Architecture logical foundation with abstract description by Chandru S

ARCHITECTURE: LOGICAL FOUNDATION WITH ABSTRACT DESCRIPTION CASE STUDY ON TRADITIONAL INDIAN ART, ARCHITECTURE AND CULTURE

A DISSERTATION Submitted by Chandrasekaran S 2011701007 In partial fulfilment of the requirements for the award of the degree of

BACHELOR OF ARCHITECTURE under FACULTY OF ARCHITECTURE AND PALNNING in

DEPARTMENT OF ARCHITECTURE SCHOOL OF ARCHITECTURE AND PLANNING

ANNA UNIVERSITY CHENNAI 600 025 NOVEMBER 2015

*Butter Sheet*

ARCHITECTURE: LOGICAL FOUNDATION WITH ABSTRACT DESCRIPTION CASE STUDY ON TRADITIONAL INDIAN ART, ARCHITECTURE AND CULTURE

A DISSERTATION Submitted by Chandrasekaran S 2011701007 In partial fulfilment of the requirements for the award of the degree of

BACHELOR OF ARCHITECTURE under FACULTY OF ARCHITECTURE AND PALNNING in

DEPARTMENT OF ARCHITECTURE SCHOOL OF ARCHITECTURE AND PLANNING

ANNA UNIVERSITY CHENNAI 600 025 NOVEMBER 2015

DECLARATION

I declare that this Dissertation titled “ARCHITECTURE: LOGICAL FOUNDATION WITH ABSTRACT DESCRIPTION CASE STUDY ON TRADITIONAL INDIAN ART, ARCHITECTURE AND CULTURE”

is the result of my work and prepared by me under the guidance of .Ar. Ceejo Cyriac and that work reported herein does not form part of any other dissertation of this or any other University. Due acknowledgement have been made wherever anything has been borrowed from other sources.

Date: 6th April 2015

Signature of the Candidate Name: Chandrasekaran S Roll Number: 2011701007

*Butter Sheet*

BONAFIDE CERTIFICATE Certified that this Dissertation forming part of Course work AD 9452, Dissertation, VIII semester, B.Arch, entitled

“ARCHITECTURE: LOGICAL FOUNDATION WITH ABSTRACT DESCRIPTION CASE STUDY ON TRADITIONAL INDIAN ART, ARCHITECTURE AND CULTURE”

Submitted by Mr Chandraskaran S Roll No 2011701007 to the Department of architecture, School of Architecture and Planning , Anna University, Chennai, 600 025 in partial fulfilment of the requirements for the award of Bachelor Degree in Architecture is a bonafide record of work carried by him under my supervision. Certified further that to the best of my knowledge the work reported herein does not form part of any other dissertation.

Date: 6th April 2015

Signature of the Supervisor Name: Ar. Ceejo Cyriac Designation: Principal Architect

External Examiner 1 Date :

External Examiner 2 Date :

Professor and Head Department of Architecture Date :

Dean SAP Date:

ACKNOWLEDGEMENT

I would like to thank Ar. Ceejo Cyriac, for constantly persuading me to work towards completion of my dissertation, for the effort and time spent on my guidance and allowing me to work flexibly. I would like to convey my sincere respect to the School of Architecture and Planning, Anna University for providing me with the opportunity. I would also like to thank my family, friends who have been supporting me with all their might.

ABSTRACT What makes historic architecture awe â&#x20AC;&#x201C; inspiring? Despite functional obsolescence, why is it that these architectural masterpieces have retained their vitality even after centuries and millennia? What are the spatial qualities and principles that have influenced the perceiver and have rendered them timeless? Can or do these qualities and definition of space employ with contemporary architecture as well? How do these qualities have an effect on the perceiver as one progress through these structures? In India, the deep rooted traditions of the past combine with aspirations of the future that influences the realities of the present. This alchemy of time is what characterizes the culture and lifestyle of the people of India over the millennia. Here, in India, the past continues as living tradition, both relevant and valid for the present and thereby shapes the future. This influence of time over space renders it dynamic and seeks to establish an interactive communication with the perceiver. The spatial qualities that determine this communication have been derived from understanding the concept of time and space and the relationship between them. The theories, ethics, principles of design along with the elements of space - making determine the spatial narration that the observer perceives and interprets in his own way. The theories and philosophies associated with the understanding of special perception include , -

the concept of dual nature of life and existence, where it is believed that every entity belongs to a part of a larger system and exhibits its own characteristics while respecting the general argument of the larger system.

Existence of opposites in nature that reinforce one another thereby creating a mutually co - existing system.

Then dynamics of spatial narration that is created by the juxtaposition of time over space, that renders it vital, ever changing and timeless.

These theories are regulated by principles that govern the visual and mental perception of the space. -

Kinesthetics of space, the visual perception experienced by the observer in relation to dictated movement and circulation.

Organization principles of movement and circulation where the observer is offered various choices and paths of movement with clues and visual stimuli that induce spatial perception and experience.

Layering and the concept of centres and sub centres that create various visual focus points within the system.

Semiotics; symbolism and abstract metaphors that provide visual clues and assists in establishing an interactive communication between the observer and the space.

The aim of this research is to understand the spatial qualities and reasoning of spaces by studying notions of time, space and existence. Deciphering their implications on the physically manifest, the study unravels the inherent values of traditional Indian architecture. These values and fundamentals are then analysed in reference with contemporary architecture, comparing the ethics, philosophies and principles of the creator, the space and the observer.

CONTENTS

i. List of figures 1. Introduction: Tradition and its influence and on life and architecture…………… 1 2. Theories pertaining to life and perception of space…………………………….... 4 2.1. Dual nature of life and existence…………………………………………..... 4 2.1.1. World within a world………………………………………………….. 4 2.1.2. Part as whole and the whole as a part…………………………………. 7 2.2. Balance through opposites as counterpoints………………………………… 9 2.3. The science of time over space………………………………………………12 3. Spatial Narratives…………………………………………………………………15 3.1. Perceived reality and physical reality………………………………………. 18 3.2. Organizational principles for spatial narratives…………………………….. 19 3.2.1. Disparate visual and physical axis……………………………………. 21 3.2.2. Layering for the sequential unfolding of space………………………. 21 3.2.3. Movement as a tool to condition the mind…………………………… 21 3.2.4. Choice of movement path for personal and intuitive experience……...22 3.2.5. Kinestheics as the organizational and proportioning tool……………. 22 3.3. Concept of centres and sub centres………………………………………… 23 3.4. Semiotics…………………………………………………………………... 24 4. Case study……………………………………………………………………….. 26

4.1. Meenakshi Sundareshwara temple, Madurai………………........................ 26 4.2. Sarkhej Roza, Ahemdabad……………………………………………........ 30 4.3. Huthessing Jain temple, Ahmedabad……………………………………… 35 5. Inference………………………………………………………………………… 37 6. Conclusion………………………………………………………………………. 45 7. Bibliography…………………………………………………………………….. 47

LIST OF FIGURES

Fig. 2.1. Sriranagam temple complex……………………………………………………………… 6 Fig. 2.2. Pols of Ahmedabad with deep balconies…………………………………………………. 8 Fig. 2.3. Pols with Jharokhas or extended balconies………………………………………………..8 Fig. 2.4. Jaipur city plan and organization………………………………………………………….9 Fig. 2.5. Bronze statue of Ardhanreeshwara………………………………………………………10 Fig. 2.6. Shiv linga: Metaphoric depiction of Lord Shiva………………………………………...10 Fig. 2.7. Ellora cave temple: Emphasis of light by darkness and vice versa………………………12 Fig. 2.8. Ellora cave temple: Rugged and sculpted surfaces……………………………………….12 Fig. 2.9. Spatial transformation at Manek Chowk……………………………………………….....14 Fig. 3.1. Lakshmana temple plan, Khajuraho……………………………………………………....20 Fig. 3.2. Kailasanathar temple plan, Kanchipuram………………………………………………...20 Fig. 3.3. Taj Mahal, organizational principles……………………………………………………...23 Fig. 3.4. Perforated jali screen, Fatehpur Sikhri……………………………………………………23 Fig. 3.5. Symbolism in Hinndu shrine……………………………………………………………...24 Fig. 4.1. Aerial view of Meenakshi Sundareshawara temple, Madurai…………………………….26 Fig. 4.2. Plan of Madurai temple complex…………………………………………………………27 Fig. 4.3. Towering gopurams of Meenakshi Sundareshwara temple………………………………27 Fig. 4.4. Plan of Sarkhej Roza, Ahmedabad………………………………………………………..30 Fig. 4.5. Free standing colonnaded pavilion………………………………………………………..33 Fig. 4.6. jali screens at Sarkhej Roza complex……………………………………………………..33 Fig. 4.7. Ghat like steps surrounding the water temple…………………………………………….33 Fig. 4.8. Colonnade at Sarkhej Roza provides transition between the three realms……………….34

