

4

Hotel de l’orient, Pondicherry.

72

Thedemonstration

Architecturalfeatures

Arcades As mentioned earlier, arcades form an important aspect oftheoveralllayout,astheyprovidethegentle transition along with light ventilation from the court to the inner volumes providing a comfortable informal living area. A series of arched openings are arranged overlooking the garden or entrance courtyard.

Structuralarches are used forinteriorswithlongspan.

Semicircular and segmental are the most common archprofiles.Thelintelsareofbrickonedgemasonry and springing points are signified by simple mouldings. In the first floor a similar structure is followedoverlaid on theground floor grid. Sometimes louvered shutters or stained glass panes are fixed between columns at beam level for better weather protection.

Fig12. (Left)Arcadeconnectingthecourtyardtotherooms (Right) Unwanted construction has been cleaned up, making the court larger, the restoredarcadealsoprovidesagentletransition betweenthespaces,andservingasimportantcirculation.

Pilaster and cornices A combination of pilasters and cornices provides a main structure for the overall exterior faรงade composition. It provides a framework for other features like openings parapets and balconies.

Pilasters follow cross walls lines in plan and are usually plain, their thickness varying between 2-5 inches. Cornices follow the divisions of the floor and are provided withadditionalthroating withincurved or sloped moulding, whichprotectsthewallsurfacefrom rain.They areusuallyconstructedwithcorbelledbrick and plaster. In the new construction theexterior walls are divided into panels following the proportion matchingtheoveralloriginalcontext.

Fig13. (Left)viewofthecarshedbeforereuse (Right) thecarshedhasbeenconvertedintoasouvenirsshop,and thecornicesandpilastersarecontinuedinthenewlyaddedroomas wellonthefirstfloor.

73

Thedemonstration

Hotel de l’ Orient, Pondicherry

Existing Demolished part

Long section before reuse

Existing Newconstruction

Long section after reuse

Plate

Drawing: Long sections- before and after reuse

5

Hotel de l’orient, Pondicherry.

74

Thedemonstration

Architecturalfeatures

Balconiesandparapet The pilaster and cornice frame the balcony. In this caseitissituatedontheexteriorfaรงade.Itismadeout of projected Madras terrace construction. The timber joists are cantilevered and closely spaced and the edge rafter is rested on a wrought iron bracket. The soffit of the balcony is provided with a running eave board nailed to the edge rafter. The balusters are of wrought ironwithintricatepatterns.

Parapets define the skyline of the town and become an important horizontal feature. They rest on elaborate cornice and divided at regular intervals following thespacingbetween thepilasters.Wherever the terrace has been modified, a similar parapet has beencontinued.

Fig 14. View of the restored parapet, showing the pot-balusters alongwiththecornicedetails

Fig15. Viewandpartsectionofthebalconythatprojectsouttothe streetfromthefirstfloor

75

Thedemonstration

Tradition and techniques

Tradition and techniques Structuralsystem The building has simple load bearing walls that are two feet thick (60 cms), and the brick walls are filled with brickbats and mud.Thefirstfloorwallsare lesser inthicknesssincetheycarrylesserload.Columnsand arches form an important feature in the structure, mainlyofbrickmasonry.Theseloadbearingwallsand archessupport heavy timber or steel beams, whichin turn support the Madras terrace. The additions also followed similar construction. The walls of the lower floor were checked for structural strength before building the upper floor.Though the new construction used the local bricks, they were made to match with the original brick construction of the old building. The original building's terrace was done with local limewater proofing technique. Once the terrace was relaid, newwaterproofingchemicalswereused.

Fig 16. View of the arcade before reuse. The existing plasterwasremovedinplaceswherethewallsneedextra strengthening

Fig17.Viewofthearcadeafterthewallsarere-plastered.

Fig 18. View ofthejoistsandthesupportingbeam ofthe Madras terrace construction (before restoration)

Fig 19. Before the restoration started, the madras terrace roof is carefully supportedby struts

76

Thedemonstration

Tradition and techniques

Materials and Construction techniques The main building materials are burnt bricks and lime mortar, for all masonry works. The lime was made by burning material from the local shore or quarried limestone. The mortar is made by grinding lime and sand together in a wet mortar mill. Higher quality lime was used for plastering. Timber used is usually teak from Burma. Cornices andpilastersweredetailedby shaping brick masonry with lime plaster. Some elements like pot balusters were prefabricated by pottersfollowingthedesignofthestoneoriginals.

Fig20.Viewofthecourtyard,whenthesimplebrickflooring islaid.It'sacheapbuteffectivesolutionthatgoeswithoverall feeloftheplace

Since restoration has a major role in this project, the use of materials is an important factor. The original constructiontechniquesarenotalwaysavailable;they becomeoutdatedandcanprovetobeexpensive.Also newer materials are available in the market, and it might be the logical thing tousetheavailablematerial.

Itadvisedtoidentifytheoriginalfinishandpreserveit.

The new facades have been finished in traditional colours (white, terracotta red, and light grey) and the plasterusedisoflime-cementorplaincement.

Fig 21. In Madras terrace construction, wooden rafters runalong theshortersideoftheroom.Theraftersareusually4-5inchesthick and are placed close to each other usually about 15 inches from each other. Then a slab of brick and lime mortar iscast onthese rafters.Athreecoursediagonalbrickcourseislaidwitheachcourse inalternatedirection.

Fig 22.(left to right) Before and after reuse View of an interior wall, showing the old bricks, and the new restored wall.

