December 2014 by ERIL Publications

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editorspeaks Defaced ruins of architecture and statuary, like the wrinkles of decrepitude of a once beautiful woman, only make one regret that one did not see them when they were enchanting. Horace Walpole

Editor Shashikant Hegde Deputy Editor Renu Rajaram Advisor (Editorial) Dr M S Kapadia Advisors (Technical) Prof Akhtar Chauhan Principal, Rizvi College of Architecture, Mumbai Ar A R Ramanathan Practising Architect, New Delhi Ar Milind Kollegal Practising Architect, Hyderabad Design & Production Art Director Satish Kamath Graphic Designers Madhukar Ingavale Nitin Parkar Rajendra Vichare

Product Head Pooja Nalawade Sales Executive Saurabh Singh Subscription Rosebin Mukadam Head - Circulation Raju Chendavankar Senior Vice President Sanjeev Singh

Printed, published and edited by Shashikant Hegde on behalf of Economic Research India Pvt. Ltd., published at Sterling House, 5/7 Sorabji Santuk Lane, Off Dr. Cawasji Hormasji Lane, Dhobi Talao, Mumbai - 400 002 and printed at Jayant Printery, 352/54, J. S. S. Road, Murlidhar Temple Compound, Near Thakurdwar P. O, Mumbai - 400 002. Editor: Shashikant Hegde

04 Architecture Update December 2014

For many, the definition of heritage is just historical structures, buildings and even an entire province. But what does heritage really mean? The definition of 'heritage' can be very broad. Heritage is not history: it is not what happened in the past but what has survived from the past including 'intangibles'. while heritage may be everything which has survived, it is more specifically those things we want to preserve. This issue presents an array of interesting articles and projects by eminent conservation architects and experts which showcases outstanding architectural designs which are well-integrated into historic contexts. 'What else is Heritage?' by the renowned architects Parul Zaveri & Nimish Patel explains the necessity to invest resources in the conservation of knowledge base embodied in our craft persons. The project, Restoration of the Gates of the Old City of Rajkot by Architects Ashish and Poonam Trambadia is an example of protection of traditional knowledge pattern for settlement development. While preparing a master plan for a city, how do we decide what is of heritage significance and what is not, especially when we look at a historical and ancient city like Delhi? Purushottam Uttarwar, the Additional Commissioner (Planning) at Delhi Development Authority explains conservation aspects considered for Master Plan Delhi 2021 in his article. Conservation of built heritage contributes in may ways to achieve environmental balance in human affairs, or 'sustainable development'. The restoration of Jadhavgarh Fort to a magnificent heritage hotel by Ar. Karan Grover demonstrates how retention, rehabilitation and reuse of old buildings can play a pivotal role in the sustainable development of historic precincts. Aishwarya Tipnis Architects demonstrates the marriage of modern thought and technologies within a traditional setup while restoring a colonial bungalow. Our Cultural Heritage is an important asset which is often ignored when in the public arena. It may be interesting to find out how a unique endeavour by the Government of Madhya Pradesh, Department of Culture and the World Monuments Fund made The Madhya Pradesh Monuments Project (MPMP) possible. Another such project presented in this issue is the restoration of Aam Khas Bagh, a unique example of conservation of a traditional & ancient Persian garden, undertaken by Cultural Resource Conservation Initiative (CRCI). This issue also presents two projects which won the covetous Unesco Asia-Pacific awards for cultural heritage too - the conservation of the 130-year old town residence by architect Vikas Dilawari and a 300 year old temple complex by Kimaya architects. Many places of social and cultural significance are threatened in a changing world. Historical places, objects and manifestations of cultural, scientific, symbolic and spiritual value are important expressions of culture, identity and religious or spiritual beliefs of societies. Their role and importance, particularly in light of the need for cultural identity and continuity in a rapidly changing world, need to be understood and promoted. Curatorship means coming to terms with time, creating a long now, 'Connecting the past to the future through living in the present'.

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INDEX

INDEX OF ADS Page nos. AB Ceramic Services ....................................................................................09 Anchor Electricals Pvt Ltd ............................................................................03 Anchor Electricals Pvt Ltd 1..........................................................................11 Anchor Electricals Pvt. Ltd............................................................................15 Ansa Interiors ...............................................................................................45 Asian Business and Conferences Ltd 1......................................................23 Crystal Sanitary Fittings Pvt Ltd ..................................................................61 Encraft India Pvt. Ltd....................................................................................07 Futura Kitchen Sinks India Pvt Ltd ..............................................................33 Futura Kitchen Sinks India Pvt Ltd 1 ...........................................................69 Gujarat Guardian Limited ........................................................................... BC Hospital Infrastructure & Management .....................................................65

Architecture Update, India's leading publication on Architecture-Interiors-Landscape, is interested in knowing what its readers feel about their favourite magazine. AU also welcomes opinion on any other topic or issues of concern from its esteemed readers.

Innovative Tensile Pvt Ltd ............................................................................17 Jindal Aluminium Limited ............................................................................51 Jupiter Aqua Lines Ltd..................................................................................13 K Lite Industries............................................................................................57 Philips India ................................................................................................ IBC Premier Bars Pvt. Ltd. .................................................................................. IFC

Just write to Feedback, Architecture Update Economic Research India Pvt Ltd, 5/7 Sterling House, Sorabji Santuk Lane, Off Cawasji Hormasji Street, Dhobi Talao, Mumbai - 400 002 or mail at editor@eril.co.in. You can also call on 022-67121806 or fax on 022-67121827

Roca Bathroom Products Pvt. Ltd. ..............................................................05 Sleek Boards (I) LLP......................................................................................73 Speciality Value Lighting & Design (P) Ltd .................................................19 Vashi Electricals Pvt Ltd ................................................................................21

RESPONSE

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06 Architecture Update December 2014

DISCLAIMER This book is for information purposes only. All rights reserved. All copyright in this book and related works is solely and exclusively owned by Economic Research India Pvt. Ltd. While due care has been taken during the compilation to ensure that the information is accurate to the best of Economic Research India Pvt. Ltd.' knowledge and belief, the content is not to be construed in any manner whatsoever as a substitute for professional advice. Economic Research India Pvt. Ltd. neither recommends nor endorse any specific products or services that may have been mentioned in this book and nor do they assume any liability or responsibility for the outcome of decisions taken as a result of any reliance placed on this document. Economic Research India Pvt. Ltd. shall not be liable for any direct or indirect damages that may arise due to any act or omission on the part of the user due to any reliance placed or guidance taken from any portion of this book.

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Contents DECEMBER 2014

ISSUE 11 VOLUME 08

CONSERVING A VANISHING TYPOLOGY Esplanade House, Fort, Mumbai Vikas Dilawari, Conservation Architect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

RAJKOT ON THE STROKE OF TIME Raiyanaka Gate and Bedinaka Gate, Rajkot, Gujarat, India Ashish and Poonam Trambadia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

THE RESURRECTION OF THE COLONIAL PAST Pateria Bungalow, Wright Town, Jabalpur, Madhya Pradesh, India Aishwarya Tipnis Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

VIGNETTES FROM THE PAST Sculpture Gallery, Chatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai Abha Narain Lambah Associates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

BAGH I HAFIZ RAKHNA Sirhind - Fatehgarh Sahib, Punjab, India Cultural Resource Conservation Initiative (CRCI) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

REVIVAL OF A MARATHA FORT Jadhavgarh Fort, Pune, Maharashtra Karan Grover and Associates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

FOR THE DIVINE INTERVENTION Restoration of Shri Sakhargad Niwasini Devi temple complex, Satara, Maharashtra, India Kimaya Architects Conservationists Urban Designers Valuers, Pune . . . . . . . . . . . . . . . . . .52

WHAT ELSE IS HERITAGE? Parul Zaveri & Nimish Patel, Panika - Planning, Architecture, Conservation & Interior Design Consultants, Ahmedabad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

DELHI MASTER PLAN PROVISIONS P.S.Uttarwar, Director (Planning), Delhi Development Authority . . . . . . . . . . . . . . . . . . . . . . 62

KEY ASPECTS AND CHALLENGES OF HERITAGE CONSERVATION IN INDIA Pappal Suneja, B. Arch 4th Year; Guru Nanak Dev University, Amritsar, Punjab . . . . . . . . . .66

THE MADHYA PRADESH MONUMENTS PROJECT - CASE STUDY Government of Madhya Pradesh, Department of Culture and the World Monuments Fund . .70

Cover Photograph: Courtesy, Pappal Suneja, B. Arch (4th Year), Guru Nanak Dev University, Amritsar, Punjab

08 Architecture Update December 2014

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Pulse architects

A Museum at Humayun's Tomb

elhi will get the first site museum for a world heritage monument at Humayun's tomb. It is to be a world class structure built with the help of The Aga Khan Trust for Culture (AKTC) on behalf of Archaeological Survey of India. Vir Mueller Architects is to to design the museum and Shaheer Associates will be creating the landscape. It will be designed similar to the Aga Khan Museum in Toronto and it will sport naturallyilluminated galleries set amid a Mughal-inspired landscape. The Humayun's Tomb site museum is planned as a sunken building bridging the three areas of Humayun's Tomb, Sunder Nursery and Hazrat Nizamuddin Basti, without compromising the visual linkages between monuments standing within the complex. The museum will host a permanent exhibition and contain an auditorium, a souvenir shop, performance spaces and a cafe as well as a crafts demonstration arena. The exhibits will comprise new technology-digital walkthroughs, new media, short films, 3D visuals and models-to explain to visitors the development of this part of Delhi over the last 700 years.The part of the building within Sunder Nursery will have an area for temporary exhibitions, seminar rooms and food court. It will be inspired by the medieval monuments it draws

attention to and yet use contemporary design and modern building materials which will enhance the setting rather than compete with its architectural heritage. Courtyards will ensure that galleries and corridors are naturally lit, allowing displayed architecture and objects to be seen up close. The Humayun's Tomb Site Museum, largely below ground, including Mughal hamams, baolis and tykhanas, will benefit from the earth's thermal efficiency. Dependence on artificial cooling will be limited only to where it's required to ensure preservation of the exhibits. The roof of the site museum will merge with the garden setting of Sunder Nursery and Humayun's Tomb. Like Aga Khan Museum, the Humayun's Tomb site museum, too, will have dedicated spaces for cultural performances to showcase the 700-year-old musical tradition of Nizamuddin. In keeping with UNESCO regulations, AKTC carried out a groundpenetrating radar survey and confirmed lack of any underground archaeology. It also submitted a heritage impact assessment report. Building design has ensured that not a single tree was sacrificed. Archaeological Survey of India has now sought necessary statutory approvals to commence construction within the year. Sources said, clearances are expected to come through quickly, seeing as the ministry of culture is also planning similar facilities for the Taj Mahal and Qutub Minar world heritage sites.

Green Tour of the Indira Paryavaran Bhawan he Energy and Resources Institute (TERI) and ADaRSH (Association for Development and Research of Sustainable Habitats) organized a Green Tour of the Indira Paryavaran Bhawan at Delhi, India's first net zero energy building, which has been constructed through the adoption of solar passive design and energy efficient building material. The building has got GRIHA 5-Star (provisional) rating for the following features: The design is such that 75 per cent of natural daylight is utilized to reduce energy consumption. The entire building has an access friendly design for differentlyabled persons. With an installed capacity of 930 KW peak power, the building has the largest rooftop solar system among multi-storied buildings in India. The building is fully compliant with requirements of the Energy Conservation Building Code of India (ECBC). Total energy savings of about 40 per cent has been achieved through the adoption of Energy Efficient Chilled Beam System of Air Conditioning. This is an innovative air conditioning system, where air conditioning is done by convection currents, rather than air flow through air handling units, and chilled water is circulated right up to the diffuser points unlike the conventional systems. Green materials have been used

CTBUH Names One Central Park "Best Tall Building Worldwide" for 2014 he Council on Tall Buildings and Urban Habitat (CTBUH) awarded One Central Park, Sydney, Australia, the title of "Best Tall Building Worldwide" at the 13th Annual CTBUH Awards Ceremony and Dinner. As part of a nearly year-long juried selection process across 88 entries, the Awards Jury first selected a Best Tall Building in four regions: the Americas, Middle East and Africa, Europe and Asia & Australasia. Senior representatives of each of these four winners then gave a presentation at the CTBUH Awards Symposium November 6, 2014 at the Illinois Institute of Technology, Chicago, with the Jury convening immediately afterwards. The winner was announced at the Awards Dinner following the

010 Architecture Update December 2014

Symposium. One Central Park, designed by Ateliers Jean Nouvel, uses two unusual technologies for tall buildings - hydroponics and heliostats - to grow plants around the periphery of the building at all levels. The shading saves cooling energy, while the heliostat directs sunlight for heating and lighting into or away from the building and the adjoining park when it is most needed. The project presages a future in which biomimicry is no longer a radical concept in architecture. insted, strategically casting light about itself, the design reduce rooftop heat loads and stir visual interest at height and on the ground, while enshrouding itself in lush greenery. By showcasing the green art of the possible, One Central Park ascribes a tantalizing literalness to the expression "a forest of skyscrapers."

like fly ash bricks, regional building materials, materials with high recyclable content, high reflectance terrace tiles and rock wool insulation of outer walls. Use of renewable bamboo jute composite material for door frames & shutters. UPVC windows, with hermetically sealed double glass. Calcium Silicate ceiling tiles having high recyclable content, and grass paver blocks in pavements and roads. Reduction in water consumption has been achieved by the use of low discharge water fixtures, recycling of waste water through Sewage Treatment Plant, use of plants with low water demand in landscaping, use of geothermal cooling for HVAC system, rainwater harvesting and use of curing compounds during construction. Speaking about the energy efficiency of the building, Mili Majumdar, Director, Sustainable Habitat Division, TERI, said that the Indira Paryavaran Bhavan is one of the first buildings in India to have deployed energy efficiency and renewable energy technologies at a large scale. It is one of the exemplary projects to be rated under GRIHA and has set standards that can be emulated by upcoming buildings in the region. The building is an earthquake resistant structure, with a total plinth area of 31,488-sq m. The building covers only 30 per cent of the total area, while more than 50 per cent area, outside the building, is a soft area with plantation and grassing. The building has a robotic parking system in the basement that can accommodate about 330 cars. Thin client networking system has been provided, instead of conventional desktop computers to minimise energy consumption. Buildings have an enormous impact on the environment, human health, and the economy. The energy used to heat and power our buildings leads to the consumption of large amounts of energy, mainly from the burning fossil fuels, oil, natural gas and coal, which generate significant amounts of carbon dioxide (CO2), the most widespread greenhouse gas. The successful adoption of green building strategies can maximize both the economic and environmental performances of buildings.