Fig. 4.9. Aerial view of Hutheesing jain temple……………………………………………………35 Fig. 4.10. Victory tower within the complex……………………………………………………….36 Fig. 4.11. Circumambulatory at Hutheesing jain temple…………………………………………..36 Fig. 4.12. Intricately carved portico………………………………………………………………..37 Fig. 5.1. Miniature painting by Abdul Fasal called Akbarnama…………………………………...39 Fig. 5.2. Installations by Krijn De Koning from Netherlands……………………………………...40 Fig. 5.3. Inclined plane leading into Mill Owner’s Association building, Ahemdabad…………..42 Fig. 5.4. Vertical fins connecting the horizontal planes, Mill Owner’s building…………………..44 Fig. 5.5. Curved wall planes, Mill Owner’s association building……………………………….....44 Fig. 5.6. External staircase, Mill Owner’s association building……………………………………44 Fig. 5.7. View from upper floor, Mill Owner’s association building………………………………44

1. INTRODUCTION Tradition and its influence on life and architecture. What makes historic architecture awe â&#x20AC;&#x201C; inspiring? Despite functional obsolescence, why is it that these architectural masterpieces have retained their vitality even after centuries and millennia? What are the spatial qualities and principles that have influenced the perceiver and have rendered them timeless? Can or do these qualities and definition of space employ with contemporary architecture as well? How do these qualities have an effect on the perceiver as one progress through these structures? These questions are relevant not only to the architecture of India but to the culture, heritage and lifestyle of traditional Indian folk as well. In India, we live in three time zones simultaneously. The deep rooted traditions of the past combine with aspirations of the future that influences the realities of the present. This alchemy of time is what characterizes the culture and lifestyle of the people of India over the millennia. Here, in India, the past continues as living tradition, both relevant and valid for the present and thereby moulds the future. Indian culture and lifestyle refers to the patterns of thought and behavior of people through the ages. It includes values, beliefs, rules of conduct, and patterns of social, political and economic organization. These are passed on from one generation to the other through various formal as well as informal processes. Traditional Indian lifestyle has always been governed by a principle of behavior that has influenced all practices in their day to day life. These rules have been framed and braced by rational judgements and passed onto each generation with several amendments and reforms over the years; some through time have

lost their identity for reason and have been modified as superstitions and abstract beliefs. This transition in ideals is seen with respect to art, architecture and various other traits of culture and lifestyle as well. In India, heritage is not confined to historic events, frozen in its own time and space but preserved as cultural and architectural traditions that has surpassed time and space to remain alive and suit the needs of the present. In India, history stays alive as living tradition. History and tradition have their roots in the past, but history, for its inability to adapt remains antiquated as fossilized remains of a bygone era. Tradition on the other hand, adapts to the changing needs of the present while holding onto the virtues and ideals of the past, and promises to prevail in the future. This process of constant renewal renders tradition timeless. Thus tradition – as living heritage – retains its contemporariness and relevance even for the present times. The legacies of the past and aspirations for the future effectively combine with the realities of the present. Traditional Indian culture, in its thrust towards the spiritual, promotes moral values and the attitudes of frugality and simplicity. The framework of Indian culture places human beings within a conception of the universe as a divine creation. It is not anthropo–centric but considers all mankind, living and non-living as divine creations, thereby respecting the unknown supreme power as God and His design and promotes values of co – existence. Indian philosophy and culture tries to achieve an innate harmony and order and this is extended to the entire cosmos. Indian philosophy believes that natural cosmic order inherent of nature is the foundation of moral and social order. Indian culture balances and seeks to synthesize the material and the spiritual. Traditionalism does not mean turning the clock backward. On the contrary, it is a progressive and consistent process of updation that subtly combines the ‘old’ with the ‘new’. Tolerance is another characteristic virtue of Indian culture and tradition. India has seen a number of cultural invasions, which the Indian society has respected and accepted through various stage of time. It does not try to suppress diversity for the sake of uniformity. This leads to concepts of co – existence and regard to various ethics, principles 2

and philosophies for life that are modified to suit their various needs. Hence Indian tradition portrays continuity and stability favoring gradual change, where most of these changes have come from commentaries and interpretation and not in the form of original systems of thought. Traditional Indian art, architecture and lifestyle are influenced by these virtues. It is inspired by religion and center around sacred themes. However there is nothing ascetic or self-denying about it. The eternal diversity of life and nature and the human element are all reflected in Indian art forms. The manifestation of an idea, architecture is a celebration of life. From philosophy and rituals to art forms and architecture, all are extensions of a way of life, echoing the underpinning notions of the Indian context. Any projections founded on the fundamental philosophical and ideological tenets of the place and people are therefore sustainable and timeless. Art and architectural spaces have always been a retrospective illustration of ideals and principles of traditional Indian lifestyle. They have always generated order and harmony and used to reflect the philosophies and lifestyle of Indian communities. The space created by these structures and communities have always rendered a sense of communication between the perceiver and the intent to creating the space. These spatial experiences derived through narratives create an interactive process. History is a function of time and space. Materials, construction, style and ‘isms’ conditioned by context. Even form and scale are dividends of conditioned learning but the eventual experience is eternal, humanly universal and intuitive. Experiential richness and the ability to identify with pluralistic value systems are the hallmarks of timeless architecture. Traditional Indian architecture has aptly demonstrated the universality of its communication as well as its validity with multiple value systems. This is achieved essentially by relying on spatial experiences through narratives – dynamic perception of space while in motion – its kinesthetics. The interactive process of encoding and decoding between the space and the perceiver orchestrates spatial narratives. Traditional architecture was seen as a source of considerable information regarding the science and cosmology of their times.

Traditional structures and communities have created spaces with narratives that provide diverse effect on the perceiver, with the overall meaning being universal. Perception of these spaces requires an understanding of the very roots of what constitutes the Indian context by examining its notions of time, space and existence. Deciphering their implications on the physically manifest, unraveling the inherent virtues of traditional Indian architecture; interprets them as universal dictums, relevant to reestablish in contemporary times. The qualities of space that induce such intuitive communication with the perceiver is based on the intellectual knowledge about the relationship between architecture and the cosmos that has been transferred through generations with reforms and amendments to suit the requirements of the present. Though the intended connotation of the space may not be quite comprehensible, it creates an ambiguous effect on the perceiver, which, in sequence provides him/her with the derived narrative 2. THEORIES PERTAINING TO LIFE AND THE PERCEPTION OF SPACE Perception of traditional spaces requires forethought of the underlying theories and cosmological principles along with an acute understanding of the elements and principles that constitute the space. To the common perceiver, these traits may not be candidly vivid. The theories related have been derived through a derivative process, by understanding the lifestyle of people, their beliefs and their understanding of the environment and context. Most of these theories deal with time and space and the relationship between them. 2.1. DUAL NATURE OF LIFE AND CONTINUATION 2.1.1. World within a world In Indian philosophy, theories pertaining to the existence of a dual presence for all human, living and non-living manifestations have always been the reason for the sustenance of life leading to the belief that all creation is a part of a larger cosmic plan. Indian notion of life and existence rests on dualities. This dual existence accepts the part as a whole and the whole as a part and gives rise to the concept of â&#x20AC;&#x2DC;a world within a worldâ&#x20AC;&#x2122;. Each entity or manifestation is complete by itself and yet a part of a larger system. 4

‘A microcosm within a cosmos’. This restores the faith that every individual or creation has been created to carry out its destined function which has an effect on the functioning of the entire system. This also provides a freedom of individual expression yet being a part of a larger general agreement. ‘Of an identity within conformity’. This is critically required in a pluralistic society with multiple value systems, where the idea or suggestion of every individual has to be taken into account. An effective tool to accommodate diversity while respecting the common band of unity. Individual belief systems have to be taken into account while maintaining the common code of agreement. It is this recognition that exists within a larger system that has driven the morality with respect to Indian tradition and secularism. This acceptance of an individual idea led to the acceptance of many religions, faiths and languages in India. The Indian way of worship adapts to nearly 33 million Gods and Goddesses. This concept of many Gods accepts the notion of different faiths and many truths while adhering to the general concepts of Hinduism; each true to its own believer rather than a single dictatorial structure that imposes a single truth. These theories of dual nature extend even to scientific and astronomic realizations. A biological cell, like an atom, believed to be a complex building block of the human body, is still a complex, complete entity by itself. The existence of planets, solar systems, stars a with a galaxy that forms a part of a larger universe, each having its own character yet respecting cosmic and astronomic principles of the larger entity. The concept of centres and sub centres help to create a balance. The courtyard is a perfect example creating a world within a world without disrupting the experience of the overall space but respecting it and the idea of structure and infill, which bring out subtle variations within a unified expression. A number of such courtyards fuse to form a larger space which forms the larger manifestation. The courtyard surrounded by the larger space creates an introverted response. The courtyard becomes the focus point and allows activities to spill

into it from the adjoining spaces and thrive without being disturbed by external conditions. Contained yet open to nature, courtyards form a world within themselves that give rise to various forms of activity.