77

Useandfunction

Thedemonstration

Useandfunction Thoughthefunctionalityofthenewusedirectlyaffects the overall form and the layout of such buildings, in this case the original form and layout has been retained; even the additions follow the foot prints of the old. The old building used to be the Educational Directorateandhencefallsunderthetypology“public buildings” and the new use has been incorporated in the already existing shell. Cellular colonial public buildings consist essentially of one or more of grand spaces; herethe spacesaremainlycellularcompared to larger buildings with ceremonial scale, which are usually moredifficulttodivide.

The circulation is made simple and the arcades are used as connection and transition spaces. Although they were mainly used for light and circulation originally, the new use has converted them into interesting semi open sitting, overlooking the courtyard.

Fig23. (Left)viewoftheconnectingcorridorusedasdiningarea.

(Right) View of a room– the antique furniture, adds to the proportionsoftheroomwithtallwindowandhighceilings.

The plan of the directorate building is rectangular whichextendstowardsthegarden side, forming a “L” shaped building wrapped around the courtyard. As one enters,atgroundlevel thereisacentrallobbyand two rooms on either side, followed by the main grand staircase and an arcade connecting to the courtyard.

The hotel rooms have14fthighceilings,ceilingfans, and traditional madras terrace roof. The original window frames and sashes have been restored, and on the ground floor certain parts of the arcades have been filled with wooden/glass doors that match the original panels of the glazed doors. Hence, even if they are removed later, there is no damage done to the existing building. These covered arcades have been converted into interestingsitting areas. Like the original buildings layout all the spaces overlook into thecourt. The courtyard is also used a s a dining area whentheweatherpermits The most radical change to the structures has been addition ofroomsonthefirstfloorlevelandstaircases.

To help with the viability of the hotel an extra floor has been added at the rear side. The addition proves necessary, because theuseofthebuildingasahotel, wouldnothavebeenpossiblewithoutit.

78

Thedemonstration

1. Interior view ofadoublesuite

Useandfunction

2. The courtyard

Existing roomsconvertedintosuites

Vertical circulation

3. View of thenewlyaddedspiralstaircase (Right) terrace on first floor

DiningArea

Kitchen/Services

4 3 1 2

5

7 6

Court Semi open- Arcades

7. Interior view ofadoublesuite

6. View of bathroom in the suite

79

4. Interior views of the kitchen, washingandserviceareas

5. Viewofthearcadeusedasdiningspace

Thedemonstration

Useandfunction

In the frontside, one additional room has beenadded – which also completes the facade facing the street.

The front, moreover, hastobeseeninconnectionwith two adjacent buildings, which also belong to the French town.At bothlevel certainnonstructuralwalls havebeenremovedinorder tomaketheroomsmore spacious; most of the walls that were removed were notpart oftheoriginalconstruction,theyweremerein between additions which were insensitive. After removing insensitive additions done earlier, the damage caused by negligence for a long period of time was repaired, and as necessary, the structure wasstrengthened.

Every suite is provided with individual toilets. Kitchen andutilityisatthebackalongwiththeirowncourtyard.

No air conditioners are used, the rooms are provided with a simple old fan, which also adds to the ambience.

Since the original building already hadagrandscale, the room are alsoofluxuriousproportions.Bymaking a few interior changes each room is able to meet the demands of a resort.Theirregularityinthe size ofthe rooms provide interesting layouts for guest rooms.

The rooms don't followastandardsize,ororientation.

The residual spaces around the existing rooms have been converted into interesting terraces and semi coveredsitouts.Themiddleroomhasbeenconverted intoaloungethatservesasacomfortablelivingspace for the adjoining single room and as a connection in case of two rooms. Some rooms also open onto a terracewithasemi-opensitout.

No alterations have been made to the exterior of the building. Internally, although it proved necessary to strengthen the floors, structuralchanges were kept to a minimum. The grand frontal staircase has been restored to its formal splendor. Clearly a multitude of services had to be incorporated to fulfill the sophisticated requirements of a hotel nowadays.

Interiors are done in such a way that the services nowhere intrude or compromise the existing simple designandtheadaptation.

Staircases Vertical circulation had been inadequate, so a new staircase has been inserted. The new staircase is made out of concrete and the treads are made out of precastconcretetreads,arrangedontopofanotherto form thespiral.This spiral stairprovidedintheservice quadrant, making an acceptable addition of an unavoidablenecessity.

The other staircase is also made out of RCC and is attached to the existing structure only on the side by cantilevering the treads; itgivesanillusionofthenew stair beingalmost clear of theoldstructure inorder to respect its integrity. Though this method of constructioniscontrasting totheoriginalconstruction, it follows the same harmony and simplicity. It is contrasting as it is not solid like the old. It's cantilevered from the walls, and is visually light. The intention of the architect is to establish a relationship between the old and new in which each is clearly recognisable.

Fig24. (Topandbottom)Viewsofthenewlyaddedstaircase

80

Thedemonstration

Essence and Intangible aspects

Essence/intangible aspects Once the former Educational Directorate fell into disuse, all that was left of it were the over grown gardens and the shell of the once handsome French mansion. Its renovation now only exudes nostalgic th

attraction dating back to the 18 century French lifestyle. The present conversion is as much an example of strenuous conservation as it is an evocation of the past. The ambience transports a visitorbackintime, while providingcomfortsthatwere probablynotknowninthe18th century.

The hotel is furnished with a minimum of carefully selected furniture and art. The style of furniture presentintheroo ms immediately associates the user with the past. Even the use of old fans and cast iron outdoor furniture, adds to an experience that dates back to the 18th century. Each bedroom is elegantly furnished with antiques, four poster beds with coloured glass panels, wicker chairs, and massive chest drawers, and retains its individual character.