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Pulse brands

Carrier Unveils Innovative Solution in the Sistine Chapel

arrier,one of the world's leaders in high-technology heating, airconditioning, announced the installation of an innovative heating, ventilating and airconditioning (HVAC) solution for the Sistine Chapel at Vatican, developed to help preserve Michelangelo's masterpieces against deterioration caused by increasing numbers of visitors. The new system uses two Carrier AquaForce(R) 30XWV watercooled chillers with Greenspeed(R) intelligence, each with 580 kilowatts of capacity. It leverages specially designed software and components, as well as patented, energy-saving technologies to maintain optimal

climate conditions for the protection of the paintings within the chapel. An intelligent system of controls, linked with an advanced video application from UTC Building & Industrial Systems, enables the HVAC system to anticipate visitor levels and adjust its performance intuitively. The new system delivers twice the efficiency and three times the capacity of the former system, which was built and installed by Carrier in the early 1990s. To ensure the smooth operation of the new system, the Vatican has chosen to enter into a five-year maintenance contract with Carrier Distribution Italy SpA. The company's expert global team of AdvanTE(3) C engineers developed the solution, working in close collaboration with the Vatican's technical teams and using leadingedge computer modeling and simulation techniques. The engineering team overcame several challenges to meet the chapel's unique requirements. The system carefully manages the flow, humidity, quality and temperature of the air; maintains sound at "church-quiet" levels; is virtually invisible to visitors; and uses pre-existing duct openings in a protected, historic landmark setting. It was also designed to be adaptable to future needs.

Bentley Systems Join Hands with Siemens

Anchor Unveils Professional LED Lighting Solutions nchor Electricals (A Panasonic Group Company) announced the launch of its new professional LED lighting solutions for its consumers. The latest offerings from the house of Anchor offer reliable lighting solutions for all kinds of commercial, retail and hospitality sectors.The new range of the LED lights by Anchor have been aesthetically designed conforming to the highest engineering standards and are equipped with the latest technology to match the taste of consumers. They come equipped with specially designed heat sink, anti-glare diffuser and separate energy-efficient electronic drivers, thereby offering a long service life, unique structural design and peerless safety of operation. The new solutions feature product series- the SmartArchi Series of high-end architectural luminaires

and the PROiD Series of integral-type LED base lights especially designed for the Indian consumers. The SmartArchi high-end architectural luminaires focus on the superiority of light and high quality lighting design. This Made-In-Japan series with the concept of "Giving freedom to architecture" features a total of 92 models in the lineup designed for wide range of offices and stores. The PROiD Series of LED base lights, incorporating the light fitting itself with the light bar has 54 models. The Best-Buy range of products custom designed for Indian business segments includes 130 products such as Spot lights Panel lights, Down lights, Batten lights etc. These LED lights demonstrate the importance of carefully-crafted lighting in the consumer's day-to-day life.

Häfele India Partners with Caesarstone äfele India announced its partnership with Caesarstone, a pioneer in the development of quartz surfaces and the world's premium quartz manufacturer. Caesarstone quartz surfaces are made of 93 per cent natural quartz making Caesarstone strong, nonporous, low maintenance as well as impact, stain, heat and scratch resistant. Apart from the above benefits, Caesarstone quartz surfaces are also environmentally friendly. Speaking at the launch Jürgen Wolf, Managing Director, Häfele India Pvt. Ltd. said that by adding Caesarstone products to the portfolio, Häfele offers all those looking to create exceptional personal interiors a starting point for their creative endeavors and create a unique stamp on any room which is strikingly different than any other. Balakrishnan Pillai, Manager - Caesarstone, Häfele India added that these products represent high-quality precision based engineering and patented technologies that will redefine the Indian market. Caesarstone quartz surfaces fall under the super premium category owing to its exclusivity and numerous benefits over other natural and composite surfaces. Consumers can purchase Caesarstone quartz surfaces through Häfele India's dedicated helpline number (18002666667) or emailing on customercare@Häfeleindia.com.

entley Systems,the global leader dedicated to providing architects and allied professionals with comprehensive software solutions for advancing the design, construction, and operations of infrastructure, and Siemens PLM Software announced their latest actions to further enhance the integration of the digital product and process lifecycle with the factory's digital design. The companies have integrated Bentley's point-cloud building information modeling (BIM) advancement with the state-of-the-art process simulation tools in Siemens' Tecnomatix® software for 3D digital factory automation. This will enable users of Siemens' product lifecycle management (PLM) software solutions to work from enhanced 3D

012 Architecture Update December 2014

digital models of existing factories in their "as-operated" conditions - by leveraging the models created from point clouds captured through scanning. The announcement was made at The Year in Infrastructure 2014 Conference, a global gathering of leading executives in the world of infrastructure design, construction, and operations.Bentley's industrial BIM applications already leverage several of Siemens' PLM Component software tools including Parasolid® software, D-Cubed™ software, and the JT™ data format. As a result of this agreement Siemens PLM Software will now leverage Bentley's Vortex point-cloud technology and incorporate it into other appropriate Siemens applications as the opportunities continue to expand.

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Pulse brands

AIS Brings Windshield Experts & Glasxperts Under One Roof

Redefining Bathroom Luxury: The Armani/Roca Collection he Armani/Roca collection, recently launched in Hyderabad at AparnaUnispace, a plush sanitaryware showroom in Jubliee Hills, impressed a large gathering of leading consultants and specialists in the fields of design and architecture. This is a fully integrated concept of elegant and practical interior design, created exclusively by two worldwide brand leaders in their own business categories. The most advanced technological solutions combine with elegant and sophisticated luxury to transform the bathroom into an almost sacred place, where all five senses will be stimulated in a pleasurable way. Both brands present a groundbreaking result of their mutual collaboration: the highly innovative Armani/Roca bathroom collection. Together, Armani and Roca have created a refuge where an intimate and personal form of wellness can be enjoyed. This collection is a unique concept in bathroom interior design, which is based on integrating all of the required elements into a space in a comprehensive configuration.

sahi India Glass (AIS), India's leading integrated glass company, inaugurated a first-of-itskind store in the Punjabi Bagh area in New Delhi. The Company has brought two of its signature expert service providers in glass, Windshield Experts and Glasxperts, together under one roof. AIS wants to give its' customers the convenience of a 'one-stop solution'

for all their glass requirements, all in one place. The advantage of bringing these two 'experts' under one roof is that customers can now discover a whole new world of possibilities in glass, be it for their living spaces, their business or their car. "This unique store brings us one-step closer to our customers. An opportunity for us to give them all the great services we offer in one convenient destination. They can discover a world of possibilities in glass, for their car, home and office. That's the idea behind the store," said Vikram Khanna, COO Consumer Glass, Asahi India Glass Limited.

HSIL Commences Commercial Operations at Kaharani plant leader with largest market share in the organized sanitaryware market, HSIL commenced commercial production at its most modern Greenfield state-of-art automated, 'faucet' plant at Kaharani in Rajasthan. It has a capacity of 2.5 million pieces per annum and is the country's first bath fitting plant to introduce Robotic grinding technology and fully automatic Dust free Electroplating line, which ensures precision, uniformity and quality across its production line. HSIL has Invested Rs 120 crore and aims to become the second biggest player in the category. R B Kabra - President, HSIL said that with commencement of the Kaharani faucet plant, HSIL will be one of the integrated bathroom products manufacturer and supplier of sanitaryware.Use of technology at each stage of the manufacturing process is the hallmark of 'hindware' faucets, starting with the core to long lasting shine on the surface. The entire production assembly boasts best of machinery from around the world.

Somany Inaugurates its 1st Showroom in Lucknow omany Ceramics Ltd, one of the leaders in the Indian ceramic industry, inaugurated its first Grande showroom, Baba Shree Sales Corporation, in the city. The showroom is located at 4, Pratap Nagar, Near Terhi Puliya, Kursi Road, Lucknow. It was inaugurated by Shreekant Somany, Chairman & Managing Director, Somany Ceramics and Deputy Chairman,

Northern Region, Confederation of Indian Industry (CII). The newly launched Grande showroom will give people the access to high-end, international quality tiles, sanitaryware & bath fittings products at their door step. The showroom has on offer a wide product range and also exhibits the choice in usage of tiles, sanitary ware and bath fittings through state-of-the-art displays.

Wienerberger Introduces 'Smart Brick Solutions' ienerberger AG, one of the World's largest brick manufacturers headquartered in Vienna, Austria, launched the 'Smart Brick Solutions'. The Smart Brick Solution includes the all-new Porotherm Vertically Perforated interlocking 'Tongue and Groove' (VP T&G) clay bricks. In combination with super glue named DRYFIX System, which ensures faster construction and optimizes the use of natural resources, it is actually the strongest brick in the market. During the launch, Christof Domenig, CEO Clay Building Materials Europe, Wienerberger AG spoke about the latest innovation from Wienerberger. Appaiah

014 Architecture Update December 2014

Christof Domenig, CEO-Clay Building Matcrials, Wienerberger AG, Vienna and Monnanda Appaiah, Managing Director, Wienerberger, India showing the live demonstration of construction of a I sq m wall using the Smart Brick Solution.

Monnanda, Managing Director, Wienerberger India said that he VP T&G bricks are not only the strongest in-fill masonry products available on the market. They provide also thermal insulation, are 100 per cent natural and light weight. The DRYFIX System - to be specifically used with VP T&G bricks - is a quick-fix adhesive system that clears up with conventional construction practices, enabling faster construction and significant cost savings. This is an ideal solution to achieve optimal labor utilization and promote less dependence on dwindling natural resources like sand and water. In addition this solution ensures a clean and dry construction site.

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new launch The Bake Basket from Frazer and Haws ake Basket collection by Frazer and Haws is an exclusive range of accessories to make the rich plum and sweet delicacies more delicious in this Christmas season as the occasion is all about bakeries. Cookies, pastries, plums, puddings and a lot more compiled to complete the menu for a Christmas evening. Frazer and Haws with its sterling silver articles have added a different flavor to the sweetness. With rich red and green maples being the color of the season, Christmas is sure to be a bigger party this year. Decorate your Christmas tree with shining stars as your table will shiner brighter with Frazer n haws. Available at Frazer and Haws Showroom in Delhi and Mumbai.

016 Architecture Update December 2014

Pitter Platter from Alchemy De Luxe ith a flare of festivities and party season doing its rounds, Alchemy De Luxe has added the Pitter Platter collection which showcases some of the exquisite sterling silver platters on marble and Venetian Murano glass. Their Snack platters are a creative affair. The quirky look and mix of chirpy colours is attained amalgamating elements with sterling silver. The contrast of Green and fuchsia on sterling silver is simply ecstatic. Give royal treatment to your guests with this multi-purpose platter from Alchemy De Luxe.

Price: on request Availability: Alchemy De Luxe, 13 Mehrauli -Gurgaon Road, New Delhi; Ph - 01141662500; Email info@alchemydeluxe.in

Decorative Candles from Vedic Collection or this Christmas and New Year these beautiful Candles are a new introduction by the Wellness brand the Vedic collection for your homes and also for gifting. This candle would make for a very decorative

table center piece and comes in different colours. This beautiful collection also includes candles that are made of cinnamon and resin. As the candle heats up the bark fiber the scent is dispersed in the air leaving the room smelling fresh & warm Price- Rs. 50/- to Rs. 5000/Availability: www.vedic-collection.com

"VRIETI" Unveils in India howcasing a new formation of home dĂŠcor accessories & furniture with stylish, unique and bold offerings, "VRIETI" was launched at NCPL Web Tower A-4, Sector 9, Noida. Integrating a mix of classic and contemporary elements, this luxury brand is a one stop destination for all home

solutions. Showcasing inimitable pieces of home accessories, VRIETI brings an exclusive collection of quality home dĂŠcor pieces that include mirrors, artificial flowers, photo frames, vases, figurines, artworks, dinnerware, glassware, candles, lanterns, candle stands, recliners, cushions and bed linens that are reflective of the latest trends worldwide. This flagship store is a venture by Noida Cement Pvt. Ltd.

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new launch Infinity Height Adjustable Table (HAT) by Haworth aworth, a global leader in its field of innovative workspace designs that improve performance, provides the complete office solution tailored to meet and surpass the needs of a broad range of end users. Infinity HAT responds to the needs of wellness-focused employers and employees in today's global workplace. Catering to both freestanding and work cluster applications, Infinity HAT

offers technician height and user height adjustability and features a centralised cable channel and under-desk cable tray for proper cable management. Offering both hand crank and motorised adjustability with the option to incorporate the universal rail and accessories also available for the rest of the Infinity system, Infinity HAT seamlessly integrates across your floor-plate.

018 Architecture Update December 2014

Godrej Interio Introduces Boomerang & Plunge Sofa

'KooFIT' from Koochie Play

oomerang: Solid armrest of sofa chair provides support and comfort while the gentlest line curve results in an equalized ambience which complements all surroundings. The backrest is made of cotton strings which are flexible & the Seat is made of molded foam with fabric cushion. The Sofa chair and coffee table along with corner table augment each other to form the integrated gestalt. Dissociate the primary elements and each one is perfect on its own. This sofa chair can be used for multiple seating activities formal seating at living room or causal seating at bedroom and balcony.

Plunge Sofa: White is style, elegance and creates a mood of sophistication. The gentle straight line of sofa and the curve of cushions, contrast each other and results in an equalized ambience which compliments all surroundings, from basic to complex. The integrated coffee tray makes conversations even more interesting. Features: All colours, forms and materials are of the most natural earthbased nature providing an amplified harmony. The gentle straight line of sofa and the curve of cushions, contrast each other and results in an equalized ambience which compliments all surroundings, from basic to complex. Perfect high-density molded foam, adorned with PU upholstery of highest grade and impeccable natural grained extruded wooden element culminates into a superfluous crystallization of high tech form and function. Generous armrest design results in floating comfort. The movable aluminum powder coated coffee tray adds to the functionality of the sofa manifold.