Fig 2.1. Srirangam temple complex aptly demonstrates the concept of a world within a world, through concentric layers of walls and gates, where each subsequent layer gets more and more secured, sacred and withdrawn from worldly affairs.

The concept of traditional communities such as Agraharams, was intended to create this notion of a world within a world. With a temple structure as the epicenter or focus, these communities developed along the axis of these temple structures forming a larger complex; thus creating pockets and thresholds for various activities and interaction spaces. The streets spawned by the alignment of these houses serve as procession grounds and house various forms of formal and informal commercial activities. Hence the temple which has many sub centres within itself is connected to the streets and the city by the introduction of the Agraharam which again by itself encloses courtyards and other spaces forming another layer of a smaller system.

2.1.2. Part as a whole and the whole as part Each component is a part of a larger system which is dependent on its sub systems. The theory of entities being a part of a larger schema is not a hierarchical structure but a symbiotic one. The understanding of this fact gives each component in the overall system, its freedom to exist. The collective system still remains a combination of all the subcomponents. In India this theory is related to all of culture and lifestyle; the Indian spices that contribute to a composite mixture, the relentless experience of taste. The absence of any one spice is readily perceptible yet the composite character is what matters. The Indian food platter - Thali â&#x20AC;&#x201C; as a phenomenon of a combination meal illustrates Indian pluralism. It has standardized, steamed and mass produced ingredients served the same way to all. Yet when mixed together it allows for various permutations and combination of taste giving the perceiver a unique experience with each bite. Each member of each community in India is a distinctly identifiable member being part of the larger clan or society. The same quality has been transferred to architecture as well. Community housing though a part of a larger society following the same language of construction, each house was different in its own way supporting the functional requirements of the people and unique with its own sense of personalization. Streets of traditional towns best explain this character. Streets are formed as a single entity that are defined by the built mass, fenestrations and threshold points within the city, thus constituting a smaller component of a larger intricate and complex system. Yet each street has its own identity, functional importance, character and individuality which are subtly expressed through urban elements, freedom of choice, colours, stylized elements or innumerable gestures of personalization. This provides a sense of belonging and inclusion without disrupting the overall harmony that exists in the functioning of the system. The resulting variations break the monotony and create a sense of diversity within the system.

Fig. 2.2

Fig. 2.3

The Pols of Ahmedabad serve the same function respecting the purpose of the larger system yet distinct from one pol to the other.

The city of Ahmedabad is a classic example that demonstrates the functioning of such a symbiotic system. Pols, the residential precincts of the traditional quarter of the city exhibit homogenous heterogeneity through continuous transition zones consisting of plinths, columns, ‘jharokhas’ or balconies and ‘chajjas’ or overhangs. These enclosures houses individual, interconnected spaces, each growing according to the dictums imposed upon it based on the requirements of need and space. Each serves to establish its own identity with respect to detailing and personalization respecting the harmony and order of the community and the city. 8

In Jaisalmer, identity within conformity is achieved by varied permutations and combinations of nearly modular elements, with continuity of built mass and harmony of scales.

Fig. 2.4. In Jaipur, Arcades and the continuous built mass act as binding factors, while the variety of openings and extensions provide variations.

2.2. BALANCE THROUGH OPPPOSITE EXTREMES Bipolarity, opposites as counterpoints The theory of opposites existing for all entities and manifestations is one of the most primitive beliefs of Indian tradition. The faith in the existence of a positive for every negative, an equal contrasting force for every manifestation that exists thereby acting as counterpoints is well set in the Indian notion as being bipolar. These opposites tend to support or balance each other. May it be Man and nature, light and darkness, solid and void; one entity shapes and gives validity to the existence of the other. Thus the concept of extremes exists in India. These forces reinforce and complement each other. They become a part of a self-balancing system ensuring continuum and endurance of both the entities. They become mutual references to each other. This lateral understanding is what makes these entities co-exist harmoniously. The two opposites co â&#x20AC;&#x201C; exist in harmony and dependent on each other. 9

Contrast is necessary to create a distinguishable reality, without which we would experience nothingness. Fig. 2.5. Ardhanareeshvara, a Chola bronze depicting Lord Shiva in his androgynous form.

Fig. 2.6. The Shiv – linga: a metamorphic depiction of Lord Shiva, symbolized through the union of male and the female genitals bringing forth life and existence.

The concept of Ardhanareeshvara illustrates best the concept of counterparts as a collective force. It is a combination of three words “Ardha,” “Nari,” and “Ishwara” means “half,” “woman,” and “lord,” respectively, which when combined means the lord whose half is a woman. It is believed that the God is Lord Shiva and the woman part is his consort Goddess Parvati or Shakti. The Ardhanareeshvara represents a constructive and generative power. Ardhanareeshvara symbolizes male and female principles cannot be separated. It conveys the unity of opposites in the universe. A human being is not a pure unisexual organism. Each human organism bears the potentiality of both male and female sex. The modern world has come to understand the concept of “Ardhanareeshwara” as it aspires to resolve the paradox of opposites into a unity, not by contradiction, but through positive experiences of life. When they become one, Ardhanareeshwara is believed to become a being of generative and constructive force. The matching of opposites produces the true rhythm of life.

The concept of opposites as mutual counterparts can be derived through various means but can be broadly categorized into three categories in the Indian context. Definition through negation where mutual definition is achieved through negation of one entity where the other is personified to its full glory followed by the immediate reversal of roles. A co â&#x20AC;&#x201C; existence of extremes where one can be experienced only due to the presence of the other and vice versa. Relative identity, where once the two opposite entities are placed within a particular relation as a composition after identification and inference, which due to their relative nature, becomes a new third entity, not characterizing either but with the collective import of both. The phenomenon of negation is epitomized in Indian architecture by the relationship between the built mass and the unbuilt mass. The unbuilt is defined by the built while the built mass sustains by the unbuilt. Indian architecture is often recognized as the architecture of the unbuilt. The relationship between these aspects of architecture contributes to the overall narration of the space. Courtyards are such unbuilt spaces defined by the built which allows for activities from the adjoining space to extend into it. Streets, public squares, threshold space, etc. form the unbuilt mass of a town or city which stimulates various activities and supports growth and development. Cave temples are another example that serves to illustrate the concept of bipolarity. The play of light and dark exhilarates the spatial quality within these cave structures. The darkness that prevails in these caves helps to acknowledge the faint rays of light that enter through crack, courts and crevices. The co â&#x20AC;&#x201C; existence of the raw unfinished surfaces and the sculpted, finished surfaces is also seen in these cave structures.

Fig. 2.7.Ellora cave temple: Light gains meaning by its absence. The convers is also true.

Fig. 2.8. Ellora cave temple: Sculpted columns define the rugged unfinished textures of the rock

The unfinished surfaces of the rock give meaning to the sculpted surfaces and the finished surface in turn define the presence of the rocks and the cave. Plasticity, roughness and monolithic masses are contrastingly juxtaposed with rectilinear, richly carved columns at the cave temples as mutually referential. Columns define the intercolumnation while the light does the shadow. The converse is as true. Light gains meaning by its absence. The City Palace, Udaipur, is a composition of built masses and voids where both proactively communicate with each other, contributing to the overall effect. Mass is registered due to the presence of void, while void is defined through mass. 2.3. THE SCIENCE OF TIME OVER SPACE Dynamics of existence The concept of change is tied to the concept of time. Time is a cyclic phenomenon. The cycle of birth, life, death and re birth; the faith in a conceptual theory of reincarnation acknowledges the belief of repetition of time, thereby providing a sense of hope, stability and equality. These values play a major role in the pluralistic context, where the ideals and contributions of each and every individual play a major role in shaping the future. Time 12

through the ages has always been conceptualized as a cyclic phenomenon. The Puranas, ancient scriptures, have personified time in the form of a Kalapurusha, whose form in itself symbolizes its cyclic nature. However, though time is cyclic, it is not static. The concept of change is what makes it active. It is helical, evolving continuously. The concept of change and the concept of time are thus tied together. The past and future are distinct domains where change occurs in the present as a sequential series. The process of creation, evolution, involution and devolution go on constantly. Though change renders time non static, it is till bound to its initial source and character. The concept of time is not a linear entity but a helix or a spiral with a still centre and a dynamic periphery. The cyclic notion of time is also evident in the ten incarnations of Lord Vishnu. This cycle is a helical path. The re incarnated forms from Fish to Amphibian to Animal to Half man â&#x20AC;&#x201C; Half animal to Child to Adult define evolution of life with the cycles of time. Thought time recurs; the fusion of time with space is what makes it unique. A space presents itself differently at various points of time for various reasons physically. Physical spaces transform to a great extent when they come in contact with time. Spaces which are considered to be static and stagnant become more vital, vibrant and dynamic. The space that was generated to represent a static idea, through its interaction with time becomes more dynamic and lively. This constant juxtaposition of time over space is the premise of Indian architecture. A space begins to transform along with its context and nature. A built form however complex, once realized, remains static. However, once it interacts with nature, the interface is always dynamic. Various parameters and components of nature make the space and ever changing spectacle, where the space continuously adapts to the changes introduced by nature and its context. This is the basic idea behind the evolution of communities and the concept of housing, where the living space transforms and presents itself in a unique way at various points of time, sometimes even through generations; adapting itself to the needs of the of the context, people and culture. Direction, light intensity, shadow patterns, climate changing all the time constantly redefine the built form making it feel different and thus alive with changing times.