The little restaurant located in the internal shaded courtyard serves a good local and French cuisine in the arcade converted into the dining hall. Sometimes the courtyardisusedfordining,whichisa reminderof thequintessentialFrenchlifestyle.

Fig 25. The style of furniture present in the rooms immediately associatestheuserwiththepast.Eventheuseofoldfans,castiron outdoorfurniturealladdtoanexperiencethatdatesbacktothe18th century

The rooms are also provided with basic needs of a hotel, but the mere scaleandsizeofspacesprovides a unique experience for the user. The careful restoration and craftsmanship protects the heritage value of the property. Since the new addition is within the conservation norms, the heritage value is not disrupted. And the use of the building as a hotel only enhancestheimportanceofthebuilding.

81

Sterling Resorts, Swamimalai.

82

Sterling resorts, Swamimalai

Thedemonstration

Sterling resorts, Swamimalai The Sterling resorts in Swamimalai, issetinaunique village-like setting near Kumbakonam, Tamil Nadu. It isbasedonatraditional“Brahminhouse�theme. The resort asmanyroomsthathavebeennewlydesigned and built, but alsohasanoldvillabuiltin1886thathas been reused, which becomes the thematic focal point fortheproject.

The existing house has over a hundred years of heritagesignificance, and has had multiple uses over the growth of the resort, varying from suites, dining areas, and currently a museum displaying artefacts andservingasayogaandcongregationspace.

Fig 26. Theresort itself issetamidstgreenplantationsconsisting of coconuts,bananasandotherlocalvegetation.

The documentation of the original villa before adaptationisunavailable. The oldvillaatpresent has beendiscussedinordertounderstandthenewusage.

To learn about the traditional house form, similar Brahmin houses have been documented for comparison study. To understand the basic typology of the brahmin house, examples of such houses are taken from similar localities from Suchindram, Thiruvaiyaru andMylapore– all located inTamilnadu insimilarclimaticandsocio-economic scenarios.

Fig 28. View of the newly constructed blocks in the resort. Each block houses 5 to 7 suites with inner courtyards and attached bathrooms.

Fig 27. View oftheinsidecourtintheoriginallyretainedheritage house in theresort.

83

Thedemonstration

Location and setting

Locationandsetting Templetown Swamimalai is a sylvan village, situated about five kilometers west of Kumbakonam on the banks of a tributary of river Cauvery in Tamilnadu. It is surrounded by otherimportant places ofworships like Kumbakonam, Tiruvidaimarutur, Mayiladuthurai, Papanasam, Tanjavur, etc. Though popularly known as Swamimalai, it is also known as “Thiruveeragam”.

The resort situated here becomes ananchor point for visitors and provides them withanopportunityto visit alltheothershrines.

Fig 29. Arulmigu Swaminatha Swami Temple, Swamimalai, as it wasinthe19thcentury.

The temple itself has a strong mythological and historical importance.Itisfourthamongthe“sixpadai veedu”orsacredshrines dedicatedtoLordMuruga. It is believed that the presiding deity here expounded the meaning of the Pranava mantra OM to his own , , Father Lord Siva Himself. The temple is built on an artificial hill of about sixty feet height, with sixty beautifully laid stone steps representing the Hindu cycleofsixtyyears–leadingtotheLord.Intheground floortherearetemplesdedicatedtootherdeitiessuch as Lord Sundareswarer and Goddesss Meenakshi.

The temple has many “events”49 and is frequented by devoteesaswellastourists.

Fig 30. Sketch depicting the main shrine inthetemple.

It is believed that the temple situated in or near the centre ofthetownissaid to shed a haloofsanctityall around. Earlier, villages were specifically gifted by kings to brahmins. Some villages included other castes but had a large section occupied by Brahmins alone. In some villages there were streets where Brahmins alone resided, known as the Agraharam Street.

The original fabric of the temple town is primarily low rise traditional dwellings. Especially around the temple area, which is most frequented by the visitors comprises of Brahmin houses, local shops and crowded narrow streets. Unlike other larger towns, Swamimalai still posses the image of a traditional Tamiltown. Shortwalksaroundthetownwillleavethe tourist with images of a simple temple town with sacred gopurams of the temple and narrow streets around the temple. The region is also well known for itsbronzesculptures.

Fig 31. TheTemple at Swamimalaiinpresenttime.

49.Thetemplebecomesacongregation place for manydevotees, the list of Monthly Festivals are– Kirutikai festival, Temple Car festival inApril,Visakam festival in May, Navaratri festival in May, Skanda Shashti festival in October, Tiru Karthikai festival in Nov/December, Taippoosam festival in January And Pankuni UttiramfestivalinMarch.

84

Thedemonstration

Location and setting

The resort, though set in lush 5.5 acres of green plantations, tries to provide an ambience that is influenced by the temple town. The layout of the rooms are well spread, and few rooms are clubbed together to form a unit that resembles a cluster of traditionalhouses.

The entire region o f Tamil Nadulieswithinthetropical zone,andlocalenvironmenthasplayedamajorrolein the form and material of such settlements and Brahmin houses are generally found in the “marutham” region.50 The presence of greenery all around,providesasereneenvironment.Thereiseven a cattle shed and poultry farm to create a village like ambience. the cultivation of vegetables makes the resort alsoselfsustaining.

Fig 32. View of the ceremonial street near the temple at Swamimalai,depictingthetypicalcharacteroftheplace.