Stellar's Latest Range of Desks tellar Furniture & Lifestyle, a leading furniture firm, has launched executive desks, manufactured under the skilled craftsmanship of experts. This wide range is a blend of modern and neo classical styles. This array of desks comes in three different hues i.e. Wenge with silver, Zebra oak with black, Red walnut with black. It is 100 per cent melamine laminated and its surface is toughest and long lasting. The inner view of any desk from this range consists of a side return, three drawer pedestal & key Board trey with a combination of various accessories like filp up box, stylish cable organizer etc. Availability: 2/88, WHS, Kirti Nagar,Opp. Saraswati Garden Main Entry, New Delhi. Price: Rs 5000/- to 1,00,000

oochie Play Systems, who design and manufacture outdoor playground systems, launched 'KooFIT' - a range of outdoor gyms at a gathering of architects, consultants, builders and media at Mumbai. KooFIT exercise equipment has been designed and developed by sports and exercise professionals to provide strength, cardiovascular, flexibility as well as balance & co-ordination training for all the major muscle groups and for all ages and abilities. The use of this equipment makes exercise available to all while encouraging the use of green spaces, healthier living, social interaction and fitness and most importantly getting people outdoors. These units can be installed in a variety of public locations such as residential condominiums, public parks, beaches, school campuses, playgrounds, resorts, hotels, prisons, and many more. A range include an elliptical trainer, a chest press, lat pull down, parallel bars, and exer-cycles. www.koochieplay.com

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new launch 3s India Launches Prefabricated Lowcost Toilets on World Toilet Day s India, a Saraplast division, launched their first Pre cast low cost toilet for rural and urban India on the occasion of World Toilet Day In lieu of the United Nations-sponsored initiative which aims to replace silence with action. The boi toilets launched by the company are as sturdy as constructed toilets and help address the problem of land crunch in various areas. These toilets comes with attached waste collection tanks which can be converted to a bio digester and require low water usage which will address the sanitation needs of the rural and the urban population in India. 3s India in association with the Shelter Association, Pune has already installed two bio-toilet units in the Aundh area of Pune and these are also available pan India. Today, more than half of the country's population has no access to sanitary installation leading to health issues in women and death of children from water born diseases. 3s India in their support to the Central Government's 'Swach Bharat Abhiyan' initiative, is working towards providing India with hygienic and eco-friendly washrooms.

020 Architecture Update December 2014

TOTO's New Renesse Bathroom Collection OTO's new Renesse bathroom collection unites comfort, aesthetics and technology to provide its users with the comfort and well-being. The new Renesse collection features an elegant, streamlined design. Renesse Square Geometry offers a number of technical innovations for improved comfort and hygiene in the bathroom in line with TOTO's design philosophy. The Renesse washbasin feature CeFiONtect glaze and has a smart and light-weight design. It is available in two sizes. The ultra-smooth CeFiONtect glaze makes the ceramic surface brilliant and durable; preventing mould, limescale and waste from accumulating. Unlike conventional ceramic coatings, CeFiONtect can be cleaned with microfiber cloth.The Renesse washlet has the features like warm water spray for intimate cleansing, heated seat, dryer and odour-absorbing deodorizer. it has a new ewater+ function. The washlet sprays the toilet bowl with water prior to use, making it more difficult for waste and dirt to accumulate. After the toilet has been used, the washlet sprays the toilet bowl once again with electrolysed water. This antibacterial ewater+ actively prevents the build-up for limescale and waste, keeping the toilet bowl cleaner. Renesse toilet comes equipped with the standard CeFiONtect glaze, Tornado Flush and rimless design.

arryware, the pioneer in bathroom solutions in India, launched the Galaxy faucets. The Mid-Eco singlelever range is a perfect balance between superlative aesthetics, innovation in design and best-in-class technology. They are available in 8 variantsand comprise of deck-mounted sink mixers, wall-mounted concealed basin mixers, pillar taps and concealed diverters. All items in the range are certified and come with a warranty of 10 years.

Roca's new collection of Open Faucets oca, with a century old legacy of innovation in the bathroom space, has launched an exclusive range of designer Open Faucets. The faucets exemplify matchless sophistication in form and reduce water consumption. The Basin Mixer and High-Neck Basin Mixer are an epitome of style and utility. The open basin mixers give users a new and unrivaled water experience with their high-quality finish and stellar, original design. They enable a "through the hole" and "rain" experience with the handle at the back that prevents the water from staying in the handle. The new collection embodies the brand's signature passion for innovation and design coupled with environmental responsibility. The OPEN - Basin mixer with pop-up waste is priced at Rs. 46,000. The OPEN- High-neck basin mixer with pop-up waste is priced at Rs. 64,000.

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new launch TwinSash from ENCRAFT

The High-speed Horizontal Opening Door System from Butzbach

winSash is a very versatile UPVC window product from ENCRAFT. Through its quadruple weather seals it offers excellent dust and sound proofing. The window can achieve a sound reduction of up to 45 dB with ENCRAFT's unique and cost effective CFGI glazing solution. It is energy efficient, comfortable and affordable fenestration solution for all. It brings the unique concept of thermal Performance. It can achieve Uw values of 4.6 W/m2K by using simple 5mm glazing and go as far as giving 0.8 W/m2K by using double glazed units. It consists of two ENCRAFT sashes joined by a deep outer frame section which is truly a unique concept in uPVC. The variations and uValues achievable with the ENCRAFT TwinSash are second to none in the Indian Market. Availablity: 70 Okhla Industrial Estate,PhaseIII,New Delhi; Contact No; +91-11-23730505; Contact mail id ; info@encraft.in; Website ; www.encraft.in Price- On Request

OVOSPRINT- The high-speedhorizontal opening door system from Butzbach is a market leader for last 30 years and is yet faster than ever. The recent advancements in engineering offer yet more benefits to the user. With the changeover from hydraulics to electric drive, the NOVOSPRINT® with an opening speed of up to 5 metres/sec. is one of the fastest industrial doors in the world. This technique makes the entire passageway height available simultaneously, and just in half of the time, has remained the winning principle for Butzbach NOVOSPRINT® series. Butzbach has been continuously developing the technology that keep the door always state-of-the-art, said Col Harbinder Singh, Vice President, Jugapro, the partner agent for Butzbach doors in the India. The recent changeover from hydraulics to a more efficient electric drive has increased the opening speed yet again and made the door even more efficient.The horizontal opening principle provides safety - both for the user and for the door itself. The entire passageway height is available simultaneously on both sides. A collision with goods on a fork-lift truck, or even a crash with the vehicle itself, which can happen with a vertically running door that has not completely opened above the line of sight of the driver, is practically ruled out. This protects the employees against accidents, but also the goods and the door itself against damage.

022 Architecture Update December 2014

Blueseal from Dr. Fixit r. Fixit, the waterproofing expert, from the house of Pidilite Industries launched Dr. Fixit Blueseal at the AceTech 2014 held in Mumbai. This product provides fool proof waterproofing system that is leak-free and guarantees a superior performance in comparison to Brickbat Coba. Blueseal also bagged the prestigious Design Wall Award 2014 for its extraordinary innovation. Dr. Fixit Blueseal is a unique Spray Applied Polyurethne Waterproofing System with no joints. It offers 2 ½ times better insulation and the manpower required is just 1/10th as compared to brickbat coba. Dr. Sanjay Bahadur-Global CEO, Construction Chemicals, Pidilite Industries said that Dr. Fixit Blueseal is an innovative waterproofing product for the roofs and has 3 times more life expectancy than Brickbat Coba.

'NITCO Magnified' from NITCO Tiles ITCO has launched 'NITCO Magnified' - a collection of large format glazed vitrified tiles in three different variants. 'The Stellar Stone' range is inspired by heritage rocks. The 'Marble Mammoth' range offers an endless selection of classic designs with a fusion of captivating textures. The 'Wondrous Wood' range offers soothing wood designs and beautiful textures that give one the calming feeling of being close to nature. 'The Stellar Stone' and 'Marble Mammoth' range is available in sizes of 600 x 1200 mm and 'Wondrous Wood' is available in 200 x 1200 mm. NITCO Magnified collection uses modern age 6 color prism printing HD Digital technology that provides an exact impression of colors and textures like stone, marble and wood bringing minute details alive. This technology on large format tiles serves the purpose of curing claustrophobia in an innovative way, giving one an open, roomy and spacious feel. They offer high breaking strength, high abrasion resistance with less bend and warpage features compared to existing tiles in the market.

The price of this collection starts at Rs 140 /sq ft.

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Repairs and Restoration 19th century mansion

The magnificent 130-year old town residence, Esplanade House in Fort, Mumbai, was the home of the pioneer industrialist Jamsetji Nusserwanji Tata, the founder of the Tata Group. The building is noted for its European architecture with intricate decorative details, combined with ornate Indian window eves or 'chhajas'. It showcases some of the finest cast iron works too. Conservation Architect Vikas Dilawari revived the dilapidated stately mansion and restored it to its original glory, infusing adaptive reuse. The restoration of Esplanade House won an Honourable Mention at the 2014 Unesco Asia-Pacific Awards for Cultural Heritage Conservation.

Conserving a Vanishing Typology Text & images: Courtesy, the architects

Esplanade House, Fort, Mumbai Vikas Dilawari, Conservation Architect

onstructed in 1885 and completed in 1887, the Esplanade House at Hazarilal Somani Marg, behind Bombay Gymkhana, Fort, Mumbai is noted for its intricate decorative details which are different on every facade. The grand private residence gradually fell to seed over the decades. Conservation Architect Vikas Dilawari revived the dilapidated stately mansion and restored it to its original glory, infusing adaptive reuse, which has earned him his tenth Unesco Award. The mansion has extensive use of etched glass with floral patterns and with decorative and mythical images relived on a very high quality

024 Architecture Update December 2014

stained glass. Ornate decorative teakwood screens are also present serving as ventilators. The paintings on stucco plaster, oil paintings on the ceiling, gold gilding on cast iron works, the roman mosaic tiles and the ivory inlay work add to the buildings exclusivity. The building design was constructed based on Jamshetji Tata's ideas. Morris (of Gostling and Morris a local firm) assisted to execute these ideas to reality. The front facade is symmetrically relieved by a central portico with three semi circular arches with an exclusively decorative Iron Gate that dons the entrance with the crest of the Tata. Above the arches, the pattern changes with the ornamental cornices and the use

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Photo: Anthony Azavedo

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Vikas Dilawari is a practicing conservation architect with more than two and half decades of experience exclusively in the conservation field, He has done his double Masters in Conservation from School of Planning and Architecture (New Delhi) and from the University of York. He was the Head of Department of Conservation at Kamla Raheja Vidyanidhi Institute of Architecture (KRVIA) Mumbai from its inception in 2007 till August 2014. His practice has successfully executed several conservation projects ranging from prime landmarks to unloved buildings of Mumbai. He was instrumental with INTACH Mumbai chapter to list the CST station as a World Heritage Site in 2004. Several of his projects have received national recognition. A total of ten of his projects have won UNESCO ASIA PACIFIC Awards for Cultural Preservation in SE Asia. Prof Dilawari has lectured and written extensively on the subject of conservation nationally and internationally. He was one of the reviewers on technical mission of ICOMOS to review the works at World Heritage Site of Ayutthaya in Thailand in May 2014. He is a Trustee of Indian Heritage Cities Network (IHCN),Co- Convener of INTACH Mumbai Chapter and a member of Mumbai Heritage Conservation Committee (MHCC). He was member Board of Governors of MMR HCS (Heritage Conservation Society) from 2009-2011. He is named in the latest Architectural Digest AD 50 Awards as the most influential names in Indian Architecture and Design.

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of bulls eye windows. The intricate detailing is evocative of the best of Indian architecture although the architects were British. Its graceful curvilinear lead sheet chajja's over the bay windows resting on the equally decorative cast-iron brackets with built-in gutter give elegance and grace to this residential structure reminding one of a Parisian Villa. The facade has the use of beige local trap stone relieved by white limestone and sandstone from Porbandar and Dhangadhra respectively used for 19th century Neo Classical decorations apart from the very early use of imported terra-cotta from J. Stiff & sons, Lambeth, U.K. for its urns and balustrades. The building has some of the finest cast iron works as seen now in its main gate, staircase, indoor tympanums and the inclined inter- connecting bridges.

HIGHLIGHTS OF THE PROJECT The Esplanade House is one of the finest and the only residential building originally owned by Jamshetji N Tata in the Fort precinct, which came up after the demolition of the fort walls in 1860's. This project is a unique example to show how adaptive reuse, reviving traditional skills

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coupled with present technology and patronage of the client can demonstrate to the city and its administration that conservation can work and lead the past into a good future. This project revives one such dilapidated stately mansion in the core of the city restoring it to its original glory and infusing adaptive reuse. This project also illustrates that such run-down buildings can be revitalized to its original palatial form if the right patronage is received despite government giving no financial incentives. The R.D.Sethna Scholarship Fund is a charitable trust which owns this property presently and deserves all credits for deciding to conserve the property. Part of the Ground floor has been leased to an Advertisement company RRKSBDO who are sensitive to the heritage and have done an adaptive reuse of the entire Ground floor space. RD Sethna Scholarship Fund through efficient management of their property have been managed to generate funds and have ploughed this back on the repairs and maintenance of the building. Hence this becomes amongst the first examples in city to demonstrate that frozen rents due to rent

In Mumbai, redevelopment is taking over conservation as the government incentives are unfortunately favourable for reconstruction and not for repairs. The frozen rent control since 1940's has resulted in a lot of good building stock being ill maintained and deteriorating at a very fast pace. Lack of incentives, traditional skills and good patronage has made the conservation scenes in the city arduous; beautification is the approach taken in contrast to conservation. The city has a varied typology of heritage buildings ranging from majestic public buildings to elegant private residences well planned and thought. The Architects were fortunate to conserve and restore one such noteworthy and historically important yet fast vanishing building typology in the city - the Bungalows/ the Stately Merchant Prince Homes. It was vital to take comprehensive efforts to set technical and social benchmarks in this city where real estate values are prioritised over conserving intangible values.

026 Architecture Update December 2014

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Complete painting works, restoration of decorative filigree works in POP, gold gilding done on the ceiling

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Restored ornamental cast iron fascias for the curvilinear chajjas on the north and west side of the building.

control act is detrimental to the entire movement. As without incentive the conservation movement cannot survive.

The process: Being an important historical and architecturally significant building the first task was to make the building structurally sound and water tight, giving it a new lease of life for a few additional decades as it had not under gone major structural repairssince the1940's. However, a decade ago some of its waterproofing was done. To make it functional as many areas of the buildings were unused and under used. To make this happen structure had to be made presentable with basic repairs for new occupiers to invest. Once they moved in and started paying the market rent, the money was then ploughed back to the building's restoration. These new spaces required updated present day infrastructure and interiors had to respect the historicity too. To restore the building to its original grandeur as far as possible within the limited resources. To revive the lost traditional skills and where the revival of skills was

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not possible as these were imported; then matching the original in new material was adopted like in the terracotta urns reconstruction. The repair philosophy was to retain as much of the original fabric as possible thereby saving on resources and making it economical. This is the most important step, if conservation has to be accepted as a mass movement. Such conservation friendly approaches of clients coupled with professional inputs can actually transform the city's heritage and can demonstrate that it is better to conserve than to redevelop which seems to be the accepted fate of our city's heritage, than loading its already burdened fragile infrastructure.