6:00 am to 8:00 am , Cattle grazing

9:00 am to 8:00 pm, Business hours

9:00 pm to 1:00 am, Outdoor eatery

Fig. 2.9. Spatial transformation at Manek Chowk

The diurnal metamorphosis of a traditional urban square, Manek Chowk, Ahmedabad: Manek chowk is the centre the central square of Ahmedabadâ&#x20AC;&#x2122;s oldest district, the Pols. It forms the core of the city housing formal and informal commercial activities, religious and cultural sentiments, and a vibrant public life. It thrives as a vibrant anchor community space in the contemporary context. The square is a cow grazing ground in the early 14

mornings, where people collectively feed grass to the cattle. The same square becomes a platform for daily chores and is also used as playground just before business hours. Through the day it converts into an intense business district with shops, hawkers, people and parking. Late evening through the night, the square transforms into an outdoor eatery. This is an effective optimization of space resources through the overlaid matrix of time. It symbolizes the flexibility of the old city of Ahmedabad. The place continues to transform during the day to suit the needs of its people. The square adapts itself not only to the changing times but also to diurnal variations within a single day as well, where the space changes radically with time. This aspect of time in architecture is introduced through structured movement and circulation patterns. The way by which the perceiver is guided through the space along a particular narrative determines his/her spatial perception. Traditional Indian architecture is a combination of movements and pause points where the kinesthetics of a space is fundamental to its experience and perception. This condition is satisfied by layering, circumambulatory spaces,movement corridors, threshold points, etc. 3. SPATIAL NARRATIVES Architecture serves as an effective medium and helps to communicate the principles, theories and philosophies of life, the known and the unknown. It is considered as a celebration of life. It connects with the perceiver through various spatial tools and mediums, and hence influences the sequential narration that pertains to the space and the built form. These tools include elements of space making, sequences and organizational patterns, visual frames, symbolism, scale and form. The perceiver is made to decipher the intended narration with the help of these elements of space making. This constant encoding and decoding is what sets up an instantaneous dialogue between the perceiver and the existing space. This is dependent on the relationship between these elements and their compliance with the built form. For the space to be perceived as intended this communication between the user and the architectural product has to be interactive as well intuitive all along the progression of the space. Communication takes place at three levels â&#x20AC;&#x201C; 15

sensorial, experiential and associational. Sensorial communication is concerned with the physiological comforts essentially in response to environmental control. This bodily perception is humanly universal. The experiential aspect is also considered universal but the experience perceived through this mode of communication varies from person to person as it depends on the mental status and understanding of the perceiver. This in turn depends on the narration imposed by the architectural space and hence the perception is spontaneous and momentary. The associational communication requires a deeper understanding of the context, culture and the base information regarding the built form. This is a more locale and exhibits a spiritual or mental connection with the individual due to his/her relation to the space and its context. These methods of communication guide the perceiver along the intended narration. Vision being the primary sensorial tool, messages inferred through it, manipulate the perceiver through the visual frames and dictate behavior. For example, a straight or a curved wall serves to guide the movement while a baffle wall may serve to restrict movement. These walls when overlaid with motifs and symbols provide associational information regarding the space and its narration. This process of encryption, manipulation and inference provides the perceiver with an interactive visual interlocution. Architecture that communicates efficiently with the perceiver depends on basic fundamental elements and principles of space making ranging from structured movement, illumination, relationship between the built and the unbuilt, scale and form; attributes which are subjective and vary with each individual. Hence these spaces should be understood and perceived through experiential qualities and not by static compositions such as facade elevations and plan drawings. These spaces should possess the qualities that provide intellectual interaction between people and condition their perception even independent of their cultural backgrounds. The visual frames and dynamics is vital in establishing this connection. This structured movement through these spaces tends to discipline the mind providing nourishment both emotionally and spiritually. A typical Hindu temple best conveys this 16

phenomenon of traditional spaces. It provides the individual with the sanctity of silence and concentration. Hindu notion of prayer believes in the one to one notion of communication between the individual and deity. It relates to the connection between Man and the Cosmos. The spaces have been harmoniously zoned and the resultant super structure helps the individual to establish a connection with the deity or cosmos. The sequence of gopurams, series of ascending steps and platforms, the rising volumes of domes and shikaras, the transition from open circumambulatory spaces to semi â&#x20AC;&#x201C; open, multi â&#x20AC;&#x201C; directional pavilions supported by columns and arches to dark, enclosed, uni â&#x20AC;&#x201C; directional garbagraha or sanctum enclosed by closed walls, all exhilarate the progression from the corporeal to the spiritual as one moves from the gopuram to the garbagraha. This sense of transition from the physical to the meta physical, from the terrestrial to the celestial, from the matter to the mind is the key narration concerned with the universal concept of temple architecture. This is further enhanced at the climax by the conversion of the horizontal planes to a vertical axis through the shikaras symbolically reaching towards the heavens or cosmos. Thus various elements such as scale, form, play of light and darkness, circulation, degrees of enclosure, motifs, symbols and decorations provide the individual with the philosophies, intended narration and understanding of the spaces that constitute the architectural built. Thus, architectural masterpieces across the country are characterized by this aspect of encoding the intended perceptions into the spatial organization, actively followed by the movement, decoding and inference involving the perceiver, in his journey through the space. Space is conceived and perceived on the basis of movement through it. The journey, the process of moving through the space in itself becomes the event. The clues for movement inherent to the space, are revealed sequentially at various threshold points, as one moves from one point to another. This dynamic perception of space through movement with ever changing points of view and the varying frames if reference resultant of the spatial composition is called kinesthetics or kinetic aesthetics. This is considered one of the most fundamental principles of space making and visual perception in traditional Indian architecture. Though the organization of space is along the visual axis, the path of movement is changed at various threshold points to provide the perceiver with various 17

abstract centres of the space. Change in direction and the diversion of movement cause variations in path and axis thus inducing variety and providing options for the perceiver. The entire length of the visual axis is not revealed at once but broken down into visual frames that connect the narrative at the threshold points as an episodic sequence of spaces. Such elements of space making not only enhance the visual perception and pause in movement but also regulates the spatial boundaries and reinforces the relationship and transition from one space to another. Hence architectural spaces provide the perceiver with attributes that make the space dynamic and vital thereby rendering it timeless. 3.1. PERCEIVED REALITY AND PHYSICAL REALITY Narratives trough notions Vision being the key sensorial tool, optical imagery and visual frames form one of the key components of creating spatial narratives in traditional structures. From visual imagery to creating organizational patterns, spatial narratives are creatively fused into the system of traditional Indian architecture. The entire proportioning system of ancient Indian architecture is based on principles of visual co â&#x20AC;&#x201C; ordination and perception at human eye level. Perception from this specific level gives rise to unusual visual frames and compositions, imperceptible otherwise created by perspectival alignments. Early cave temples creatively derive proportions and pauses into effect the principles of visual perception at human eye level and using the visual axis at different points to bring out or hide selectively as one moves through. Such an exploration of space also discovers the juxtaposition of architectural elements to highlight specific visual frames and for creating optical illusions, to connect visually separate elements thus acting as different foci and revealing newer dimensions, thus making the entire journey eventful. This phenomenon of juxtaposition of visual frames is well explained in the cave temples of Ellora. For example, in cave 15, the door jamb near the court pavilion has niches near the top. Across, around 20 metres away, on the community quarter side at the upper level at each end, beside an appparent balcony projection are two angularly placed figures of