Streetscape The existing traditional layout is usually row houses, along with narrow streets. The resort tends to differ in terms of the formal layout; it is set amongst green trees and plantations and avoids the existing busy setting. In a traditional village, the streets can vary depending on their importance. The ones around the temple are usually wider and used as processional route.Thereweretheroyalortheking'sstreet,thecar (processional) street, the bazaar street, the Brahmin street, etc. The dwelling places of people in villages too came to be located on the basis of caste and occupation. Even today the streets in the traditional parts of Tamil cities reflect their earlier occupational structure.

Fig 33. View ofstreet consistingbrahminhousesinSuchindram

Brahmin houses were mainly row houses sharing parallel walls, and the dwellingunit hadaninneropen court for light and ventilation. As the name suggests rowhouses occur as one in a seriesofparallelhouses along a street. The standard row house typology is lookedat indetail,later.

Fig 34. (above) View of the new constructed block in the resort whichresemblesabrahminstreet.

Though the new units in the resort don't follow the system of row houses, the image of the street has been brought in. The rooms are made to look as houses, closetoeachother,thusforminganillusionof a village street. The traditional streets are mainly

50.RaoShankaranarayana.A.V., “Temples of Tamil Nadu”/ Vasan BookDepot,2001.

85

Thedemonstration

Sterling resorts, Swamimalai

Section AA

Elevation 1

Elevation 2

1

A

A

2 Plan Courtyard

Plate

Drawing: Plan, Section and Elevations of New-Block C

6

5

0

10

20feet

Sterling resorts, Swamimalai 86

Location and setting

Thedemonstration

characterized by the thalvaram (street verandah with platform and lean to rover wooden posts) and thinnai (semi-public verandah space with masonry benches for visitors) – both of them actastheextensionofthe house to the street.Theintimatescaleandinteractive natures of such street are typical of the vernacular Tamil architecture (also found in other regions like Tanjore, Chidambaram, Srirangam, Mylapore, and Tamil quarters in Pondicherry). The entire street stretch is homogenous because of the use of connectingelements.Thesameelementsareusedin the newblocksoftheresortalso.Althoughthelifestyle of people in the resort doesn't really bring to life the density of a traditional Tamil street, yet an image is created, whichdepictsavernacularTamilstreet.

Fig 35. View oftheroomsintheoldhouseoftheresort–though the thalvarams are present,thewindowshavebeenfittedwith Air-conditioners to provide added comfort.

88 Climaticaspects The climate is hot and humid throughout the year.

Hence to minimize the discomfort of the tropical climate, direct openings and large volumes are usually avoided in a traditional Brahmin house. It is interestingtonotethatthisisnotpreferredgenerallyin a luxury hotel. Towards the street side, where the walls are exposed to direct sun or rain, the use of thalvarams and thinnais provide shade and protection. The usually present courtyard in such traditional houses induces ventilation due to updraft.

The house form also used two kinds of tiles. The country tiles, also knownashalf-roundtiles,andmore recent houses have Mangalore tiles on the roof. The successive layers of tiling in country tiles traps the heat and provides effective insulation. This composition of open, covered and semi covered spaces offers the user a choice according to the climaticcondition.

Fig36. Schematicsketchoftraditionalrowhouselayoutplan.Each individual dwelling were usually belonged to the row house typology. The standard row house typology usually has the followingtraits.

Thesidewallsareshared Plotsarenarrowandlong Synchronizedorientationwithinarow Presenceofoneormorecourtyards

Since the newly added rooms in the resort also follow similar elements, the use of thinnais and thalvarams are as efficient as traditional house types. But for the comfort of the user, most of the spaces are airconditioned. Although the use of air-conditioners questions the efficiency of the old system, it is consideredanecessitybytheusers.

87

Thedemonstration

Typicalbrahminhouse

Usually the kitchen opens onto a rear courtyard. Thisopenspaceattheendofthe house is provided with a well and used for domestic utilities and accommodating livestock which were part of the traditional household. In the case of wealthy houses multiple courtyards are common. These continuous back to back row housesshare walls, and the eastern wall of a house is usuallytakenasitsmotherwall.

Beyondmutramarethemoreprivatespaces like the pooja room, kitchen, and store room/bedroom. The koodam is the private family space is where the women of the house sleep at night. It may be divided to several rooms depending on the number of marriedcouples.

The main central living space consists of mutram and thalvaram. The mutram is an old age concept, and according to the Vaastu shastra,eachhousewastopossess an open courtyard. This open space is mainly to facilitate a direct link with the five elements. The country tiled roofs of the surrounding thalvaram funnel air into this mutram, whichactsasthemajorsourceof lightandventilation.Thisspaceisusedfor bothdiningandalsoforsleepingatnight.In longer plots there might be two or more courtyards (mutrams). Mutrams are very usefulduringfunctionsorfamilymeetings.

Vasal or Vasal padi, along with a finely carved woodendoor leads to the vestibule.

Which is immediately leads to front room.

This room acts as a buffer between the outsideandthemainlivingspace.

At the threshold space, Thinnai marks the transitionspacefromthestreettothehouse.

It is used by both the residents and the outsiders.

Traditional Tamil houses are strictly functional,andaseriesofopen,semicovered and covered spaces with subtle levels and a throughaxischaracterizetheplan.