Duration: This project was a live laboratory for conservation as it went on for 10 years and covered practically all aspects of conservation from structural repairs to architectural restoration, from landscape to interiors and adaptive reuse to Infrastructure upgradation. Objective: The Project is a simple and effective example of adhering to

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lobby above the central staircase on the first floor post restoration

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efforts were taken to repair stained glass panels, restoring its old charm and authenticity

basic principles of conservation i.e. minimum intervention; as a result conservation of precious resources is done thereby giving new lease of life to the fabric.The project illustrates how interventions can help retain the authenticity and bring back the old time charm of the structure at the time when many other such stately mansions are either being demolished or are losing their originality with out of place modern materials.

CONCLUSIONS: The Project is significant as it shows the way forward that with help of adaptive reuse how a vanishing typology of bungalow / stately mansion can be conserved despite having no incentives from government. another view of the lobby above the central staircase

It reveals the path of skillful repairs and adaptive reuse which help in retaining the cultural significance and authenticity incorporating the state of art present technology and infrastructure. There are many examples of reuse but these are not adaptive in nature. It helps in reviving traditional art forms like lime pointing, skilled carpentry, stained glass, gilding to name a few. It demonstrates good market lease rent can sustain its maintenance and conservation of such properties is a way forward for retaining a balance between old and new and that repairs is better than redevelopment.

central staircase has some of the finest cast iron works

028 Architecture Update December 2014

fact file: project location

: :

client conservation architect interior designer

: : :

commencement date completion date area

: : :

Repairs and Restoration of Esplanade House 29, HazarilalSomani Marg, behind Bombay Gymkhana, Mumbai R D Sethna Scholarship Funds Vikas Dilawari Vikas Dilawari for all common areas of the building and for the office interiors or R D Sethna Scholarship Fund and for part south side extension of RKSwamy BBDO office on Gr floor. 2004 July 2013 41,000 sqft

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Restoration city gates The Gates of walled city of Rajkot, Gujarat, originally built in 1720s, stand ahead in comparison with gates of other historic towns due to its technological advancement of integrating clock towers, higher top heights, and additional side archways for prioritisation of thoroughfare. The gates were restored to their original glory by the architects Ashish and Poonam Trambadia. Both the clocks were also made functional during conservation works.

Text & images: courtesy, the architects

Rajkot on the Stroke of Time Raiyanaka Gate and Bedinaka Gate, Rajkot, Gujarat, India Ashish and Poonam Trambadia Architecture Update December 2014

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Bedinaka gate - before, during and after restoration. Structural charecterestic of the gate reflected its building material, black igneous rock

Bedinaka Gate

decorative crenulationsof the gate during and after restoration

Ashish Trambadia, B.Arch. (MANIT Bhopal-2002), M.Arch. (Conservation) (SPA Delhi-2005), and Poonam Trambadia, B.Arch., (SCET Surat-2002) M.Arch. (Conservation) (SPA DELHI-2005) started their practice based in Ahmedabad. Since 2006 they are working as consultants with organisations like Archaeological Survey of India, INTACH, World Monument Funds, Municipal Corporation of Ahmedabad, Rajkot and other NGOs and Private heritage owners. Few works worth mention include Condition appraisal report for world heritage site of Rani-Ki-Vav, Restoration of Fortification walls of Ahmedabad, Conservation of Stepwell at Wadaj, Revival of Havelis of SEWA, M/s Zaveri and other private buildings, Conservation Plan for Hinglajgarh fort, Mandsaur and Condition mapping and Documentation of Group of temples at Lonar, etc.

030 Architecture Update December 2014

the clock - before and after repair

he Gates of the Old City of Rajkot, Raiyanaka Gate and Bedinaka Gate, were restored to their original glory by Architects Ashish and Poonam Trambadia. The Old city, or as the historic records mention, the walled city of Rajkot is an example of traditional knowledge pattern for settlement development. The layout of streets, integration of private, semi private and public areas is evolved within the regional context of Saurashtra region. Gates were essential for the fortified settlements as main points of access and also important defence system.

Evloved on the banks of River Aji, Rajkot started as a micro settlement with its foundation dating to AD1608 by Shri Vibhaji Jadeja. The settlement was converted to fortified town during reign of Masumkhan after he took over in AD 1720. Raiyanaka Gate and Bedinaka gate were one of the Eight main city gates built during this

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before restoration

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during restoration

after restoration

Raiyanaka Gate

the top portion of tower with intense damage suffered during earthquake or heavy vibrations which were restored back

Raiyanaka Gate had observed more intrinsic damage which was repaired and restored

Raiyanaka Gate after restoration

time. City flurished and developed outside the fortified limits later in British period after AD 1822. The context of fortification and city gates was changed and whole new era of building construction activities was started. Under patronage of British engineering, these two gates were selected for restoration. British Engineer Robert Bell Booth redesigned the gates with multistoired clock tower gates, the characteristic vocabulary influenced from original gates in AD 1892. The introduction of clocks in towers came with a wave of globalisation when Rajkot started ticking with world time and is now listed in world's fastest growing cities.

in its selection of material, though, the planning system and spatial arrangements are based on similar principles. These gates stand ahead in comparison with gates of other historic towns due to its technological advancement of integrating clock towers, higher top heights providing more visual coverage, and additional side archways for prioritization of thoroughfare.

In Rajkot, the gates were multistoried as they also served as watch towers. The word 'naka'was added signifying its association with checkpoints planned for secured defense infrastructure of the ruling authority. Architectural composition of both the structures are different

As mentioned above, both the gates are built with different masonry units. Black igneous rock in the Bedinaka Gate and Buff coloured sandstone in Raiyanaka Gate. Both building materials have their own characteristics and same are also reflected in their structural behavior.At Bedinaka Gate, decorative arch bands, pinnacles and crenelations were built in contrast coloured sandstone. The damages were observed more in these decorative bands. The floors slabs are installed with optimum timber sections. Heavy attack by termites was observed in the first floor Architecture Update December 2014

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Step 5. Curative Treatments: All preservative action, treatments and applications were done in this phase. Step 6. Replacement of incorrigible sections: Timber sections which were completely decayed, metal purlins, joists, and stone balusters which were broken or damage beyond repairs were identified and replaced in minimum possible quantities Step 7. Alteration to existing for future requirements: The tower structures having multi-storied configuration, during any shaking, vibrations it is vulnerable and possible to develop cracks. Corrosion free Stainless Steel clamps, pins and dowels were introduced wherever masonry gaps were found. Other futuristic installation of rainwater spouts and Reconfiguration of window frames were done. Step 8. Installation of New services: Electric supply distribution was planned afresh which did not exist earlier with exposed non-intrusive methods and lighting is done for serviceability and presentation. Flooring of ground floor roof was replaced with river finish granite stones with a vision to open these rooms for public access and awareness towards heritage. Step 9. Regular Maintenance Checklist: A checklist shall lastly be prepared after the completion for monthly, yearly and bi-yearly assessment for future records Step 10. Adaptive Re-use: A reuse plan is proposed for both gates with Exhibition cum gallery space in Raiyanaka Tower first floor wings. Bedinaka gate has two double storied ground floor rooms, which may be used for interpretation and may also serve as starting point for heritage walk. slab while the upper slabs were decayed to lesser extent. The clock was not in function. Raiyanaka Gate had observed more intrinsic damage. The masonry units were eroded in lower walls of the gate. The top portion of tower had intense damage. Side parapets might have failed during earthquake or heavy vibrations which were restored back. It is worthwhile to mention both the clocks are also made functional during conservation works.

The Conservation works at Bedinaka Gate were completed fully by June 2014 and date of completion for Raiyanaka Gate is October 2014.

STRATEGY & METHODOLOGY ADOPTED Step 1. Cleaning and Physical Examination of defects and underlying causes: The stone surfaces had layers of deposition, paints and whitewashes which were first removed and each timber elements, stone surfaces were inspected for required repairs. This was done sensitively and suitable equipment, so as not to damage any inherent materials of the building. Step 2. Protection of severely damaged areas: As a part of emergency conservation measures, immediate action plan was implemented with propping, supports and lying cushioning to protect highly endangered areas. Step 3. Provision of temporary support and serviceability: Both gates structures have continuous traffic thoroughfare and it was a challenge to continue working with traffic underneath. A support system and temporary envelopes were created to avoid conflicting situations for both, people and the monument. (Thiswas a huge task during implementation of works) Step 4. Elimination of Causes of decay: Before addressing the building for further treatment, it was necessary to hinder the causes of problems. Leaking roofs, Termite sources; In-appropriate repairs and chocked rainwater exits were all addressed here.

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fact file: project location client conservation architect commencement date completion date area

: : : : : : :

cost

Conservation Plan for Heritage City Gates, Rajkot Rajkot, Gujarat Rajkot Municipal Corporation, Rajkot Ashish and Poonam Trambadia January 2013 October 2014 150sq.m (Raiyanaka Gate, G+4) + 180sq.m (Bedinaka Gate, G+3) 110 lakhs

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Restoration & Reuse colonial bungalow

Text & images: courtesy, the architects

The Resurrection of the

Colonial Past Pateria Bungalow, Wright Town, Jabalpur, Madhya Pradesh, India Aishwarya Tipnis Architects ocated in Wright Town in Jabalpur, Pateria Bungalow is designed on the lines of a typical 19th century colonial bungalow set within a garden setting. While restoring the building, the Delhibased architectural firm Aishwarya Tipnis Architects preserved and enhanced the historic value of the bungalow, at the same time provided all the ambiance available in a 21st century contemporary dwelling unit.

A ground plus one storied construction is planned around a central courtyard with deep verandahs on all sides. The other side buildings within the site include servant quarters and ancillary blocks. Built in the

034 Architecture Update December 2014

Colonial hybrid style, the building displayed an eclectic mĂŠlange of European and Indian stucco motifs on the principal facade such as floral stucco rustications, architraves in stucco around the main openings, detailing of columns and dental cornice bands. The character defining elements included the spatial configuration of the bungalow around the central courtyard, large semi-circular arcaded verandah around the courtyard, timber king post trussed roof finished with hand-made terracotta tiles, lean to sloping verandah supported on timber columns, decorative bargeboards and timber paneled doors and windows.

Aishwarya Tipnis Architects is a consultancy firm based in New Delhi working in the field of architectural and urban conservation. The principal, Aishwarya Tipnis completed her B.Arch from the School of Planning & Architecture New Delhi in 2003 and her Masters Degree in European Urban Conservation with distinction from the University of Dundee, Scotland in 2007. She has almost a decade of experience in the field of architectural and urban conservation and has worked on several urban conservation and building restoration projects in India such as Identification of French Heritage in India, Chandernagore, West Bengal ; Identification of Shared Cultural Heritage Dutch Heritage in Chinsurah, West Bengal; Restoration of the Seth Ram Lal Khemka Haveli at Kashmere Gate, Delhi as well as Development of Conservation Strategy for the Doon School, Dehradun to name a few. She has authored a book on "Vernacular Traditions: Contemporary Architecture" as well as multiple articles on heritage conservation in leading dailies. She is currently a visiting faculty to the School of Planning & Architecture, New Delhi.

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Metaphorically the restoration of the colonial structure - Pateria Bungalow at Wright Town in Jabalpur, Madhya Pradesh, by Aishwarya Tipnis Architects, is a demonstration of the marriage of modern thought within a traditional setup. The basic design principles were hinged on respecting the original design in the reorganisation of spaces, reusing as much of the historic materials, especially timber trusses and terracotta tiles, following International principles of conservation such as using a like to like materials for repair and new materials for new interventions.

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The bungalow has been in continuous habitation and was largely wellmaintained. It had been modified in a piecemeal manner to meet the growing needs of the family over the years. The ground floor had a large drawing room, three bedrooms, a large kitchen, dining room as well as ancillary rooms, three staircases each in the north-eastern, south-eastern and south-western corner lead to the upper floor. The upper floor had a series of rooms connected by a flat terrace around the central courtyard, two rooms on the south-east and south-western corner of the bungalow which were occasionally used by the couple's children studying abroad while the others were used as stores. A significant phase of alterations had been carried out in the 1980s which included extensions on the eastern and western facade to accommodate the kitchen, dining room and guest bedrooms on the ground floor. While the ground floor was in occupation and wellmaintained, the upper floors were suffering from issues of major

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water seepage from the roof, substantial deterioration of the timber trusses and beams, deterioration of renders, plasters,doors and windows. Furthermore, in the extreme climate of Jabalpur with temperatures rising upto 50 degrees in summer and a prolonged tropical heavy monsoon the lack of a weather shade as well as insulation rendered the upper rooms unusable for the most part of the year. The brief of the project was to convert the first floor of the bungalow into a separate apartment for the couple's son and his new bride. The challenge of the project was to create a 21st century dwelling unit compatible with the comforts contemporary living while preserving and enhancing the historic value of the bungalow. Being the family's ancestral home, the client was keen to preserve it but at the same time was apprehensive about its ability to withstand change. Therefore it was

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imperative that any intervention be based on a thorough structural analysis of the load bearing capacity of the existing structure. In keeping with the value and significance of the bungalow, the major interventions proposed were extension of the existing roof to create a verandah on the terrace following the vocabulary on the ground floor, which would enable circulation in the extreme climate. The second and most significant intervention was the integration of the spaces by creating large semi-circular arched openings between two spaces. The integration of spaces provided the opportunity of creating semi-private and private open spaces such as the private terrace on the western side by an extension of the existing flat terrace. Contemporary bathrooms with private bathroom courts were integrated into the design of the first floor to give the feeling of openness yet maintain the privacy. Care was taken to ensure that the design reflected the contemporary spirit by clean straight lines, refraining from replicating the historic detailing in all the spaces. One of the most critical interventions was the restoration of the timber trussed roof, the terracotta tiles were carefully preserved and stacked for reuse. With the non-availability of the hand crafted terracotta tiles, the deficit after the reused tiles was supplemented from old tiles salvaged from other demolished buildings. The original spatial quality was restored by the removal of the false ceilings to expose the original timber trussed pitched roofs. Conservative repairs were carried out on the timber trusses and purlins, saving as much of the original timber as possible. The existing roofing detail was improvised by the addition of a waterproofing layer as giving a neat interior finish of timber boarding while being finished with salvaged terracotta tiles. Rainwater management included the introduction of gutters and down-take pipes around the verandah and terraces. All the historic doors and windows were carefully restored and re-polished,

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additional doors were reused salvaged from another site. Electrical conduits, air-conditioning and plumbing were sensitively incorporated within the historic fabric. The choice of materials and finishes was deliberately natural, rustic and earthy to enhance the historic significance of the bungalow. The timber verandahs on the front facade were painstakingly restored. The design of new elements was decidedly contemporary, using local and natural material such that it could be visible to the discerning eye yet be harmonious to the historic building. Metaphorically the project is a demonstration of the marriage of modern thought within a traditional setup. The objective of the project was to intervene within the historic building to create a bespoke and creative solution that was appealing to the young couple yet fits in seamlessly within the traditional ambience of the bungalow. This project is an example of how with sensitive mediation with the forces can lead to development of a design that is not only relevant but also sustainable and can be a precedence for many such historic properties across India. fact file: project location client conservation architects team

: : : : :

commencement date completion date area cost

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Restoration and Reuse of Pateria Bungalow Wright Town, Jabalpur, Madhya Pradesh, India Harshvardhan & Sunaina Pateria Aishwarya Tipnis Architects Aishwarya Tipnis, Rajatesh Maji, Vaswati Bhattacharyya and Renu Daranga January 2013 December 2013 5000-sq ft Approximately Rs 1.2 Crores

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Chatrapati Shivaji Maharaj Vastu Sangrahalaya at Mumbai commissioned Abha Narain Lambah Associates to redesign the Sculpture Gallery of the museum. The newly renovated gallery reconfigures the exhibition narrative, arranging the sculptures along a thematic narrative of Shaivite, Vaishnavite and Devi sculptures in a manner that allows a more visitor friendly approach to the curation. The madder red colour traditional to Indian architecture forms the backdrop that allows the sculptures to stand out, along with a lighting design that focuses on the three dimensional forms of the sculptures. The entire gallery signage has been redesigned, along with disabled friendly braille signage to allow visually challenged visitors to touch and feel the sculptures and allow an experience that most galleries are unable to offer.