superhuman entities. When one is just about to exit the mandapa, pavilion, the two gigantic figures across just fit into the niches. The juxtaposition makes them appear conjoined, providing architectural continuity across the intervening vista and giving a combined impression with the column bracket at the doorway. This creates a new imagery with a composite visual frame, giving added significance to the ensemble. The niche in the column capital exactly coincides with an inclined female figure on the wall across to give a combined expression with the column bracket at the doorway. These vignette compositions are used at times for visual scaling effects as well. As seen in the caves of Ellora, the sequential frames transform the vertical scales to horizontal expanses. In the first frame, from the distance, the overall scheme is perceived, not in totality, but with concealment of portions of it. Here the scales are relative and do not refer to the human being. The next frame, perceived on approaching the building along the axis, is of vertical proportions revealing only the height of the structure - a part of the whole. The frame seen from the centre of the constricted entry begins to expand horizontally and on entering the court, exposes the entire scheme, a horizontal expanse totally dwarfing the height of the structure. These elements are effectively applied to landscape elements as well. A successful application is seen in positioning of the the water body for vaju â&#x20AC;&#x201C; ablution in mosques. The water of the tank reflects the crown of the dome, but its image in totality is seen only while squatting down for the ritual washing. This is a subtle narrative yet a profound event and experience in itself to lead, remind and reconnect the subject to the eventual goal. Ablution pond in Jami masjid, Ahmedabad, reflects the crown and gateway of the mosque, once again reminding and reinforcing belief in the eventual goal. The symmetry maintained with respect to the gateway is also seen reflected along the pond which is seen when one squats down for the ritual washing. 3.2. ORGANIZATIONAL PRINCIPLES FOR SPATIAL NARRATIVES Movement and circulation plays the key role in providing a narrative quality to the architectural built space. Indian traditional architecture manifests moods, communicates and narrates the space through various nuances in built form. These differences or

thresholds serve to communicate with the perceiver through elements, motifs, visual frames, etc. Narratives built within the space resolutions can be distilled as generic principles.

Fig. 3.1. Lakshmana temple, Khajuraho

Fig. 3.2. Kailasanathar temple, Kanchipuram

3.2.1. Disparate visual and physical axis In traditional Indian architecture, the spaces have been organized in a nonlinear fashion along the visual axis. The movement path varies along the visual axis thereby revealing new fields of vision. As the visual axis differs from the physical one movement is induced. The interplay of these two achieves the simultaneous process of concealment and revelation as the perceiver moves through the space rendering the space dynamic. As the space unfolds, it provides the perceiver with visual clues that reinforce the pursuit for the goal. 3.2.2. Layering for the sequential unfolding of space When the arrangement of spaces within the structure has built in overlays, in the process of moving through the space the user experiences unfolding of various layers of space, which creates a hierarchy and establishes spatial priorities. This creates the character of concealment and revelation of the threshold points with the spaces which stimulates the narration and interaction with the perceiver. Baffles, voids and thresholds bring about this character by inducing an interactive communication of encoding and decoding messages between the perceiver and the subject. Layering helps to create a sense of expectation as one progresses from one threshold point to another. At each barrier the perceiver makes one pause, reorients and then discovers new frames of reference that have been conceived by the elements of space making that keep unfolding through the journey engaging the individual along the entire process. Physical barriers deviate the visual axis from the path of movement, though the visual continuity is still maintained. 3.2.3. Movement as a tool to condition the mind Movement and circulation not only help to vitalize the spatial narratives but it is also helps to condition the mind. Movement holds the key for architectural significance in India. It allows for time to overlay space. The changed mood of the same space over time makes it flexible for varied use and provides a change in the experience of the space as one moves through it. The dynamics of space and time render the space ever changing and fresh. The 21

journey to a certain extent defined by space with pauses, turns and shifts, becomes a ritual in itself and engages the individual perceiver through these processes. The winding movement through a series of such spaces creates varied mental conditioning as seen in temple space. In temples the circumambulatory spaces provide the user with the experience, dynamism and growth at the beginning and allow the user to experience silence and focus towards the end. 3.2.4. Choice of movement path for personal and intuitive experience Threshold points help the perceiver to infer and re – orient and to establish his/her understanding of the space. The individual is perceived with clues and informed choices with the help of which one can choose to have individual and personal experiences of the space. This creates a comprehension of the space based on personal instincts and references, at one’s own pace and interpretation as an individual pursuit – a characteristic of any design that respects the terms of a pluralistic society, where one has the freedom to perceive and express his/her own insight. Choices of movement path allow the individual freedom of relating on one’s own way. The Royal complex of Fatehpur Sikhri, exhibits multi axial plan organization thereby providing various thresholds, helping in reorienting the bearing and creating new preferences and pauses. 3.2.5. Kinesthetics as the organizational and proportioning tool The movement path provides the dynamic character to the space. The aspect of kinesthetics provides for various visual frames of reference and compositions. The perspective quality of these visual frames determines the visual scale and form of the space and their strategic alignment helps to locate pause points, thresholds where special compositions or visual effects are pronounced. This creates a transition from the geometric plan resolution to a three dimensional experience of the space. Thus kinesthetics helps to define the experience related to movement and also plays an important role in the scale and proportion of the perceived space. 22

Fig. 3.3. Water channel along the movement path of the Taj Mahal reflects the crown, which serves as a visual reminder of the ultimate destination. Minaret of the Taj Mahal is revealed and visually framed at the landing of the entrance stairway.

Fig. 3.4. Perforated screens, jalis, arresting movement while maintaining visual links at Fatehpur Sikri.

3.3. CONCEPT OF CENTRE AND SUB CENTRES In Indian architecture, each system or architectural manifestation is initiated with a space that acts as the central focus and influences the adjoining spaces, which in turn are coordinated by smaller sub centres. This arrangement of spaces helps to create mutual coordination and provide several points of reference that act as foci. The built mass in turn acts as the centre in respect to its context and environment. This phenomenon of creating various focal points enhance s the spatial experience by providing the individual with various options for movement while concentration towards the central focus or intent. Unbuilt integrated with built The integration of indoors and outdoors or the built with the unbuilt provides for mutual counterpoints. Unbuilt structures such as courtyards act as individual foci and yet a interconnected system of such courtyards form a larger structure that functions depending 23

on the courtyard as a system of centre and sub centres. The outdoors, with the influence of various parameters like play of light, vegetation, landscape elements etc. remains dynamic due to seasonal variations, climatic conditions, position of the sun and the altering intensity of light. This in turn renders the static built space different and changed at all times. 3.4. SEMIOTICS In India, a country enriched by tradition almost every significant aspect of life has been translated into symbolic representations. Thus semiotics is yet another means of communication that serves to enhance the perception of spaces by providing allegories, assumptions and associations. These are metaphorical representations in the form of signs and symbols. Semiotics is necessary to break down the complex narration of spaces into simple motifs that can be easily associated with by the perceiver. These create abstract realities absolving the overwhelming obligation of the physical construct, the physical reality. Mind wins over matter. Fig. 3.5. Hindu shrine is associated with a banyan tree as it is considered sacred. Sanctity of the idol reverberates in the reverence of the tree.

For example, in India, tree trunks and walls are contemplated as deities by overlaying them with symbols, motifs and elements associated with temple spaces. Hence the abandoned tree trunk or wall now assumes a new meaning as a holy shrine owing to conjured associations. No longer identified as a tree, it gets primarily defined as a shrine overlaid with symbols and their implicit communication. The associations and values provided by such symbols and motifs convert such mundane objects into significant icons that provide intuitive interaction. A banyan tree is considered holy and revered as a sacred place due to its location near a shrine and it association with Hindu mythology. The sprouting branches of the Tulsi (Basil) with the swastik symbol along the sides of the wall render it sacred. The hollow of tree trunks are converted into shrines by lighting the diya - lamp that is ritually lit to illuminate and glorify the multi – point arched doorway in temples. Sanctity of the idols reverberates in the reverence of the tree. Symbols are used as overlays in the built structures to physically reinforce the spatial construct. For example, at the Queen’s stepwell in Patan, the sequential frames at every floor along the path to the water portray the image of Lord Vishnu under the hood of Sheshnaga – the serpent God – as a consistent visual focus and reminder of the journey to the patal lol – the nether world. Symbolism adds a new layer, a fresh dimension to the otherwise flat, uninteresting and uninspiring walls of the built mass, overpowering its physicality. Semiotics adds dynamism to action and converts them into experiences. This is illustrated in the ritual of the Naman – the act of paying respect through touch, where the involved sense touch, becomes an additional tool for animating the event. In the Shiv – lingam, the lingam is reflected in the still waters of the yoni. During Naman, the water is touched creating ripples and thereby unsettling the still reflection of the lingam, bringing it to life. Narratives are thus necessary in making the communication between the space and the perceiver, interactive and comprehensible.