Plate

10

Drawing: Typical brahmin house

7

Tanjore, Tamil Nadu 88

Thedemonstration

Form and design

Backyard

Parapet

Thalvaram (inner verandah with country tiles over wooden columns)

Mutram (central courtyard) Vestibule Entrance door Thinnai (raisedplatformwithwoodencolumns) Square wooden posts Thalvaram (street verandah with mangalore tiles over wooden posts) Fig 37.Typicalfeatures of a Tamil house

Form anddesign The basic houseform can be simplified as a rectangular unit withapitchedroof.Thisexpands into a larger rectangular dwelling of several units with an inner courtyard and outer verandah. The old houseform, belonging to the traditional brahmin house, shared walls, while courtyards and street forms served as the main source of lighting and ventilation.Thisserved tominimizewastageofspace.

The open spaces were also well integrated within the houseandbecamepart of thelivingarea.Atthe scale of the dwelling unit, there exists a basic prototype whichisseenalloverTamilNadu. Theplanningofthe houses is always basedoncertainfundamental rules handed down by custom and tradition. The Brahmin requiredanaccommodation wherehecouldchantthe Vedas, perform his daily religious rites and teach his disciples. Calves were found tied to posts in front of the houses. At the entrance of the house there was a thatched canopy of palm leaves or country tiles. The flooring of the house was cleaned with water mixed with cowdung.

Mangalore/country tile roof

Ornamental plaster with capital Wooden postssometimes with decorativecapitals Carved front entrance windows/ door Thalvaram area Thinnai

Fig38. PictureofatraditionalTamilhouseshowingtypicalfeatures ofafacade

89

Thedemonstration

Architecturalfeatures

Architectural features Thalvaramandthinnai Thalvaram has been the most essential mandatory feature of any Tamil house. Thalvarams act as benevolent social extensions of the house and have manyfunctions. They: Provideshadeandprotectionforthepassers-by Protectthebuildingwallfromsunandrain Serveastransitionspacebetweenthestreetand thehouse

Fig39. (Top) View o f thalvaram andthinnai inthebrahminhouses inSuchindram.They actathresholdspacebetweenthestreetand thehouseandprovideshadefromrainandsun.

Rendercontinuitytothestreetscape.

The typical thalvaram features country tiles (recently Mangalore tiles) over wooden posts. In many cases there is a continuous elaborately carved eaves board toprotecttheendoftherafters.

The semi-open space around the inner courtyard is also called a thalvaram. In this case it becomes a passage with a lean-to roof, supported on wooden posts and is provided around the courtyard.

Sometimesthepassageisprovidedonallfoursidesof the courtyard. Apart from the thalvaram, the main faรงade of the Tamil house constitutes of the thinnai.

The open thinnai is a raised platform with wooden pillars supporting the roof above. There may be two, four,orsixpillars according to the widthofthe thinnai.

Larger thinnais indicateaffluence,thesmallerhouses havesmall thinnais,theroofofthe thinnais maybeflat using Madras terrace or sloped with Mangalore tiles supportedontimberrafterswithdecorativeends.

Fig40.(Above)Partplanandsectionofthesame,fromtheresort.

Fig42. Viewofthe thalvaramandthinnai areathathasbeenmade new in the recent blocks in the resort. Though the scale varies according to room sizes, the threshold space acts as a relaxing areasfortheguests.

Fig41.Viewofthe thalvaramandthinnai areaintheexistinghouse intheresort.

90

Thedemonstration

Architecturalfeatures

Entrance doors/windows The entrance door into the dwelling is never placed centrally onthefaรงadebuttooneside.Thefront door and the subsequent openings upto the back door of the dwelling are in the same axes. The timber frame and lintel of the doors are finely carved and the elaborate frames are usually made of many layers of wood. The shutters are thick having an elaborately carved front piece and a plain rear piece. Generally thedoorways along theentranceexit axis have single shutters, while the dooropenings into the rooms have doubleshutters.

Fig 43, 44. An example of the Entrance door, from Suchindram, (right)drawingoftheexistingdoorfromtheoldhouse.

Windows are mostly flat with elaborate wooden frames set into the walls. Sunshades are of limited types- the common one being that of a light weight material, or country tiled roof over sloping wooden brackets.

Fig45. Thenew buildingdoesnothaveintricately carved doorlike the original house, though the doors of the old house have been restored,theadditionalblocksrequirednewdoorstobemade.The newdoorsareproportionately insize.

Fig 46. The windows follow similar proportions, some of the windows have been fitted withairconditioner, whichpartlyhidden byareedmat.

(Right) part section of the additional sunshade provided for the windowsinthenewblock

91

Thedemonstration

Typicalbrahminhouses

Plan of Mr. Rengarajan’s House

Plan of Mr. Parthasarathy’s House

Plan of Mr. Nagaraj’s House

Plans and longitudinal sections of various brahmins houses, depicting the articulation of the courtyardandthebackyard.The third example has twocourtyards, probablyalargerbackyardlater extendedto increasetherooms.

Plate

Plan of House near Tank

0

Drawing: Typical brahmin houses

8

1

2

4m

Mylapore, Chennai, Tamil Nadu 92

Thedemonstration

Architecturalfeatures

Courtyard/ backyard Since the dwelling units share walls in row housing, the courtyard becomes a very important aspect for light and ventilation. The courtyards in the middle of thehousearenormallysemi covered withametalgrill (for security) and the floor level is lowered in order to drainoffthewater.Itcouldbeeitheronthesideofthe house,orinlargerunitsinthemiddleofthehouse.

Fig47. Viewofcourtyardintheexistinghouse,thecurrentuseisnot verydifferentfromtheoriginalnatureofthecourtyard.Itprovidesa transitionalandaplacetorelaxforthetourists.

The houses can have one or more courtyards depending on their size. Usually there is a backyard which separates the dwelling unit from the cowshed and the toilets.Thewellislocated here andastoneto wash clothes is placed nearby. Some times even the grindingstone is placedatthebackyard.Theexisting house in the resort has two large courtyards and a backyard.