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Vignettes from the Past

Abha Narain Lambah Associates is a leading firm in India, specializing in Architectural Conservation, Building Restoration & Retrofit, Museum Design, Historic Interiors, Preparation of Urban and Regional Level Conservation Management Plans, Conservation Assessment Studies, Urban signage and Street furniture. The principal architect Abha Narain Lambah has a Masters degree in architectural conservation from the School of Planning & Architecture, New Delhi with 20 years experience in the field. The firm has won eight UNESCO Asia Pacific Awards for conservation projects (the largest number won globally) including the Award of Excellence for the 15th Century Maitreya Buddha Temple at Basgo, Ladakh and Award of Distinction for Mumbai University's Convocation Hall in 2007. She has been awarded the Sanskriti Award, Eisenhower Fellowship, the Attingham Trust Fellowship and Charles Wallace Fellowship and has been a consultant to ICCROM, UNITAR, World Monuments Fund, Global Heritage Fund, Archaeological Survey of India and various state governments and organizations. She has authored various books on Architectural History & Conservation.

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Vignettes from the Past

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Restoration historic garden

Restoring

text: courtesy, Gurmeet S Rai and Saumya Tripathi photographs: courtesy, Cultural Resource Conservation Initiative (CRCI)

Bagh i Hafiz Rakhna of the Imperial Mughal Highway in Punjab Sirhind-Fatehgarh Sahib, Punjab, India Cultural Resource Conservation Initiative (CRCI) 040 Architecture Update December 2014

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Restoration of Aam Khas Bagh, a unique example of traditional formal garden from ancient Central Asia and Persia, undertaken by Cultural Resource Conservation Initiative (CRCI) under the able guidance of conservation architect Gurmeet S Rai, is a part of the prestigious and ambitious conservation project embarked by The Government of Punjab to conserve the historic monuments on the Mughal Imperial Highway in Punjab known as the National Highway Number 1 or the Sher Shah Suri Marg.

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Cultural Resource Conservation Initiative (CRCI (India) Pvt Ltd.) is a consultative organization offering comprehensive technical and planning assistance in the fields of conservation, management, interpretation and promotion of cultural heritage sites in India and abroad. The organization provides solutions for both tangible and intangible cultural heritage. Their vision is to preserve and promote India's cultural heritage with active community participation. Founded in 1996 by conservation architect Gurmeet S. Rai, CRCI has been working in synergistic partnerships with national as well as international organisations; with government and non-government organizations, in sectors like Culture, Tourism, Finance, Urban Development and Social Development to promote a holistic development framework sensitive to the cultural heritage and traditions of the country. The organization has accomplished over 30 conservation projects and is currently involved in wide range of projects of national and international significance of varying scope. CRCI's current projects include formulation of the cultural heritage policy for the state of Punjab (a UNESCO and Government of Punjab initiative), project management for the conservation of over 40 heritage buildings and sites in Madhya Pradesh for the World Monuments Fund and Government of Madhya Pradesh, preparation of the conservation and tourism management plan for the Grand Trunk Road in Punjab and several others.

Bagh-i- Hafiz Rakhna (Aam Khas Bagh) is part of one such cluster. Baghi-Hafiz Rakhna (Aam Khas Bagh) is part of one such cluster situated 3 km north-east of the present day Grand Trunk Road, an altered course of the original Imperial Highway that stands testimony to this ancient land linkage through the Indian subcontinent, from Afghanistan to Bangladesh of today. Aam Khas Bagh, the historic garden is situated 3-km north-east of the present day Grand Trunk Road due to the altered course of the original Imperial Highway and stands testimony to this ancient land linkage through the Indian subcontinent, from Afghanistan to Bangladesh. Aam Khas Bagh is a unique example of a formal garden a tradition from Central Asia and Persia. Mughal empire is recognized by the several cities, monuments and gardens that were erected throughout India and in particular in the capital cities of their times, Lahore, Agra and Delhi. Sirhind is located mid way between Lahore and Agra. Over a period of time out of all the various types of Mughal monuments, gardens have suffered the worst. In the region of East Punjab Aam Khas Bagh at Sirhind is the only Mughal garden which has partly survived. Bagh-iHafiz Rakhna (Aam Khas Bagh) has the distinct sense of place; it is one of the few Mughal gardens which was founded by the early Mughal rulers and evolved through the Mughal period. It contains architectural and spatial elements from times of Akbar, Jehangir and Shah Jehan.

he Aam Khas Bagh is a remarkable monument with an international significance at Sirhind-Fatehgarh Sahib, Punjab, India. It is part of the ordinary fabric, daily life and memory of the people of Sirhind. Thus the conservation work of this monument, being carried out by Cultural Resource Conservation Initiative (CRCI), with the help of educational institutions, student and the locals, allow local stakeholders to positively and directly contribute to discussions of heritage. The Government of Punjab has embarked on an ambitious project to conserve the historic monuments on the Mughal Imperial Highway in Punjab known as the National Highway Number 1 or the Sher Shah Suri Marg. Conservation planning for the Mughal period monuments of Punjab revealed the presence of buildings of high associational value to which the memories of the communities are associated. This informed a 'cluster based approach' which recognizes these interlinkages. Architecture Update December 2014

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internal room - naughara

Sard Khana - ramains of paintings

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north elevation - naughara

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southern view of naughara

The garden comprises three main enclosures laid along the central axis. While the northern most enclosure houses at its centre a platform possibly for royal use, the middle enclosure houses a stepped water tank on a grand scale flanked by the Naughara and the Sheesh Mahal on either sides of the central axis. The third enclosure has buildings built by Shah Jehan for royal use, namely the Hammam, Sard Khana and the Daulat Khana. The buildings are built of burnt brick with lime based mortars and renders. While the walling system are load bearing, the roofing system comprise of vaults and domes. The openings are spanned by pointed arches. The bricks are of varied sizes; however the most predominant size is that of 20 to 22-cm long, 10 to 12-cm wide and 3 to 4-cm thick. The inner core of masonry has largely been built of crudely finished bricks while the outer most faces are smoothened flat. The source of lime for the mortar was kankar lime, which is a calcareous aggregate found in the river beds and perennial streams. While the other enclosures are devoid of trees, the third enclosure has an orchard of a wide range of fruit bearing trees. The present condition of the historic garden precinct shows years of neglect and abuse. The decay is on account of several reasons. One of the key reasons is that the complex was divided between the Department of Cultural Affairs, Archaeology and Museums, Department of Tourism, Department of Horticulture and Public Works Department. While the Department of Tourism and Public Works Department has handed over the enclosures to the Department of Cultural Affairs, Archaeology and Museum, the Department of Horticulture are the caretakers of the orchards in the southern most enclosure. The site office of the Department of Horticulture is located in the southern most enclosure of the garden complex. The type of conservation challenges to a large extent has been impacted by the kind of the organization which has been the custodian

sard khana

sheesh mahal

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the central room on first floor - sheesh mahal

central causeway leading to sheesh mahal

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hamam - abandoned and in a state of decay

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north elevation facing the central water channel in the hamam

of that part of the complex. The PWD built several new structures in the Mehtabi Bagh; hence the conservation interventions include demolition of these buildings to recover the integrity of the garden precinct. This is part of the phase I of the conservation plan. The Department of Cultural Affairs is the custodian of the heritage buildings which are in a serious need for conservation. Several interventions in the past in buildings such as the Naughara and Sheesh Mahal compromised the historic character as offices and toilets of the site manager were built inside the Naughara. Phase I of the conservation plan also includes conservation of these two buildings. The third enclosure is threatened due to the absence of the outer wall and therefore securing the edges by a boundary wall is part of the Phase I. The Department of Tourism was the owner of an eight room hotel which exists in the third enclosure and is now abandoned and in a state of decay. The garden is visited by the local community who has little knowledge about the historic significance of this monument. Little is available on the site by way of signages and the mandate of education and outreach is not with any of the departments which inhabit the space. A revitalization plan by way of reuse of the eight room hotel into an interpretation centre, with visitor amenities and a artist residency facility has been proposed and detailed for implementation as part of Phase I as well. The aim of this intervention is to provide for the needs of the visitors and create an interactive space for the visitors and the local community to engage with the historic and cultural legacy of the garden and the cultural traditions of the region.

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side elevation - the hamam

implemented in 2015-2016. The subsequent phases would require to include conservation of the entire complex so as to ensure protection and conservation of not only the built features but also the historic open spaces.

daulat khana

The phase I of the project as outlined above is stated to be undertaken through the financial support made available to the Government of Punjab through a loan from the Asian Development Bank as part of the IDIPT project. The Aam Khas bagh conservation and revitalization project is in the process of being tendered and is soon to be sard khana with well on right

pattern & design of bangladhar roof - sheesh mahal

PWD built new structures

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exhibition of the movie prepared by the students inside naughara

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student explaining the narrative of daulat khana though signages to visitors

THE OUTREACH PROGRAMME

ducation and outreach surrounding site interpretation are important components of the Conservation Plan. A model program was implemented to allow local stakeholders to positively and directly contribute to discussions of heritage. CRCI collaborated with the University of Surrey on an Arts and Humanities Research Council (UK) project to develop experimental and focused educational collaborations around the monument which culminated in a community-focused event run on September 29th, 2013 at the garden. The first stage of this project involved identifying two local institutions who would support the initiative by helping to inspire and select students for workshops. Mata Gujri College and Sri Guru Granth Sahib World University were selected because of their proximity to the monument, and the fact the site was frequently visited and used by their students. Participation was openly advertised and approximate 150 students applied for 20 places. A selection process allowed the list of students to be narrowed down through quizzes and interviews conducted by the institutions. Three workshops were organized around the theme of Design, Film and Oral History. The design group examined how the flow of visitors operated in the site and identified the practical problems of signage and site navigation. The output of this group was a new brochure for the monument and a template for information signs which were piloted on September 29th2013. The film group brought together elements of documentary film-making and oral history to encourage students to think creatively about examples of tangible and intangible heritage in the area. This was presented as a standalone film at the public event. The Oral History group designed and conducted a range of interviews with local subjects focusing on the site and history of the garden, as well as producing text for the sign templates produced by the Design team. Of particular interest was the reaction of different religious and cultural groups towards the gardens and how they approached the idea of a shared heritage between communities. This was presented as a series of audio clips at the public event on September 29th 2013. Feedback gathered from the event and the students indicate that these activities have had a transformative impact through the following pathways: 20 Students have gained new skills in heritage, especially in the areas of theory, practice, management and policy. Over 400 people attended the community event, many of whom expressed the positive impact of having signs and information on the site produced by local students in collaboration with experts. The community event offered a direct channel of feedback/dialogue between policy makers, professionals, and local stakeholders. This helped the development of locally-embedded skills and resources in heritage design and management. It provided a portfolio of information/data that can be used to populate a new website on tangible and intangible heritage along the GT Road [www.thegtroad.com].

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At the conclusion of the event, students were asked to nominate six representatives to attend an international conference on build heritage hosted by the PHTPB (Punjab Heritage and Tourism Promotion Board). This gave them the opportunity to directly interface with professionals and members of the government about their participation in the development and interrogation of heritage issues in their local area. Punjab Tourism's strapline, 'India begins here' promises that this frontier state can sample the rich and varied culture of the subcontinent. Applying this strap line to Sirhind, we would argue that the real cultural frontier in Punjab is between its present and its past. The struggle is not to lure tourists into Punjab but to make visible the variety and diversity of its history in a way that local communities can meaningfully interact with and take charge of. Heritage is not something to be protected in museums, it can be a series of signposts that mark the way we have come and can show us the way to a future that can accommodate people from all walks of life. The future of our culture depends on not forgetting the stories that inhabit and haunt our landscape. However, it also depends on allowing them to live on and transform in the people of Punjab, not to be trapped behind glass or kept in academic archives.

fact file: project

location client conservation architect

: : :

commencement date completion date area cost

: : : :

Bagh i Hafiz Rakhna of the Imperial Mughal Highway in Punjab Sirhind -Fatehgarh Sahib Punjab Heritage and Tourism Promotion Board Gurmeet S Rai, Cultural Resource Conservation Initiative (CRCI) 2012-2016 Ongoing 65.88 acre 10 crores approximately

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Restoration heritage fort

The old Jadhavgarh Fort near Pune, Maharashtra has been retrofitted into a Heritage Hotel by the well-known architectural firm Karan Grover and Associates. The revitalization process was completed with minimal architectural intervention within the existing structure of the fort. The fort walls as well as other principle buildings within the confines of the Maratha fort were restored while new constructions were sensitively integrated respecting the structure as well as the existing open space pattern. Karan Grover & Associates (KGA), the Baroda-based well-known architectural firm, has provided impeccable services in all aspects of architecture. By rediscovering ones cultural heritage, the Principal Architect of the firm, Karan Grover is paving the future of contemporary architecture and sustainable development which has led him to win accolades like Best Architect of the Year 2013 by I.I.A. He has erected the world's first Platinum rated building the'CIISohrabji Godrej Green Business Centre ' in Hyderabad, the worlds greenest factory 'Keendiam diamond factory at Navsari' and many other LEED certified constructions. He has received laurels from A.P.J. Abdul Kalam (former President of India) and Bill Clinton. Listed as one of the 500 visionaries of the world, he continues his legacy.

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Text & images: courtesy, the architect

Revival of a Maratha Fort

Jadhavgarh Fort, Pune, Maharashtra Karan Grover and Associates

fort from the north. The JadavVasti village is to its south east and an open hilly expanse to its west, which forms a part of the Jadhavgarh Fort Orchid site. An old banyan tree, a temple and a kund form interesting zones of influence within this open landscape.