Semiotics as an associational overlay Sensorial stimuli acting at a physical and human plane remain perceptible universally. However inlaid messages in the form of motifs and symbols do not share the same fate. Symbols and motifs are quite different. They operate within the realm of familiarity and association, often involving socio cultural conditioning. Symbols and metaphors overlaid as an extra layer on the spatial narratives creates a feeling of bonding and reinforce the perceiverâ&#x20AC;&#x2122;s understanding of the spatial experience. They add deeper meaning to the space thereby distinguishing the central space from the sub centres and secondary secondary space. This induces a sense of hierarchy with respect to spatial overlay. The aspect of time over space overlaid with symbolic overtones, lend varied associational meaning to the same space configuration through such conditioning. 4. CASE STUDY 4.1. MEENAKSHI SUNDARESHWARA TEMPLE, MADURAI

Fig. 4.1. Aerial view of Meenakshi Sundareshwara temple, Madurai

The temple complex of Madurai is an appropriate illustration that demonstrates narration within the space and establishes a strong and interactive sense of communication between the space and the perceiver. The city of Madurai radiates around the temple in concentric rectangles that symbolize the cosmos. The temple is the geographic and cultural center of the ancient city. It is one of the largest temple complexes in Tamil Nadu. The complex has 26

four entrances facing the four directions. The temple complex in itself is breath taking, given the fort like walls pierced with lofty towers. The towers or the gopurams that the temple is known for are visible from a distance. Fourteen gopurams or towers adorn this temple and the four outer towers rise to a height of nearly 160 feet. These four gopurams are placed on the middle of each side. The towers of these gateways have elongated proportions and curved profiles that achieve a dramatic sweep upwards. The lower granite portions have pilasters with slender part circular and fluted shafts. The carvings here are confined to miniature animals and figures at the base of pilasters and on wall surfaces in between. The brick superstructures have pronounced central projections with openings at teach of the nine storeys. Enlarged yali heads with protruding eyes and horns mark the ends of the arched capping shala roofs; the ridges have rows of pot like finials in brass. On entering, the panoramic spectacle of the temple sinks in. The complex also houses a large tank and the famous thousand pillared hall. The Meenakshi temple is usually entered through the gateway from the east. This leads into a vast columned hall used for shops and stores. The Meenakshi shrine along with its sub shrines, stands within a rectangular compound to the west. A gopuram at the north end provides entrance to the Sundhareshwara shrine.

Fig. 4.2. Plan of the temple complex

Fig. 4.3. The towering gopurams â&#x20AC;&#x201C; entrance gateways â&#x20AC;&#x201C; as visual references and guiding magnets, attract towards entrances.

The gopuram a tall entrance gateway acts as the visual point of reference from far away distances. It acts as a medium of allurement arresting vision and guiding one towards it. Each gopuram is a multi - storeyed structure adorned with sculptures and motifs. The visual presence of the tall towers creates the feeling of entering a religious realm. Thus guided by the gopuram on entering, the individual is received by a series of baffle walls. These walls in the form of vertical planes and sculptural masses induce and deflect the perceiver from the direct path thereby creating pause point and threshold spaces. The ritualistic circumambulatory movement is created. Each turn introduces the perceiver to a sub shrine or deity. The series of sub centric foci and the sequential colonnades created indulge the perceiver in a comprehension with the spiritual experience of the space. Thus one is withdrawn from the materialistic world to the spiritual. An overall view of the Meenakshi temple complex presents a uni – centered but hierarchical, multi layered organization of spaces with various levels and multiple linkages offering a multiple choice of paths for circulation ultimately culminating at the central focus or sanctum. A long corridor defines the transverse north - south axis of the complex. The columns lining the central aisle have three dimensional sculptures and depictions of deities, heroes and rearing yalis. The open colonnades gradually get more and more enclosed with an increase in the presence of wall planes. As the sense of enclosure increases towards the sabha mandapa – pavilion for gatherings and dance – and the goodha mandapa –an antechamber to the deity’s sanctum, the intensity of light inversely decreases culminating in complete darkness where the light is almost negligible at the fully enclosed garbagraha or sanctum. This dark place is ideally occupied by the deity in the form of a stone sculpture. Thus the abstract perception plays a, major role compared to the physical manifestation of the entity. Association is revered as the darkness renders the idol almost indifferent and the quality of space is determined by the sense of silence, tranquility, aura for concentration and focus created, that helps in the conditioning of the mind. The physical manifestation of 28

the idol or form loses value and abstract values define the experience. The columns lining the central aisle have three dimensional sculptures and depictions of deities, heroes and rearing yalis. Motifs and idols also accentuate this narrative experience as one progresses through the space. The idols transform with increase in penetration from idols of kings and depictions of royal stories to that of nymphs and â&#x20AC;&#x2DC;apsarasâ&#x20AC;&#x2122; to Gods and Goddesses. Each baffle wall creates a pause point where one reorients to the next sub shrine or path of movement. The next set of clues, visual perceptions and associations are revealed at subsequent threshold points, creating a sequential unfolding and a sense of discovery. This extended movement, adding the element of time over space along with the play of light and the anticipation of spatial experience perceived at various pause points helps in the condition of the mind. This makes the journey or narration both physically and mentally engaging and thus, fulfilling.

4.2. SARKHEJ ROZA, AHMEDABAD On the south western end of the city of Ahmedabad lie the mosque, tomb and royal complex of Sarkhej Roza. Popular as a retreat the complex was initiated in 1446 by the sultan king Muhammad Shah, successor of Ahmed Shah who founded the city of Ahmedabad. The construction of the complex was completed by his successor, Qutub-uddin Ahmed Shah in the year 1451 AD. The grandeur of the complex was further enhanced by Sultan Mahmud Begada in the later half of the 15th century. He constructed a tank in the center, pavilions and a small personal mosque. He even built a mausoleum for himself and his family just opposite to that of the Sufi saint. The Dargah (mausoleum of the saint), is the one of the largest in Gujarat. It has a huge dome and a platform. It is an apt example of Indo Saracenic style. The architecture of Sarkhej Roza has been designed keeping in view the Hindu Muslim culture that prevailed during the time. The profusion of pillars, rectilinear structural grid, brackets and ringed domes, floral or geometric patterns depict the Islamic style of architecture whereas the trabeated structural system, the non-structural arched panels as infill, the motifs and the ornamentation are indicative of Hindu designs. Majority of the buildings do not have arches and they depend entirely on the pierced stone framework for stability. The styles are largely the fusion of Hindu, Persian and Jain architecture. The resulting fusion and the spatial organization, however remain Indian.

Fig. 4.4. Plan of the Sarkhej Roza complex

The complex has three different realms or zones associated with it. The royal retreat consisting of a water tank, the king’s and queen’s pavilion, the tombs of the saint, the king and queen and finally the religious realm with the mosque and a cloistered fore – court form the three worlds that co – exist in this campus with its own focus and activities. The leisure node, originally meant for royalty has been subsequently transformed into a civic space. The recti linear man made water tank is one of the key components of this realm. The tank is surrounded by ghat – like stone steps and platforms on three sides while the mosque and tomb’s walls form the fourth. Conceived as a retreat it exploits the natural and environmental conditions for favourable effects and comfort. The setting of the sun behind the queen’s pavilion and the crescent of the moon in the canopy of the stars reflected in the still waters of the tank enhance its leisurely aura. The tank collects natural rain water from the region and offers pleasant views as well as soothingly cool breeze. The second realm is a social world and offers a platform for social interaction. It becomes an arena for spontaneous and bustling commercial activities personify the social milieu and the realities if the materialistic world that we exist in. The tombs also reinforce the ultimate reality that any mortal has to face. The third realm is the most sacred and is the innermost with the mosque space in the west facing the holy Mecca and the colonnaded riwaq on the other three sides, retaining a rectilinear courtyard in the middle. This creates a fully withdrawn, highly concentrated and heavily insulated tranquil space of the campus. Each realm exists entirely on its own, different in function, form and scale yet they remain a part of a larger world, complementing each other. The built enclosed mass defines the unbuilt dynamic spaces. The single largest dome over the saint’s tomb although eccentrically placed within the complex, becomes the perceptual and abstract centre, unifying the three worlds and acts as the visual point of reference. Thus the concept of centres and subcentres and each component being a part of a larger entity is effectively portrayed. Courtyards and the dual nature of the built interface becoming self – referential to different worlds is depicted at Sarkhej. This principle of organization has proved to be 31

the most efficient, allowing for flexibility of development with phased growth addition and alteration over time. Each realm functions as a sovereign entity while adhering to the overall concept of the architectural built. At Sarkhej the kinesthetic process is sponataneous, intuitive and personal as spatial encoding is subconsciously perceived and deciphered by the perceiver as one moves through the space. The entire sequence of approach to various parts of the complex is a process of visual, interactive and conceptual communication. The effective organization of non-axial compounded arrangement of spaces, diverse user group and activities, even more diversity of function creates a creative comprehension between the perceiver and the space. The first threshold to the premise is the Islamic arched gateway that creates a transition from the outdoors. This leads to the colonnaded edge of the king’s tomb, the cooler, dark space that attracts one from the scorching heat outside. Thus the king’s tomb becomes a visual cone for the perceiver. Inside, the tomb placed under the dome in the inner square core, falls on the axis from the entry bay, and the intensity of light here is low. The light penetrating through the stone screen walls on the right is stronger and thus guides the observer around the tomb in an anticlockwise direction. Thus by the play of light the observer is then guided to the central core of the tomb. Following the king’s tomb, the observer is guided to the saint’s tomb. On exiting the saint’s tomb, one is attracted towards the free standing pavilion with a square plinth, columns and a dome, followed by the tree on a raised plinth enroute to the mosque. Through the court or the colonnaded pavilion one could reach the ‘liwan’ en – face the ‘mehrab’ – the niche in the quibla wall facing the Mecca. Movement is pulled towards the ‘jharokhas’ or projecting balconies on the left looking out into the tank and pavilions further away. Stepping out of the mosque, one is again confronted by the open pavilion. It thus acts as a threshold point where the observer pauses and re – orients to other references. The free standing pavilion is aligned axially to descending steps that lead into the water body. The kings and queen’s pavilions – built outcrops in a barren skyline - naturally emerge as visual clues and form mutual references to each other from either side of the tank.