In the newly built blocks, the courtyards are manipulated in terms of their orientation to provide light and ventilation, and to act as a common space between the rooms for gathering. The new blocks don't have back yards, the open spaces between the rooms can represent both the back yard and the courtyard dependingontheuserinterpretation. Inthe old building the courtyard is used for various other activities and the backyards are used as courts attached to the bathwithajacuzzi.Thislinks the user to the service nature of the backyard in the original house form. Wells andgrinding stones havebeenleft toaddtothenostalgiaoftheplaceanditsfunction.

Fig 48. In the new blocks, the open spaces between rooms are manipulated to form larger courtyards, they provide scale, characterandactabufferspacebetweenthedwellings.

Fig 49. View of the backyard in the existing house. The well and grinding stones are left to add to the theme, a terracotta bath is providedforaddedcomfortalongwiththethematicexperience.

93

Thedemonstration

Sterling, Swamimalai

Section AA

Section BB

Section CC

Elevation 1

Plate

A

A

B

B

C

C

Plan

Elevation 2

Drawing: Plan, Section and Elevations of New-Block A

9

5

0

10

20feet

Sterling resorts, Swamimalai 94

Thedemonstration

Tradition and techniques

Tradition and techniques Country tiled roof (supported by wooden rafters)

MaterialsandConstructiontechniques The building materials used for the construction of dwellingsarelocallyavailableandalsoproductsofthe natural environment. Thematerials used are the basic determinantoftheconstruction techniqueadopted.

Brick wall, plastered with lime/ mortar.

Themainmaterialsusedintraditionalconstructionare brickandmortar.Woodisnotusedinplentyunlessit's an affluent house. Bamboo and palmyra trees are abundant in parts and have been a staple of house buildings. They are used for rafters and the roof is covered with country tiles or thatched roof. A combinationoftimberandbambooisuseddepending on their availability. Mud and red earth are also plentiful in that region. Mud walls or sun baked and fired country bricks have been used in abundance.

Granite has been used primarily in temples, but was also used in foundations of wealthy house and for foundationpillars;lateritewasusedforfoundationsin someareaswhereitexisted.

Fig 50. Wall in dilapidated condition, exposing the construction materials.

Fig51. Viewoftheentranceblockintheresort.Thoughitismade out of bricks, it is plastered using mud finish, and covered with thatchroof,displayingthelocalcraftsmanship.

Structuralsystem The original building features simple load bearing walls. In this type of construction, the foundation is usually of rubble with one or two stepping. The walls are made out of flat bricks- 45 to 55 cm thick and packed with infill of mud. Thinnais, thalvarams, and sun shades feature wooden structures for roof.

Although the roof of a typical Brahmin house may be sloped, flatorvaulted, in this casesloped roofismost prominent.

Brick corbelling is used for cornices, copings, and decorative bands. They also constitute the main composition of the faรงade, providing a frame for features like openings and parapets. The flooring is finished with plain cement or red-oxide generally.

Sometimesclaytilesmaybeused.

Fig52. Viewofawoodencolumnandcapitalinatraditionalbrahmin house.(Right)viewofthedecorativecapitalintheoldhouseofthe resort

95

Thedemonstration

Tradition and techniques

A

Section AA

Plate

A

Drawing: Plan and section of Existing house

10

Plan 5

0

10

20feet

Sterling resorts, Swamimalai 96

Thedemonstration

Tradition and techniques

Fig 53. Part section of the roof and the supporting wall, from the existing house in the resort. The roof for its large span has been supportedusingawoodentruss.

Fig53-A. Partsectionoftheroofandsupportingcolumnfromthe newblockintheresort.

Roof Although Madras-terrace method of construction is used in the general roofingsystem, only sloped roof isusedinthiscase.Thesimplestformofslopedroofis the lean-to roof where the topendrestsonawalland the lower end is supported on pillars. Timber rafters are placed at short intervals of equal distances.

Timber battens are nailed onto these rafters and this framework supports the Mangalore tiled roof.

Sometimes the timber framework is concealed using wooden planks which are nailed on to it for a neat finish.

Fig 54. View of the roof in a traditional house from Suchindram, showingtherafters,theridgebeamandthetilingmaterials.

When spans are large,timber trusses are used which form rigid structural units. Rafters are laid from the central ridgepiecetothebearingplatesrestingonthe walls on either side. Even today, this roof form is adopted in theseareas. Hence the new additionalso followsimilarloadbearingstructures,butthewallsare thinner,astheyusecementandbrick.Mangaloretiles resting on timber or bamboo battens/rafters areused fortheroof.Insomeplacesoverthetoilets,RCCslabs areused.

Fig55. Viewofthe thalvaram intheexistinghouse,depictingthe structural systemoftheroof.Apartfrom wood used for raftersand deorativecapitals,bamboosarealsousedforthesupport.

97

Thedemonstration

Useandfunction

UseandFunction The basic elements of the traditional unit can be divided into covered private spaces, semi-open spaces, and open court and backyard. These elements also modulate the usage of the space according to privacy and climatic conditions.Atypical dwellingunitwouldhavethefollowingelements.

The basic configuration of the narrow and deep plots necessitates the provision of a circulation passage to connect the variousspacesoftheunit.Thespacesin traditional dwelling incorporate a certain level of flexibility. They have evolved to include varied activities andvariednotionsofprivacy.Though rooms may be formed as compartments, they need not be necessarilyusedforaparticularfunction.

1.Viewofthe thinnai attheentranceofevery 2.Viewofthenewblockfromthestreetside room.