The Jadhavgarh fort, positioned on top of a hill is accessed by a wide stepped ramp, which enters the main gateway of the

The old Maratha fort straddles a hill and has an imposing presence. The hotel has been retrofitted into a medieval fort conserving the fort walls as well as other principle buildings within the confines of the wall. The old buildings have been

adhavgarh Fort Orchid stands amidst vast unspoilt landscape, which is approximately 22 kilometers from Pune, and affords spectacular views from its high perch. Architect Karan Grover of Karan Grover and Associates, transformed it into a magnificent forty room heritage hotel, which would cater to leisure travelers as well as provide high quality banquet services for large gatherings.

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the old walls of the fort and the new constructions are closely interlinked

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one of the magnificient guest rooms

restored while new construction has been sensitively integrated respecting the structure of the fort as well as the existing open space pattern. The fort as it existed was divided into three distinct levels - entrance level, lower gadhi (fortress) and upper gadhi. The entrance level, the lower most level of the fort served as the official entrance and is characterized by a magnificent darwaza with hewn steps leading up to the lower gadhi level. The remaining mass of this level was divided into a series of inter connected dungeons and cells, which are largely in accessible today. Some of these have been restored, made structurally stable and are being used for varied functions within the hotel. The lower gadhi level contained a series of perimeter rooms which served residential functions as well as a large jharoka balcony which overlooked the entrance. The bulk of hotel rooms have been provided at this level along with the main public spaces such as the restaurant, conference room and bar. the retrofitted medieval fort conserving the fort walls and converted to a heritage hotel

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The upper gadhi level was the most secure zone within the fort and is accessed by a second gateway and surrounded by a second level wall.

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the restaurant, conference room and bar are placed at the lower gadhi level

A small but intricate building which housed the living quarters of the ruler open out onto a large walled courtyard. This level has been provided with the hotel swimming pool, spa and outdoor restaurant facilities.

The large open maidan towards the west of the fort has been landscaped and converted into a dedicated banquet area. A new staircase access has been provided to this area from southern wall of the fort.

THE MASTER PLAN

descends from the southern wall of the fort and carries guest to the center of this open landscaped space. Align the descending ramp to form an axial relationship with the old banyan tree, where it is proposed to locate a banyan tree restaurant. Create a thematic seafood restaurant across anchored boats in the kund. Create an amphitheater to showcase cultural events. Revitalize the temple and shelter its environment through sensitive landscape design. Relocate some village residences which are in proximity to the temple. Create two large terraced banquet gardens on either side of the temple for large outdoor functions. Realign the existing road network in the vicinity of the fort in order to streamline movement systems, provide for an increased parking requirement and create areas which are undisturbed by traffic.

The master plan strategy proposes to integrate the fort with the other significant spaces in proximity to the fort in order to facilitate a cohesive development. The vast hilly tract to the west contains the following significant man-made and natural elements: The old banyan tree, the Kund and the temple.

Each of these elements form centers of influence within a canvas of natural landscape, and the master plan attempts to link these centers of influence by creating relationships between them and by forming specific activity patterns for specific purposes. The strategy proposes to accomplish this in the following manner. Link the rear open space to the west by creating a ramp which

DESIGN STRATEGY

The architectural design and conservation strategy are closely interlinked and form a combined revitalization proposal which on one hand preserves the existing fort structure and on the other proposes new development within the fort confines in order to convert it into hotel. The planning of rooms, services and facilities respect the historic

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the design of the hotel draws inspiration from the existing fort architecture

the old fort wall at the upper level has been planned by setting back the building

footprint of the built form within the fort, and it is intended to derive an expression which draws inspiration from the existing fort architecture.

landscaped greens to the west. This ramp facilitates a two-fold function - that of forming a ceremonial entrance path to the recreational area of the hotel and housing the key services. The second intervention proposes the creation of a decorative jharokha (balcony) and gateway in the center of the west wall of the fort which is a copy of the main gateway located in the north wall. This would add architectural character to the west wall of the fort. The balcony would become part of two guest rooms on the first floor.

The exterior expression of all additions would blend with the expression of the fort and material selection and construction techniques would be carefully selected to create an expression of harmony within the fort. A deliberate physical separation between new construction and the old fort wall at the upper level has been planned by setting back the building. This has been done to retain the clear visual skyline of the fort wall. The revitalization proposes minimal architectural intervention within the existing structure of the fort. These proposed interventions are viewed as positive contributions to the new role that the fort has to play. The first intervention proposes the creation of a ramp linking the fort to the

fact file: project location client conservation architect interior designer commencement date completion date area cost

: : : : : : : : :

Jadhavgarh Jadhavgarh Fort, Pune, Maharashtra, India Orchid hotels Karan Grover and Associates Karan Grover and Associates January 2006 July 2007 30,636.5 square meters Rs.11,16,82,260

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The fort today serves as a premiere example of responsible historic revitalization where history is imbued with a new meaning and function thus allowing it to become a living experience to citizens of the world today. The conservation process therefore does not merely preserve for the sake of posterity, but injects a new life into an old building and keeps it living today and for the future.

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Restoration temple complex

Architects Anjali and Kiran Kalamdani have graduated from the BKPS College of Architecture, Pune in 1985 after which they did their M Arch in Urban Design at the School of Planning and Architecture in New Delhi. After working for a year they travelled to England and across Europe where Kiran completed his M A in Conservation Studies at the University of York while Anjali worked as an architect in the York City Council. On their return to India in 1989 they started their practice 'KIMAYA' in Architecture, Urban Design, Conservation, Interior Design and Valuation in Chinchwad, Pune and completed over 200 projects across Maharashtra, Madhya Pradesh and Karnataka which include several important landmarks like the ShaniwarWada, Vishrambagwada, Tulshibag, St Paul's Church, Council Hall, Agriculture College, Deccan College, Hindustan Antibiotics, etc. Increasing awareness in the areas of Heritage Conservation has been their passion. They have educated young professionals through hands-on work in their studio and various sites as well as lectures, workshops and seminars. They are now in the process of publishing their work over the last 25 years as a series of publications that will involve professional development of co-professionals as well as young entrants.

Text & Images: courtesy, the architect

For the Divine Intervention Shri Sakhargad Niwasini Devi temple complex, Kinhai village, Koregaon Taluka, Satara District, Maharashtra, India

Kimaya Architects Conservationists Urban Designers Valuers, Pune

he family deity for the Kinhaikar Kulkarnis of Aundh, a princely state under the Maratha Chhatrapatis, at Shri Sakhargad Niwasini Devi temple in Kinhai village, Koregaon Taluka, Satara District, Maharashtra, has been constantly venerated for the past 300 years. The temple complex, with its different structures and unique, extensive fortifications, was built in 1745 A.D. It acquired a unique distinction of a social and religious space associated to mythology and spiritual faith; further enriched by its architecture, sculpture, painting and iconography and a venue for several annual festivals reliving the past. The temple recently received the Unesco Asia-Pacific awards for cultural heritage conservation programme, after it was restored by the Pune-based Kimaya architects, headed by conservationists Anjali and Kiran Kalamdani.

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The Shri Sakhargad Niwasini Devi temple in Kinhai village, Koregaon Taluka, Satara District, Maharashtra, restored by the Pune-based Kimaya architects, headed by conservationist Kiran Kalamdani, received the Unesco Asia-Pacific awards for cultural heritage conservation programme this year. The conservation of the Temple Complex was taken up as part of the efforts to preserve its extensive historic and religious associations with the people of the region, along with its presence as an architectural landmark, showcasing an effective amalgamation of the different prevalent architectural styles, craftsmanship skills and material heritage of the time.

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The Kinhai temple is an old temple Complex venerated, appreciated and worshipped since a number of centuries. It is the sister-temple complex of the main Temple located in Aundh. A renowned deity for the local region and its surrounding areas, Yamai Devi is considered to be the patron-Goddess of Kinhai-Koregaon region. A family deity to a large sect, devotees living in other regions of India as well as abroad have maintained a close relation with the region and its deity. The temple is also one of the few examples of a fortified temple complex which is relatively unknown yet intricately detailed in a unique style. The 300 year old Temple Complex has retained the dignity of its Goddess. The attention to this temple has dwindled over time not because of lack of devotion but due to rural to urban migration, reducing its local significance. Thus, the annual festivals celebrated in the Temple Complex are highly celebrated at a large scale inviting people from long distances to visit their powerful Yamai Devi. There is no known heritage protection status of the property but an effort has been made to device one as a part of the conservation project.

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The incessantly used temple has numerous insensitive additions and alterations made to it structurally and spatially. Material like hanging electrical cables, blocking of windows made the indoors gloomy. Insensitive use of oil paints on the stone sanctum without acknowledging the original along with other faults like structural defects, uneven weathering of stone over time and water seepage were harming the structure. The temple complex was in urgent need of structural consolidation and internal repairs and refurbishment, to counter the corrosive effects of weather, usage, general deterioration over time and insensitive additions and alterations. The clients for this project, the Kulkarnis made efforts for the development of the overall Temple Complex to ensure protection of the misused property and appreciation for its beauty.

The oil paint used over the original paint was to be removed carefully

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The description of the condition of the cultural heritage property before the conservation The following factors affected the Temple complex: Structural factors: Uneven weathering of stone was seen in the overall complex along with structural deterioration. A number of cracks were observed in the walls along with water seepage problems in many others. Environmental factors: The tough geographic location and the climate of the region were responsible for the weathered look of the temple. The high wind pressure on the hill top eroded many statues and intricately detailed work of the temple over time. The heavy rains along with the harsh winds caused subsequent fading of the paints. Biological factors: Biological growth in the form of deep-rooted weeds was observed in the cracks and crevices formed over time along the walls of the complex. Social factors: A number of social factors were involved to bring the temple to its present state. There is no proper security to the Temple Complex, making its maintenance increasingly difficult. Vandalism was observed extensively along the fortress walls of the temple. The large families visiting the temple misused the temple complex leaving behind wrappers of the eatables brought along. Management and institutional factors: The temple being unknown to many beyond the Satara district, was visited mainly by the locals and devotees of the Goddess. Thus, there weren't many tourism activities to appreciate the unique architecture of the temple. This secluded Temple present in a remote area on the hill top was difficult to maintain due to its geographic location. Economic factors: The Shri Sakhargad Niwasini Devi Devasthan Trust is a non-profit organisation which is dependent on the donations and charity offered by the devotees of Yamai Devi. The day-to-day activities and annual festivals are carried out in the Temple Complex on the basis on this money.

The conservation of the Sakhargad Niwasini Temple Complex was taken up as part of the efforts to preserve its extensive historic and religious associations with the people of the region, along with its presence as an architectural landmark, showcasing an effective amalgamation of the different prevalent architectural styles, craftsmanship skills and material heritage of the time. A comprehensive plan was made to restore the temple to its original form and prevent it from falling to ruins along with restoring the pride of the other worshippers coming to the complex. This project was a token of appreciation from the Kulkarnis as remuneration for Yamai Devis' blessings. The complexities in the architecture compelled the need of specialized experts for the project to revive the Temple complex to its original state.

the restoration done without damaging the statues.

The present conservation measures were carried out in consultation with the different stakeholders, and seeked to address immediate issues of structural, spatial and material consolidation and renovation, making the complex visitor - friendly, attempts to enhance its architectural beauty and reestablish its historic place and religious association. Several agencies worked under the joint supervision of the above mentioned stakeholders to ensure minimal changes in the place to preserve its authenticity and delay the processes of deterioration. A maintenance manual would be prepared at the end of this process that would serve as a guideline for long term conservation. The Temple complex was divided into the following sub-divisions for the restoration work:

badly damaged sculptures restored

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the West gateway - before and after restoration

Shikhar: The temple complex is located on top of a hill and is subjected to a high wind pressure, resulting in the original paint (300 years old) being peeled off along with the wearing off of a few statues. Restoration was done along with the intricate detailing required for the same. Main Temple Premise: Sensitive partial replacement work was required for the Gabhara and the Sabha Mandapa. The oil paint used over the original paint was to be removed carefully without damaging the statues. Many structural defects like leakage, cracking in the stonework and wood work were observed after removal of paint. Roof Work: Weatherproofing and water-proofing of the roof was to be rectified. Main Entrance Gateway: An old, massive, heavy and intricately carved wooden door gave a grand entry to this fortified complex. The arched ceiling of the gateway had a hand painted mural which had fainted over time was restored. North Gateway, Fortwall and Bastions: Extreme weathering, vegetation growth and vandalism had resulted in damage to the masonry of the fort-wall but due to lack of funding, only necessary and urgent measures were taken. Restroom: Structural defects like heavy leakage and cracks were

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stone sanctum - oil paints removed

observed in the Rest-room, which were rectified using stainless steel stitching. Deepmaal: Deepmaal, the light tower, is a unique feature evident in the western architecture of India. Generally, only one Deepmaal is seen in each Temple Complex, but three such enormous, intricately detailed Deepmaals were present in the Kinhai Complex. Due to lack of maintenance; vegetation growth, and damaged stone work was seen. The challenge was posed due to the sheer height of each light tower as well as the stonework as stones were differently carved in shape and size for each course. fact file: project

location

client

architects

principal architects

porject team

landscape architect structural consultant material conservation design directions historians

: : : : :

commencement date completion date Area Cost

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Restoration of Shri Sakhargad Niwasini Devi temple complex Kinhai village, Koregaon Taluka, Satara District, Maharashtra, India Shri Sakhargad Niwasini Devi Devasthan Trust, Kinhai, Tal. Koregaon, Satara. Kimaya Architects Conservationists Urban Designers Valuers, Pune Kiran Kalamdani and Anjali Kalamdani (Conservation architects) Satish Vasudev Kulkarni, Mrinalini (Uma) Suhas Samant, Shrirang Vasudev Kulkarni, Mukund Vasudev Kulkarni Jayant Dharap Construction Diagnostic Centre - Ravi Ranade Girikumar - Radhika Sehgal Satish & Falguni Gokhale (Graphic Designers) Shriniwas Sathe, Avinash Sowani, Ninad Bedekar April 2009 August 2013 1500 Sq m 99,490 U S $

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What Else is Heritage?

What is our role in ensuring its continuity? Parul Zaveri & Nimish Patel, Panika - Planning, Architecture, Conservation & Interior Design Consultants, Ahmedabad acutely aware of our unseen blinkers. The range and richness of our Heritage is so vast that almost every aspect that gives a settlement its cultural character, warrants conservation.