Fig. 4.5. Free standing, colonnaded pavilion as pivot relays further movement towards the saintâ&#x20AC;&#x2122;s tomb.

Fig. 4.6. Screens admit mellow light into the

Fig. 4.7. Ghat like steps leading into the water

space, cool breeze from the tank and privacy

tank.

from outside.

In response to the multiplicity of functions there exist multiple choices of approach. The first court surrounded by mausoleums, specifically the pavilion and porches encroaching into the court act as pivots or key nodes. Sunlight has been efficiently used to maneuver the perceiver and exemplify the spatial qualities. It makes the spaces dynamic with the changing positions of the sun and associated shadow patterns. Thus, it is neither the spatial 33

geometry, axial alignments nor the centres and foci but the visual and abstract stimuli that contribute to the spatial experience and organization at Sarkhej. The Islamic option of Geometry and symmetry is strongly reflected at the Sarkhej. As any depiction of live creatures is forbidden in Islamic art, the ornamentation done is in the form of intricate jalis carved in floral or geometric patterns. One of the most dynamic compositions of symbolism is the dome over the saintâ&#x20AC;&#x2122;s tomb that acts as the fulcrum and visual point of reference. A reference point, held in high esteem as the link between man and God. The saintâ&#x20AC;&#x2122;s tomb is also strategically placed as a pivot between the corporeal and spiritual realm. The path to the mosque is also directed and revealed through it.

Fig. 4.8. Colonnade provides transition from the outdoors, inviting entry into the royal tombs.

4.3. HUTHEESINNG JAIN TEMPLE, AHMEDABAD

Fig. 4.9. Aerial view of Hutheesing Jain temple

Hutheesing is temple in Ahmedabad is one of the well-known Jain temples in India. It was constructed in 1848. The construction of the temple was initiated originally planned by Shet Hathisinh Kesarisinh, a wealthy Ahmedabad trader who unfortunately passed way at 49. The construction was supervised and completed by his wife Shethani Harkunvar. The temple is dedicated to Dharmanatha, the fifteenth Jain Tirtankar. The temple was built during a severe famine in Gujarat. Building the temple employed hundreds of skilled artisans which supported them for a period of two years. The temple is managed by a Hutheesing family trust. The temple architect was Premchand Salat. The main building is double storied. The main deity is a marble image of the fifteenth Tirtankar, lord Dharamanath. The main temple houses eleven deities, six in the basement and five in the bay sanctuary. The main shrine lies on the east and the temple is covered with a big dome supported by twelve pillars. In addition there are fifty two shrines, each adorned with the image of a Tirtankara. The secondary shrines form a long a gallery along the three sides. The front is exquisitely ornamented with a â&#x20AC;&#x2DC;domeâ&#x20AC;&#x2122; shaped structure. 35

Fig. 4.10. The victory tower assumes the visual identity as the landmark from a distance.

Fig 4.11. Circumambulatory at Hutheesing temple for conditioning of the mind and gradually orienting towards the cella.

The temple creates a spatial sequence attaining a one to one dialogue with the space by the movement of axes and layering of spaces. The architectural quality of the space provides conditioning of the mind through the spatial organizations and the application of space making elements. In the Hutheesing temple, the victory tower assumes the visual identity as the landmark from a distance. The next sequence of space begins from the extended, axially aligned entrance pavilion with ascending steps, a gateway and the first floor mass. The entrance brings the observer to the main shrine where the circumambulatory passage takes over. Contrasted against the black peripheral wall, the intricately carved projecting portico defines the entrance, inviting movement. A colonnade creates the peripheral ambulatory passage. The colonnade with Tirtankara deities all along the niches, punctuating the intercolumnation of the circumambulatory, initiates the visitor into the spiritual realm. The more important of these have been highlighted with bigger cella. Pauses along the path are punctuated through pronounced shikara profiles, changing rhythm of columns and the accentuated flooring pattern. These also provide cross â&#x20AC;&#x201C; references to the main shrine to which they align. After circumambulation the journey further is axial, where the rising shikaras profiles, the decreasing intensity of light along with religious sculture help to create a sense of withdrawal from the corporal world and enter the spiritual or cosmic realm. The passage also passes through the three stage filters, sabha â&#x20AC;&#x201C; mandapa, goodha â&#x20AC;&#x201C; mandapa and the garbagraha. Thus the Hutheesing is yet another glorious example of perception and spatial narration being guided by the 36

movement and circulation, exalting the physical journey into a personal intuitive experience.

Fig. 4.12. Contrasted against the blank peripheral wall, the intricately carved projecting portico defines the entrance, inviting movement.

5. INFERENCE How do we interpret the spatial experiences and qualities of historic buildings that have surpassed time and context? Architects have long been trying to analyze the spatial qualities and experiences related to that of historic buildings and understand the basic organizational principles of the space created which makes them unique. Most of these attempts have been diagrammatic. One of the most common ways of analyzing this data was to execute two dimensional geometric and schematic drawings of the superstructures such as plans, elevations and sections along with their site layouts. While these abstract descriptions convey the size and form of the

structure, they fail to illustrate the dynamic quality of space and its experience. Plans, sections and elevations have an illusionary field of view and, which does not exit to the observer. In reality the observer views and experiences a space with a different cone of vision and perspectival field of view which a drawing does not convey. A dynamic medium is therefore essential in understanding the spatial qualities rendered in historic space. Kinesthetics is a process that closely relates to the experience of the space from the observerâ&#x20AC;&#x2122;s point of view. The experience of space in relation to motion, tracing and recording the visual stimuli that induce the experience is what would convey the perspectival or three dimensional communications that are established between the perceiver and the space. Visualization at the human eye level along the path of movement is the closest that we can achieve to understand the spatial qualities of such spaces. Thus, spaces designed keeping in mind the motion and aspects of changing frames of view are far more effective in communication with the observer than those evolved based on two dimensional drawings. This is universal, effective and sure to impact the perceiver as one progresses through the created space. The difference in creating spaces based on kinesthetic perception and not with the geometric aspects must be understood. For example, a courtyard of four square metres or 14 square metres plays no difference as far as the geometric perception is considered as long as the centre of the courtyard remains the same. But in reality the visual perception on the observer changes drastically and the communication between the space and the observer become more vast and distant. Similarly geometric elevations reveal the composition of the space without perspectival distortions, without implying the depth and clarity associated with the space. Artists have

best exploited this illusion of depth in otherwise two dimensional drawings.

Fig. 5.1. Early nineteenth century Mughal miniature painting by Abdul Fasal called Akbarnama

Over the centuries artists have created miniature paintings that convey the mood, time and ambience of a space that existed at that point of time. They have also used the concept of manipulation and visual stimuli to affect the observers perception of the painting by introducing various overlays and using composition as a tool to attract the observers attention to produce the desired effect. Overlay of plan with elevations, flipping of side views and inclusion of foreground though perspectively inaccurate convey the necessary information. The visual weight and hierarchy of object and their placement also served to induce visual manipulation and helped to understand the meaning with more clarity. Thus the impression created by providing visual stimuli and narrative importance came closer to illustrating the meaning and intent of the object, thus allowing intuitive perception. 39

Modern artists have also implied this process of providing visual clues and narrative sequence to convey ideas through installations. Artist Krijn De Koning of Netherlands has created installations involving the visual experiences and dynamic perceptions of space. According to him, â&#x20AC;&#x153;Reflection and history play a significant role in the way we look. But our lives are terribly influenced by concepts and ideas, and theses sometimes get in the way a lot. That is perhaps why I find the physical mode of looking so intriguing. It gives you insight into a reality at that particular moment. In my work, I often strip a space of its function, of its nature, in order to allow it to create its own reality. You allow it to be seen in a different light. How people look at things while looking, and the way we remember that is the very essence of my work.â&#x20AC;? All of his works deal with the idea of architecture and place, whether it is that the work itself is an accessible unit that functions as a sort of watch-out platform on its surrounding, or that the work intervenes directly on a one-to-one base with the given space where it is built in. These compositions are ever - changing in motion thus the space becomes vibrant, dynamic and responsive.