3.Viewoftherooms,decoratedwithantique furniture,andbuiltwithoriginalscale

2

1 3 5

4. View of the inner courtyard, that also acts as the backyard like the original dwellingmodel

5. View of the rooms, decorated with antiquefurniture.

98

Thedemonstration

Useandfunction

Spacetoplace One of the existing houses has now been converted into a museum andspa.The front part of the houseis still used as guest rooms; the elaborately carved entrance door which is typical of such house, leads into the large thalvaram inside the house, which has been converted into a museum. The galleries display various artifacts, furniture, and detailed descriptions of the history and tradition of the locale, relating the viewer to the lifestyle led by people in the past. The courtyard that is surrounded by the museum is also used for various activities such as meetings, prayers and yoga. The next set of rooms (koodam) are used as administrative offices, the back yard is converted into a spa providing ayurvedic treatment and massages.

Fig56. View ofthecourtyardintheoldhouse.Itisusedforvarious purposeslike yoga,prayers,andgeneralgatherings.

The new additions, whicharetheroomsoftheresort, havebasic important aspects ofthistraditionalhouse.

The features like thalvarams, thinnais, wooden columns, pilasters, cornices, and openings of standards proportions have been used in the new as well. Even thescale and proportion of thenewrooms adds to thecontinuity of the traditional house. Butthe major change that can be noticed is the change in layout. The existing building has a linear movement along the inner courtyard, but in the new the basic elements have been interlocked creating spatial compositions. The rooms do not follow similar orientation, but each room is provided with a semi open space and a courtyard, and in some cases a back yard. The original floor plan is completely modified to fit thenewrooms,whichinturnprovidesa differentform.

Since the proportions are not modified, the spaces haveanintimatescale which isacharacteristicofthe old house. The existing court in the house has developed into a centre for various activities and a meeting place for various guests. The square between the different blocks is also used for various performances, which provide a cultural experience to the visitors. Air-conditioners become an unavoidable necessity, so new electrical and air-conditioning services havebeenintroducedtomeettheneedsofa resort but the units are concealed behind a bamboo mat.

Fig 57. New electrical and air-conditioning services have been introducedtomeettheneedsofaresortbuttheunitsareconcealed behindabamboomat.

99

UseandFunction

Thedemonstration

2. View ofthethalvaramthatconnects the existinghouses.

1. Viewoftheoldhousefromthefront

3. View of the courtyard, now used for gatherings and as the museum in the old house.

4

6 1

2

Semi-open Administration entrance

3

5

Museumandyoga

4. Viewofthe thalvaram usedasamuseum anddisplayofartefacts.

Administration andstaff

5. View of the second courtyard, forming a gatheringspaceforatreatmentroomsalong withtheexistingwell.

100

Courtyard

SpaandAyurveda

6. View of the service are and the toilets at theback.

Thedemonstration

Essence

Essence/intangible aspects

Fig 58. The theme has been followed ineverydetail, one can see the presence of theoldtelephone, and a slate with chalk instead ofanotepad.

Fig 59. View oftheswimmingpoolintheresort.Itresemblesthe temple tank in a traditional Brahmin dwelling.

SimilartoHoteldel’Orienttheoriginalroomdivisions of the existing house are respected and the new functions fitted into existing spaces – now used as a museum, spa, and administrative office. The house has been restored to its original shape and only the function of spaces has been modified. The central thalvaram is usedasadisplayareaexhibitingobjects belongingto the Brahmin household.Theback yardis used as the spa, which is an important feature of the resort, and the presence of well in the middle of backyard adds to the experience. As discussed earlier, the new rooms have been modeled on a traditional Brahmin house; the rooms comprise of the essential elements such as pitched roof, verandah blocks (thalvarams) and courtyard. On the exterior of the house the red and white stripes painted on the plinth are characteristic of a typical Brahmin house in anyTamiltown.

Although there is a separate dining room designed with similar traditional architectural features, the old cow shed has been converted into an outdoor dining area. The new blocks are spaced to resemble a traditional street,andtheyevenhavealargerareafor performances, whichaddstotheculturalexperience.

The temple tank plays an important in any temple town. Traditionally the Brahmin houses were also located near the temple and row houses surrounded the tank. In the resort, the swimming pool is made to look like a temple tank.Itismuchsmallerinscaleand proportion and only the colours provide a nostalgic image of a temple tank, though functionally, it is merelyaswimmingpool.

Fig 60. View oftheoldcowshed,nowconvertedinto an outdoor diningarea,thetouristsarealsowelcometodineatthelargerdining halldesignedwithsimilartheme.

Localcraftsarepromotedintheresortitself;thereisa separate workshop for the craftsmen, so the tourists can get to buy the artefacts, and also see it getting made.Theresortitselfattractsmanytourists, and this raises thelevel ofeconomic activity and increasesjob opportunitiesinselectedpartsofthelocality.

101

Thedemonstration

Essence

The performances and the displays provide a window into life in rural India – its diverse cuisines, festivals, ceremonies and fairs, folk dances, and music. The stillness of life and its simplicity in terms of construction and organization provides quite a contrast tothe stressofurbanlife.

Within the resort grounds, there are delightful lush plantations and farmlands of different kinds connectedbymud(likeinavillage)pathways,making it a serene place to just wander around or explore.

Efforts have been made to make the environment natural and wholesome.All the vegetables,fruits,and flowers are grown in-house. And hence much of the foodisorganicallygrownonthefarmitself;aminimum issourcedfromthenearbyvillage.Asmallopenspace is createdamongsttheroom blocks with pavedstone and the statue of Lord Shiva, a reminiscent of the village square, where the villagers would congregate todotheirchoresandexchangegossip.