Photograph by Abhikram

whilst it is necessary to concentrate the efforts, energies and resources in preserving and conserving the large body of the historic monuments, i.e. the 'Products', it is also equally essential to also invest the resources in the conservation of the wealth of knowledge base embodied in our crafts persons, the 'Processes'. The entire body of knowledge, not only the skills, of Craft men is in danger of getting extinct in not so distant a future. This is primarily because of the decreasing demand for its use, arising out of lack of familiarity and low comfort levels in using them amongst the current professionals.

onservation of our cultural heritage is a responsibility of every Indian. The Heritage itself, and the wide range of background that we all come from, provides adequate range of roles, through which, each one of us can make a meaningful contribution to the cause of its conservation. This is an attempt to clarify a perspective of our Cultural Heritage, its role and meaning in our lives, the needs for its continuity, and therefore its conservation, the issues involved in the process, and the possible directions of the efforts. The basic premise arises from various inferences drawn by us in our practice, over the past more than three decades.

WH A T E L S E IS O U R H E R IT A G E ? It is to the credit of the second and third generation architects of postindependent India, that the

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Conservation the process - a step forward

appropriateness of the roots of modern architecture and those of the living and continuing traditions of architecture is being questioned. They are in the process of finding its own relevance, as well as balance. Its direct consequences are evident in the increasing awareness amongst, not only the profession of architecture and its related fields, but also amongst the people at large, about the presence of our invaluable heritage. It is time to take this understanding, a step forward in our practices, as well as in our actions. Through this awareness, the profession of architecture has been able to project the 'Products' as a significant part of our heritage. Now, it is the time to concentrate on the 'Processes' that made these 'Products', worthy of being called 'Heritage'. If we take a hard look at the holistic definition of our cultural heritage, we will become

In any historic settlement, one can experience the presence of the elements of man-made heritage, such as palaces, gates, fort walls, open spaces, building complexes, religious and institutional complexes, arts and crafts traditions etc. Most of these are rooted in the inherited elements of natural heritage of the region, such as landforms, river/water bodies, mountains flora and fauna, materials and minerals etc. The elements of natural heritage and the elements of man-made heritage are interrelated and interdependent on each other in such a manner that they constitute the Heritage Fabric of the settlement. The Heritage Fabric of any settlement, irrespective of its size, from the smallest village to the largest city, gives the settlement its significant character and identity. The heritage conservation priorities have to be focussed on the Heritage Fabric of that settlement. Thus, the Lakes of Udaipur, the Frescos of Shekhawati, the 'Pols' of Ahmedabad, the 'Chaupars' of Jaipur, and even the system of distributing the food tiffins by the 'Dabbawalas' in Mumbai, are very much a part of the Heritage Fabric of these respective settlement, and hence warrant conservation.

TH E P ROC E SSE S: Even a cursory look beyond the 'Products', will reveal the continuing

Figure 2

Photograph by Abhikram

Figure 4

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Figure 3

Photograph by Abhikram

A few examples of the capabilities of the traditional crafts persons using traditional knowledge, in construction as well as in crafts, which are still relevant and usable in the contemporary design and construction processes in Rajasthan, are: 1. The quality and craftsmanship of the masonry work in Bricks; (Figures 1 & 2) 2. The quality and craftsmanship of masonry work in Stone; (Figures 3 & 4) 3. The quality and craftsmanship of work in Wood (Figures 5 & 6) 4. The exquisite lime plaster popularly known as 'Ghutai' in Udaipur lasts for centuries; (Figures 7 & 8) 5. The traditional technique of water proofing, using lime, 'Gud' (Jaggory), 'Gugal' (a natural adhesive), 'Methi' (Fenugreek) etc., with inverted 'Kullads' (Figure 9) (Earthen pots) for insulation, lasts for decades, if not for centuries; 6. The 'Pattardi' (Beaten metal) work is a highly decorative covering for the doors, windows and even furniture; (Figure 10) and 7. The 'Thekri' work from small individually cut pieces of convex mirrors, offers exquisite patterns on wall or ceiling finishes. (Figures 11 & 12)

Figure 8

Figure 5

Photograph by Mohmmad Shehzad N. Shaikh

Photograph by Abhikram

Figure 9

Figure 6

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Figure 12

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Figure 7 (https://creativecommons.org/license s/by-sa/3.0-deed.en

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Figures 10

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Figure 13

presence of the 'Processes' in the local construction craftsmanship base, in any region in India. This base represents the knowledge and wisdom of centuries, and covers a wide range of applications, including the selection of the type of the material, the manner of its use with the other materials, the detailing of their assembly to last centuries, and the sequence of the constructions in the overall process. However, this entire body of knowledge, not only the skills, is in danger of getting extinct in not so distant a future. This is primarily because of the decreasing demand for its use, arising out of lack of familiarity and low comfort levels in using them amongst the current professionals. Therefore, whilst it is necessary to concentrate the efforts, energies and resources in preserving and conserving the large body of the historic monuments, i.e. the 'Products', it is also equally essential to also invest the resources in the conservation of the wealth of knowledge base embodied in our crafts persons, the 'Processes'. Through the images of each of these, executed then, and executed now, we wish to stress that this knowledge and crafts, and the crafts persons still exist, waiting to be utilised.

THE UN D E RSTAN D IN G : The rich and the all-encompassing knowledge of our traditional crafts persons, instrumental in making our cultural heritage as rich as it is, and worthy of being called 'Heritage', is passed on from one generation to the other, and from a teacher to a worthy pupil. It represents the 'Genetically Inherited and / or Developed Skills' of the traditional crafts persons. Its continuity is through its use, and not through any documentation, for it is neither entirely documented nor fully documentable. (Figure 13)

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It is our experience and understanding that: The traditional crafts persons may not have had formal education, but they possess amongst themselves a vast and in-depth knowledge of local materials and technologies, which is extremely valuable to the contemporarily trained professionals; However, the avenues and the opportunities to demonstrate their skills have been few and less frequent in comparison to their numbers, as well as their collective capacities. And hence they do not offer them with the means of economic support on a sustained basis, through an increase in the demand for their skills; Consequently, their present and future generations are branching out into contemporary materials and technologies, or into other avenues of economic survival. This is likely to bring the knowledge and experience of centuries to a gradual extinction; and Their knowledge and skills are still available today, but there are very few professionals who want to, or even understand how to, use these rich and varied traditional strengths.

TH E IN AD E Q U AC IE S IN TH E P ROFE SSION : The above inferences have helped us immensely in realising our own inadequacies. They are: Studies of local traditional materials and technologies do not figure prominently in the architectural / engineering curriculum, nor are its experiences easily available through normal fieldwork. Consequently, the capabilities of most of the formally trained professionals, like ourselves, are found to be inadequate, to competently deal with issues of design and construction in and around the historic settlements.

There is a lack of conviction amongst us, the professionals, about the relevance and use of traditional materials and technologies in contemporary construction processes. The lack of focus and efforts to understand the sustainable practices already demonstrated in our rural settlements. Our design practices based in the urban areas from where we carry out the designs for all the building typologies in the villages are diluting over a period of time, the entire aesthetic and construction heritage of the rural areas. Our inclination to use newer, more technologies oriented designs are contributing immensely to the disappearance of the wealth of our asset base of traditional knowledge and wisdom. And so on . . . . .

curriculum, through which, a deeper understanding of our own cultural heritage is imparted in our students from the very beginning; Re-educate and re-train ourselves, and our fellow professionals, with lessons from our traditional knowledge, wisdom, and the resultant decision making processes; Redefine the objectives of our profession towards making it more meaningful and more responsible to the genuine needs of the society, and its more appropriate aspirational growth; and Re-identify the priorities of our profession so that it can take on newer, more appropriate and more effective roles, which strive to find the appropriate directions, and set new, more relevant and more sustainable benchmarks.

THE NEED:

IN SUM M ARY:

It is therefore imperative that we, as responsible professionals involved in the growth and practice of the profession, recognise that there is an urgent need to: Reorganise the educational

We need to recognise that each one of us is a potential Patron, with capabilities of conserving some of the aspects of our invaluable heritage. But are we aware of it? And if we are, are we ready to do anything about it?

Architects Parul Zaveri and Nimish Patel established Abhikram, a Planning, Architecture, Conservation and Interiors consultancy firm in 1979, on their return to India, with a view to explore design directions and design processes which make the built environment, functionally, psychologically, environmentally and spiritually, more balanced, contextual and comfortable. In their 35 years of design practice, they have also been intensely involved in the heritage conservation works. Some of their significant works include the Policies for Conservation of Udaipur city, the first pilot project of INTACH at settlement level in 1987; Conservation Documentation and Policies of Amber and its environs from 1985 to 2001; and as consultants in 2001 to 2004, they headed the conservation team of INTACH-Jaipur chapter, in the Rajasthan Urban Infrastructure Development Project (RUIDP) at Jaipur, Rajasthan, for the Rs.50 Crore Heritage Component commitment by the State Government for the conservation of Jaipur and its environs. Through their design practice they have re-established the relevance of traditional decision making processes, materials, technologies, crafts and craftspersons in contemporary design and construction processes.

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Conservation of Built Heritage master plan delhi 2021

An Approach to Conservation of Built Heritage Delhi Master Plan Provisions P.S.Uttarwar, Additional Commissioner (Planning), Delhi Development Authority

Conservation is not freezing a place in time or denying development. Rather it stresses that the development has to occur in relation to the existing built heritage and the relationship with the natural resources. Conservation of Built heritage cannot be compartmentalised under a heading and done with. For effective protection and management of built heritage, concerns of heritage should be reflected in all areas and it should be integrated with planning process. The aim therefore is to formulate a Conservation Management Plan for Delhi's heritage, based on understanding of heritage as a resource.

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protector of India's heritage. At a later date Master Plan documents attempted to make provisions for protection and conservation of built heritage. Right from the first Master Plan of Delhi 1962 to the Master Plan of Delhi 2021, each document contributed and perfected conceptual frame work, approach and policies for protection and conservation of monuments in Delhi.

DELHI'S HERITAGE Delhi is an ancient city whose history dates back to the time of Ashoka. This region is uniquely situated in terms of its location. It is a triangular area bound by Yamuna on east side, and by the Aravalies on the south and west side. For the most part of its history it has been a capital city. The history of Delhi begins from the Ashokan rock edict and comes through centuries to Lutyens imperial capital and finally to being the capital of the Indian Republic. Delhi has witnessed numerous ups and downs during this history.

elhi is an ancient city with rich historical mile stones and heritage. Historically Delhi has been a capital city for many dynasties and rulers. Each ruler and dynasty left its impression and foot prints in the form of monuments, heritage buildings and capital complexes. The rulers have

been conscious of Delhi's past. Their desire to protect the past has influenced protection and conservation of built heritage. Archaeological survey and Public Works Department of British India began this task in the later 19th century and after independence, Archaeological Survey of India (ASI) has become

Protecting this heritage represented by a mosaic of capitals and villages is a very big challenge. Through the years right from perhaps Ferozshah's time, rulers have been conscious of Delhi's past, their attitudes and the thinking about past which has influenced protection and conservation of built heritage. Alexander Cunningham's Archaeological Survey and the Public Works Departments (PWD) of British India were responsible for protection and maintenance of monuments. After independence, ASI has become sole agency for protection of heritage. Even today it continues to function with the same rules and regulations drafted during colonial times. Following is a brief summary of the agencies involved

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in conservation and provisions of the previous Master Plans. a. ASI: The rules and legislations for protection of heritage laid down by the British have not changed much till date. Their definition of 'built heritage' is monument based. b. Master Plan for Delhi 1962: The first Master Plan was prepared during a time when the concepts of heritage and conservation in India were in their infancy stage. The master plan provided for a number of green spaces to be reserved for the city. Most of these greens were around monuments and this has resulted in protection of a number of monuments. c. Master Plan for Delhi-2001: In the second Master Plan the aspect of conservation is dealt under a different subheads. Environment is section that talks about the conservation of the walled city. The section on special areas also mentions restoring the glory of the Walled City. Urban villages, which are an important component of the heritage, are under the section of shelter, it rightly mentions that heritage development should be a part of the overall development. The Master Plan was in accordance with the conservation thought of the day. Due to scattered scheme of conservation thoughts, implementation was a difficult task. In the 90's, Municipal Corporation of Delhi (MCD) and New Delhi Municipal Council (NDMC) published lists of buildings, which were 'Protected'. In absence of any legislation or procedures, these monuments remained protected theoretically only. The ASI protects 164 odd heritage structures in Delhi, besides these the local bodies have also published lists are follows: MCD: 775 buildings NDMC: 112 buildings These are ridden with number of problems. The World over thinking about heritage has changed radically. The 'Monument' approach has been discarded as being insufficient to protect the Built Heritage. This built heritage needs to be treated as heritage areas or zones. It is necessary to identify what is to be done with these buildings? Who will do it? And what conceptual approach lies behind the whole process? The lack of appropriate plotting and mapping has resulted in encroachments and deterioration in heritage areas/buildings.

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regarding conservation, should be defined and included in the act/master plan. Once it is defined in the act, the process becomes mandatory and ensures that conservation of cultural heritage remains a priority.

INTACH inventory of Delhi of built heritage of 1208 buildings was published in the year 2000. 1. CONCEPTUAL FRAMEWORK ON CONSERVATION ASPECT FOR MPD 2021 Our heritage is the result of interaction of three forces. i) People - occupies a geographical area ii) Place - where building activity takes place and through iii) Time buildings and cities take shape. Understanding of People, Place and Time gives us the context for understanding Heritage. It also helps us in evaluating the heritage. Fundamental to the approach for conservation of the build heritage is the understanding of heritage as a resource. Such an understanding means that like all Natural resources built heritage is also subject to development pressures and exploitation and has to be protected from these threats. The notion of sustainability widely used for natural resources is also applicable for built heritage. Sustainability necessarily means the use of the resources in a matter that does not compromise on the ability of future generations to use and enjoy it. This cultural entity or culture region has a range of natural and built heritage. Managing the natural and built heritage of this complex cultural entity is an enormous task. This heritage is a valuable resource but is threatened due to pressures of urbanisation and development. Historically there had been a symbiotic relationship between the natural and the manmade heritage. This relationship can be identified as cultural landscapes. Tughlaquabad, the capital of the Tughlaqs utilized the landform for construction of the capital. Even if the natural and built heritage are within this culture region, there is a whole range of components that has to be identified and conserved. Some of these components are as follows:

Water bodies: Ponds, tanks and lakes, Quarried lakes Villages: Chirag Delhi, Nizamuddin, Kotla Mubarak etc. Historic capitals: Tughlaqabad, Jahanpahah, Shahjahanabad etc. Conservation is not freezing a place in time or denying development. Rather it stresses that the development has to occur in relation to the existing built heritage and the relationship with the natural resources. Conservation of built heritage cannot be compartmentalized under a heading and done with. Effective protection and management of built heritage requires that the concerns of heritage be reflected in all areas and be integrated with planning process. The aim therefore is to formulate a Conservation Management Plan for Delhi's heritage, based on understanding of heritage as a resource.