Fig. 5.2. Different views of installations created by Krijn De Koning from Netherlands.

Traditional Indian architecture is characterized by predetermined frames and notions that are sequentially perceived a son moves through the space. The change in the visual axis, introduction of planes, voids and buffers to dictate the path of movement and manipulate the sequence of spatial experience perceived by the observer is the key to creating the 40

simultaneous process of concealment and revelation that renders the space dynamic and ever changing. This creates a sense of mystery and anticipation towards the spatial experience. These elements though unique to it character and properties, creatively fuse to form the final structure and deliver the intended spatial narration. Each layer or threshold reveals clues and visual stimuli that lead to the next set of threshold points along sequential narration. Movement through the space is more important than the external manifestation or form. What matters is the overall harmonious composition of the built form with the articulation of spaces created outside and within with multiple frames of sequential spatial narration. These aspects of spatial organization are universally perceptible yet remain personal to the observerâ&#x20AC;&#x2122;s understanding and interaction with the space. How can historic architectural spaces be reviewed? There have been various attempts at reviewing historic architectural spaces. The approach adopted by historians has been to study the context and develop a basic understanding of the social milieu that existed during the creation of the product. Understanding the pressures and cultural nuances of the given time and space. However this method failed to illustrate the continuation of the product with variations in time. Archeologists tend to visualize the structures based on their components and sub components. The stylization and the ornamentation followed in the structures helped them derive their relevance regarding the structure. This approach too failed as it was constricted only to the given context. The concern of anthropologists was mainly regarding the symbols, metaphors and descriptions associated with the space, but this explained only a part of the spatial experience. It involves familiarity with the associated local context. Buildings outlast humans. It is necessary that the space transcends the given context, time and remains vital and dynamic. This refers to the universal qualities of built form. Historic architecture has well established its universality and rendered itself timeless over centuries. Architects should realize the principle of spatial organization that has rendered historic buildings timeless. Understanding the relationship between the intended space and the human attributes of the observer, keeping in mind the changes that are bound to take place 41

with respect to time and context is the key to the conception of spaces that engage the observer in dynamic and intellectual comprehension with the space instead of blindly replicating form, context, material, technology, styles and isms generated through history. Technology advances with time and materials undergo transformation with change in technology. Stylization loses relevance with changes in the cultural, social and technological contexts. Symbols remain significant only with relevant associations. Thus the spatial quality of architecture alone is what continues to prevail over time and retains the communication with the observer despite functional degradation, irrelevant stylization or primitive technology. Such buildings emote purely at a human plane. Are these definitions of space applicable to contemporary relevance as well?

Fig. 5.3. Inclined ramp that invites and leads into the building

The Mill owners association building in Ahmedabad is one of the most evolved explorations of this phenomenon. The building is a physical manifesto representing Le Corbusierâ&#x20AC;&#x2122;s proposal for a modern Indian architecture. Constructed in 1954, the Mill

Owner’s Association building is considered the first of four completed commissions in Ahmedabad. As Le Corbusier began working predominately in warmer environments, he developed a set of architectural devices in response to climatic and cultural contexts. He took cues from India’s vernacular architecture, emulating the deep reveals, overhanging ledges, shade screens, and grand, pillared halls. The aspect of visual and perspectival narratives has been used to communicate the character of the building. The protruding ramp at the entrance serves as an invitation attracting people along the plane. This displacement introduces one to the first floor. The triple height volume, offers a sense of arrival. Small openings through the baffle wall as well as the brightness of the light penetrating through the eastern façade beyond, guides the route of the observer to the right edge which reveals the choice of other movement routes; one being towards the conference hall along the brightly coloured wall and curved plane of the toilets and the other being the free standing staircase leading to the next level. The eastern façade has fins that tie the horizontal planes which frames the view to the river. The eccentric perception of the arrival portal at the staircase landing as one climbs up creates the visual axis diagonally towards the doorway. This, along with the involution of the curved plane places an emphasis on the library space. The tapering curvatures of the library wall and the deflected light off the inverted catenary shell ceiling helps focus attention on the stage within the library lecture space. The brises - soliel on the west facade is oriented diagonally to obstruct views from the street while permitting air and indirect sunlight to enter the space. Plants spill from the porous facade, activating the exposed concrete and supplementing the roof garden. At the rear of the building, the brises - soleil is perpendicular to the facade, allowing the breeze from the river to pass uninhibited through the shaded perimeter.

Fig. 5.4. Views framed by vertical fins overlooking

Fig. 5.5. Curved walls of the bathroom and the

the river

brightly coloured walls leading to the conference hall

The overlapping juxtapositions of frames through numerous perspectival alignments according to the movement, the closing and opening of light crevices created due to separated faĂ§ade frames on the eastern and western sides and the inclined louvre fins to the west, further add to the visual drama due to the changing sense of apertures on the various wall planes along the path of movement. The visual alignment of elements, relative visual perception of free â&#x20AC;&#x201C; standing objects, varying intensity of light, visual weight of colours and the curved wall planes are all the architectural nuances influencing spatial perception within the structure.

Fig. 5.6. External stair case leading to first floor.

Fig. 5.7. View from first floor

6. CONCLUSION Do these ethics and theories pertaining to the generation of a space have contemporary relevance as well? What is it that differentiates the traditional architecture from contemporary buildings? Why is the grandeur and marvel of traditional buildings such as temples and communal spaces not seen in modern architecture or have these principles and spatial qualities been modernized so much that it has become difficult to relate them to their source of conception? Are these spatial qualities perceptible even to the common man who has a limited knowledge of the architectural principles and jargons associated with it? Architecture is a combination of the ‘conceptual’ and the ‘perceptual’. Architectural spaces should transcend the candid visuals generated and invoke abstract emotions with the observer. Traditional architectural spaces are characterized by spaces that reflected the perceived reality beyond the actual reality. It employs the most basic tenets of mind and matter to influence the perceiver. When a space is conceived from the contextual notions of time, space and existence, the qualities of communication, comprehension and perception are considered being inherent and intuitive. Timeless architecture trades on these dualities, Of time and space Of mind and matter Of notions and reality Of the microcosm and the cosmos Of the ‘conceptual’ and the ‘perceptual’ Traditional architecture conceived with principles, philosophies and ethics that were generated and emphasized based on their lifestyle, cultural and social values and their deep understanding of the relationship between the materialistic and the spiritual worlds. These moral ethics played a major role in conditioning the mind and regulating the activities in their day to day lives. Art and architecture and other forms of creative works were also

conceived with this deep understanding of moral values and ethics. Self - realization of the basic necessities and the redundant accessories of life, is evident from the lifestyle of the people of that time. These moral values and ethics passed on through generations guided them to follow the disciplined and systematic lifestyle and understand the context and their environment. With the transition in time, advancement in science and technology, growth and development of the society; human beings have little awareness of the tradition and culture that a community has been built on. Their understanding of the life extends only to the materialistic world where the communication established between architectural spaces and the observer has diminished or become less intuitive. The problem lies with both the perceiver and the creator of the space or rather with the modern society. The ethics and philosophies that determined the actions of people have become superstitions and stories. The understanding and intellectual communication that existed between a space and the perceiver has diminished. Architecture is a mutual process involving the creation of spaces for the community and the perceiver. This architecture succeeds if the communication is mutually concurrent and the comprehension is thorough. It is rendered timeless only when both the space and the perceiver interact and comprehend each other. Modern society should regain its understanding of traditional philosophies and ethics, there by stimulating the perceiver to initiate an intellectual communication and to enable architects conceive dynamic and intuitive spaces that render the architectural built, timeless.

BIBLIOGRAPHY

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Architecture, Mysticism and Myth - W.R. Lethaby

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Concepts of Space in Traditional Indian Architecture – Ar. Yatin Pandya

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Elements of Space Making – Ar. Yatin Pandya

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Space and Cosmology in the Hindu Temple - Subhash Kak

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Vastuyogam – Ar. Yatin Pandya

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Hindu Mythology, Vedic and Puranic - W. J. Wilkins

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Theory and City form: The case of Ahmedabad – Shraddha Sejpal

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The Agraharam: the transformation of social space and Brahman status in Tamilnadu during the colonial and post-colonial periods - C. J. Fuller

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Arch Daily. http://www.archdaily.com/