Fig61. Viewofthemuseum area in the existing house, displaying various artefacts, thatrepresent the historyandthelifestyleofthe localpeople,andthehouse.

Fig 62. View of the in-houses craftsmen shed. Tourists can watch the craftsman at work, and also buy the products. It saves the traditionalartfromdyingandprovidesrevenueforlocalartists.

Fig 63. The resort promotes various cultural performances, and once witness many events in the evening accordingto theseason during their stay. Above are few of the many artefacts from traditionalSouthIndiandances..

102

Thedemonstration

Chapter summary

Chapter Summary Visual importance in the urban or rural context

Fig 64. Panoramic view oftheHotel Orient fromthestreet side

The Hotel de l’ Orient plays animportant role interms of the image of the urban historic precinct in the French part of Pondicherry. The reuse has not disrupted the already existing strong urban setting.

Theextraflooraddedfollowssimilarfloorheight,andit doesn'tstandoutincomparisontotheotherbuildings.

Ontheotherhand,inSterlingSwamimalaitheexisting house has not been modified, henceforth its relation with the surrounding context is unharmed. The new blocks are arranged in away to create a traditional village street,similartoSwamimalaitown.

Fig65. ViewoftheoldexistinghousesinSterling,Swamimalai

Designqualityoftheconversion Buildings are the volumetric combination of many numbers of elements. They are joined together in larger units which, in turn, modulate the relationships between parts and the whole. Since buildings are of composite structure, the manner in which elements come together (maybe highlighted or played down) gives rise t o strongly differing aesthetic characteristics. In general we can distinguish two methods of compositionoftheobject–continuityand articulation.

Fig66. ViewoftheOrientbeforeconversion.Onecanseethebasic formofthebuilding.

Fig67. View oftheOrientafterconversion.Thenewlyaddedrooms followthesameform,andmakesthebuildingcomplete.

In the Hotel de l’Orient, the addition follows the same principlesastheoldintermsofproportion,articulation of openings, and structural system. The change causedbythenewlookslikeanextendedcompletion of the original building. Hence the newly added elements are continued from the old. Continuity or fusionbetweenelementsreducestheautonomyofthe parts. It reflects the largest element hence the final product projects the building as a whole. Continuity replaces the relative autonomy of the elements by a progressivetransformationofform.Theresultingform is perceived as one object and not as individual alterations. The object then appears to have been formedfromasinglemould.

103

Thedemonstration

Chapter summary

Before

Achievement of this continuity is something of a technicalfeat. Mostofthework undertaken in Hotelde l’ Orient has been in the nature of a slow and painstaking restoration, with pleasing but unremarkable results. The structure of the load bearingwalls in a linear organization is perpendicular to theextension.Thisinturninfluencesthepositionof the divisions, in the same floor and the floor above. It also influences the nature of the openings and the possibilities for alteration. The existing walls correspond to the separations between rooms, which impose a disciplined regularity of spaces. The use of continuity certainly has the advantage of reinforcing thecoherenceoftheobject.

Though the original building has a rigid structure, the converted spaces have produced interesting options for the user. Some rooms are converted into lounge spaces, and others into suites. In the upper floor terraces have been added, thus giving interesting combination of spaces and eventually all the spaces openoutintothelargercourtyard.

courtyard

Room

Lounge

Room

Lounge

Room

Terrace

Room

Terrace

Room

Room

Fig68. Mostofthework undertakeninOrient hasbeeninthenature of a slow and painstaking restoration, with pleasing but unremarkableresults.

104

After

Thedemonstration

The thalvaram thatconnects the house to the street with the built in platform, sometimes smaller than the usual size providingonlyanotion.

Chapter summary

The i n n e r c o u r t , w h i c h a l s o surroundedbyasemi-open thalvaram.

This varies in size, and provides an interestingloungeforthevisitors

Thebackyardispresentinsomeoftheluxury rooms adding to the open space. Sometimes the Jacuzzi is present in these backyards.

Thismaynotnecessarilybeatthebackofthe building, couldbeinthemiddlealso,andstill servethesamepurpose.

Fig69.Partsectionsofthedifferentelementsoftheoldusedinnew modules.

Existing house(old)

Block A(new)

Block B (new)

Block C (new) Fig70. Comparitivediagramsoftheoldandnewblocks-depicting therelationsbetweeenopen,semiopenandclosedspaces.

Incontrast, inSterling Swamimalai, thearticulation of spaces can be observed. Articulation between elements accentuates the autonomy of parts and it strengthens the particular role of the different constituent building elements. It requires recognition ofthelimitsandthemeetingsofthetwoelements.The means by which we can create an articulation are variousandcancomeintoplaysimultaneouslybyuse of material, of architectural element, of function or of meaning. The new blocks are designed by taking a few important elements from the original building.

Apartfromthegeneral scale of thenew,thatissimilar to the old, features like the thalvaram, courtyard, and back yard have been isolated and used in the new building plan.Theoldbuilding hadalinearmovement along with the above mentioned features, as the house was occupied onesinglefamily, but in a resort, thiswouldn'tbefeasible,hencethenewdoesn'tfollow the same movement and orientation. The meeting point between two of several elements is underlined by a void or by another element specially designed to this effect, in this case the voidismadetolooklikethe courtyard/backyard that is present in the old house.

Articulation makes it possible to express the new construction, function, and relationship to the site. In this way the building becomes more explicit, it expressesitsownnature.

105

106