Administrative: In administrative setup the role of any special body should be strictly advisory in nature. There might be a tendency to leave the heritage entirely to this body while the planning process continues regardless.

Financial: The financial policies are to be based on the understanding of ownership status of the structure to be protected. For the private properties various instruments like soft loans, tax relief and tax concessions have to be worked out.

Technical: Structural conservation is a very technical subject and there is a serious lack of data on construction processes and materials. Regular maintenance and the awareness of the occupants is very crucial for the health of the building. At building level following need to be prepared. Specifications for conservation work Manuals on structures and materials Manuals for housekeeping and maintenance Architectural control guidelines for new development

Education and Awareness: Heritage is a vast source of learning and education. Awareness about heritage is very crucial for conservation. All possible means should be used for this purpose. The results of the collected database can be synthesized to feed into the awareness programs.

Monitoring and Reviewing: Monitoring and reviewing are very important if the Master Plan provisions are to be implemented. Preparing action plan with prioritisation and setting of long and short-term objectives is a very important task.

GENERAL POLICIES Policies to be applied in conservation areas of Delhi have to be based on database of built heritage resources of Delhi. However a broad generalisation may be done based on an accepted attitude towards heritage.

THE RIVER Ridge: Northern, Central and Southern Streams Agricultural areas

Definition of Heritage Zones: The definition of the zones has to be based on understanding of the wholeness of the particular resources. New Delhi is one entity and has to be defined as such. The walled city of Shahjahanabad is again another entity.

Information Management: A detailed database is very important for informed decision making. The database has to comprehensive and open ended. It has to be complied from detailed inventories. The database has to be organized so that it can be answer multiple criteria queries and is updateable. The decisions for resources management can only come from a thorough database. Legal : Certain terms, processes, powers, responsibilities duties etc.

2. PLAN FOR A CONSERVATION ZONE Conservation of the historic areas has to be an integral part of the planning process. The qualities to be conserved include 'all the elements that express the character of the place'. This identified as heritage components, which can be defined in terms of spatial extent. Architecture Update December 2014

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and educational resources for the public in addition to the value as a tourist attraction. All decisions regarding Built Heritage in general and Archeological Parks in particular should be based on evaluation of the pertinent aspects like form and design, materials and substance, use and function, traditions and techniques, location and setting, spirit and feeling and other internal and external factors.

a. Qualities to be preserved Urban patterns as defined by plots and streets. Relationship between buildings and green and open spaces The formal appearance, interior and exterior of buildings as defined by scale, size, style, construction, materials, colour and decoration The relationship between the urban areas and its surrounding setting, both natural and material Various functions that the area has acquired over time b. Delineation of zones It is clear from the statistics that two most critical things are the identification of ownerships and secondly the demarcation of exact boundaries on the map. The boundary delineation is a critical process and includes the following tasks: A detail inventorying of the heritage components. Identifying the spatial extent of these components on plan Defining the extent of the zone based on the inventories and the historical studies Identifying a buffer around the zone for protect. The definition of the zones has to be based on understanding of the entity. Understanding of Delhi as historic capitals and villages interlinked by numerous water bodies and streams gives us a better perspective for defining the 'zones'. Capitals Lal Kot, Quila Rai Pithora Siri Tughlaquabad, Nai Ka Kot, Adilabad Jahan Pahah: Chirag Delhi, Khirki, Begumpur, Hauz Rani Firoz Shah Kotla Purana Quila Sharhjahanabad: Chandni Chowk, Katra Neel, Bazar Lal Kuna, Dharampura, Jama Masjid, Red Fort, Lothian Road, Daryaganj Lutyens Delhi: Connaught Place, Jantar Mantar, Central Vista, Bungalow Zone Historic Villages Nizamuiddin: Humayuns Tomb, Barapulla, Hazarat Nizamudding Mehrauli: Zafar Mahal, Mehrauli Bazaar, Qutb Complex. Hauz Khas Clusters of monuments Lodhi Gardens Delhi Golf Club This perspective also opens up the possibility of identifying more heritage zones based on the techniques of inventorying. Such as definition is a big

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The following areas have been designated as Archaeological Parks: i) Mehrauli Archaeological Park. ii) Tughlazuabad Archaeological Park. iii)Sultant Garhi Archaeological Park. exercise in itself and needs comprehensive understanding of the heritage resources of Delhi. Urban Villages Many of the urban villages are historic and remain of the past are worthy of conservation. However they have undergone various degrees of transformations. These have to be surveyed for their heritage resources.

3. CONTENTS OF THE CONSERVATION PLAN For any conservation plan participation of the occupants of the area is very crucial. Such plan may have following components:a. Heritage components and their ownership b. Traditional and historic housing stock c. Land use policy d. Physical infrastructure e. Traffic and transportation f. Information management g. Education and awareness h. Tourism i. Capacity Building 'Capacity building' is the process and means through which individuals and Organisations develop the necessary skills and expertise to manage their environmental and natural resources in a sustainable manner within their daily activities.

4. MASTER PLAN 2021 PROPOSALS For the first time Master Plan for Delhi 2021 included a separate and dedicated chapter on "conservation of built heritage" in the text of Master Plan, this chapter includes. CONSERVATION STRATEGY A common conservation strategy for all the agencies concerned with protection of Delhi's built heritage is necessary. All the agencies should prepare appropriate action plans with the aim of framing policies and strategies for conservation. The strategy should include promotion of conservation of the civic and urban heritage, architecturally significant

historical landmarks, living monuments, memorials and historical gardens, riverfront, city wall, gates etc. Interaction and coordination between all these agencies must be part of overall strategy. All the agencies should follow common database, definitions and guidelines for development, redevelopment, additions alterations, repairs, renovations and reuse of the heritage buildings. HERITAGE ZONES Heritage Zones is an area, which has significant concentration, linkage or continuity of buildings, structures, groups or complexes united historically or aesthetically by plan or physical development. The following areas have been identified as Heritage Zones as indicated in the Zonal Plan. i) Specific heritage complex within Walled City of Delhi, Shahjahanabad. ii) Specific heritage complex within Lutyens Bungalow Zone. iii) Specific heritage complex within Nizamuddin and Humayun's Tomb Complex. iv) Specific heritage complex within Mehrauli area. v) Specific heritage complex within Vijay Mandal-Begumpur-Sarai Shahji-Lal Gumbad. vi) Specific heritage complex within Chirag Delhi. ARCHAEOLOGICAL PARK Archaeological Park in an area distinguishable by heritage resource and land related to such resources, which has potential to become an interpretive

Other area can be added to the list on the basis of studies SPECIAL CONSERVATION PLANS Each local body/land owning agency should formulate "Special Development Plans" for the conservation and improvement of listed heritage complexes and their appurtenant areas. Alteration or demolition of any listed heritage building is prohibited without the prior approval of the Competent Authority. The development plans/schemes for such areas shall conform to the provisions, in respect of Conservation of Heritage Sites including Heritage Buildings, Heritage Precincts and Features Areas.

CONCLUSION The Master Plan 2021 has brought focus and vision with respect to Conservation of Built Heritage. For the first time the idea and concept of Heritage Zone, Archaeological Park has been introduced in the Master Plan document. The scope of Heritage encompasses monument along with linkages or continuity of buildings, structures or complexes united historically or aesthetically. Similarly Archaeological Park is an area distinguishable by heritage resource and land related to such resources. Inclusion of these entities in Master Plan document makes it potential area for protection, conservation and an integral part of planning process.

Purushottam Uttarwar, Additional Commissioner (Planning) at Delhi Development Authority (DDA) is an architect-urban planner with specialisation in Remote Sensing & GIS. He has 36 years of experience in the field of Urban Planning and integrated township development. As an officer in DDA, he was associated and involved in preparation of Master Plan For Delhi 2001, Master Plan 2021,and Various Zonal development Plans, He was part of the team which has prepared & implemented development plans for Sub City of Dwarka & Rohini (One million plus population). As a specialist in Remote Sensing & GIS, he was able to develop various applications for preparation and updating of BASEMAPS. As an Additional Commissioner (Planning) in DDA, he has played a major role in overlooking the work of Unified Traffic and Transportation Infrastructure (Planning and Engineering) Centre which is responsible for coordination between various traffic and transportation projects in Delhi.

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Conservation interpretations

Images: courtesy, the author

Key Aspects and Challenges of Heritage Conservation in India Pappal Suneja, B. Arch 4th Year; Guru Nanak Dev University, Amritsar, Punjab

Architecture should be in our heart; emotions rule our head while intellect plays its part. The focus should be on leaving our footprints in the right places in an appropriate way in the process of conserving our Historic Architectural Landmarks. But remember, these footprints should be carbon free as we should never forget the importance of serving our little part towards mother earth that has gifted us with so many beautiful spaces to create the best mark in our lives.

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social or political significance in society. Strictly Speaking, it is deemed to mean those buildings, monuments, artefacts, spaces and precincts that are of historic, aesthetic, architectural or of cultural significance and should include natural features within such areas or precincts of environmental significance or scenic beauty such as sacred groves, hills, hillocks, water bodies, wooded areas, etc. In India, the heritage comprises archaeological sites, remains, ruins etc., which are protected by the primary custodian of 'monuments and sites' that is Archeological Survey of India (ASI) and their counterparts. A number of groups of buildings remain unprotected, including particular neighborhoods, public spaces including landscapes and natural features, which provide character and distinctive identity to settlements.

ndia is a vast country which has a rich past and glorious heritage, witnessing a blend of cultures from all over the world. Many great civilizations dwelled and survived, great rulers ruled and great saints worshipped here. The great history of our country with deep rooted heritage shines brightly in our life, which is replete with

the milestones and footprints left by creators of history. India has much to boost about its magnificent architectural heritage inherited from the ancient times. Heritage is what we retain of inheritance of structures built in ancient times that had emerged of spiritual, religious,

Further, it is very evident that there wasn't any formal Architectural Education System persistent in our nation in ancient times. It is only few decades back that people in power and educationalist had thought of formulating a very well connected, efficient and progressive system that inculcated improvising guidelines in terms of building design and structure systems to fulfill changing needs and aspirations of human life style as well as to cater the functional aspects of spaces. But still it is very apparent that structures that were erected in ancient times follow a complete sense of knowledge about proportions, stability and aesthetic value.

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First marble edifice in India- Hoshang Sha's Tomb

Seemingly innumerable domes at Jami Masjid, Mandu

Jahaz Mahal - testimony of stone craft for royal pleasure.

Watch Tower, Rani Roopmati Pavilion at Mandu

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outstanding masterpieces of Afghan Architecture in Mandu

One of the historic precincts protected and conserved by ASI in Central India is Mandu- 'The city of Joy' situated about 35kms south of Dhar District in Madhya Pradesh. It is inclusive of many monuments namely Rani Roopmati Pavilion, Jahaz Mahal, Baz Bahadur Mahal, Asharfi Mahal, Lal Bagh, Dai ka Mahal and Hindola Mahal. These exquisite palaces served the purpose of ornamental baths, canals, watch towers and pavilions as refined as those times of grandeur and peace. This elevated plateau - Mandu incorporates most enchanting and undulating scenery with dark pools, shaded trees, and rocky ravines alternating with the overall effect of illusion of unreal beauty. Also this hill range is endowed with marvelous natural effect which is at its best in rainy weather when all sides are fully clad with greenery, amid a number of torrents rushing down into winding ravines. This enhanced beauty is the result of dozens of interspersed lakes and ponds. The spiritual reflection of romantic beauty and joy is characterized by Ship Palace that is Jahaz Mahal which was built between two artificial lakes. The name of this palace is the outcome of its unusual shape and elevated space on the narrow land between two large tanks. This palace is 120m long with elegant two-storeyed structure inclusive of open balconies, Overhanging water terraces, Pavilions etc. It is basically one of the testaments of imaginative recreation in stone craft for the royal pleasure. Further Mandu also includes some outstanding masterpieces of Afghan

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Architecture that is Hoshang Sha's Tomb (Inspiration for the master builderUstad Hamid of Magnificent 'Taj Mahal') and Jami Masjid. The Marble lattice work, beautiful carvings of blue enamel and lotus flowers in masonry, magnificently proportioned dome are some of the unique features of white mausoleum of Hoshang Sha. On the Contrary in the same complex there is a grand scaled Jami Masjid which is inspired from great mosque of Damascus has a huge dome porch that projects in the center with similar imposing domes in the background. It has a stern simplicity and a pleasing variety of arches, domes, bays and pillars. The heritage structures also include the existing pillars (Stambhs) of architecture which are standing till date due to materials used that challenged the vagaries of time. Many of the Stambhs have emerged from the spiritual and the religious influences and in order to spread these influences, architecture of their times has involved its presence. Some of examples include Vijay Stambha at Chittor- Rajasthan, Deep Jyoti Stambh, Iron Pillar, Qutub Minar, and Pillars at Sarnath, Vaishali, and Allahabad etc. The best example of such structure can be stated as the intricate carvings of verses of holy Quran on the legend minar of Mughal times that is - The Qutub Minar. Heritage buildings are testimony of visionary efforts of our predecessor. Achieving what our ancestors visualized and concerted attempts to realize the

same might have resulted in better conservation. As it is rightly said 'experience is the best teacher', by trying to learn from the mistakes of the recent past can help us in better planning of the cities or their redevelopment. It is of utmost importance on our part as budding architects to not only try to maintain the sanctity of these structures but also consider their conservation and restoration as our priority. All efforts to conserve a monument should be made to retain its ethical value, its authenticity, its visual connections to and from the monument and sustaining a truthful representation of its original / historic appearance. The purpose of such an effort should be to ensure that the monument is kept in its original condition or, in certain cases, restored to an earlier known condition or to a condition as it was discovered at the time of its identification and notification. The key challenge faced today is

celebration of our traditional past while enhancing the importance of local materials that are environment friendly. This beautiful and glorious past can be celebrated by introspecting the past, learning from the mistakes, from the misleading and rapid movement towards modernity neglecting the splendid knowledge of our ancestors. And based on this, we must take proper steps for the conservation and rejuvenation of our heritage. With architecture at heart, emotions rule our head while intellect plays its part. Therefore, focus should be on leaving our footprints in the right places in an appropriate way, in the process of conserving our Historic Architectural Landmarks. But remember, these footprints should be carbon free as we should never forget the importance of serving our little part towards mother earth that has gifted us with so many beautiful spaces to create the best mark in our lives.

Being inspired from the very first Architectural Journalist in the world "le Corbusier" who despite all odds sustained his goals, Pappal Suneja, a 4th year student of B.Arch. at, Guru Nanak Dev. University, Amritsar, wants to put forward his healthy ideas and viewpoints towards rejuvenation of the traditional concepts to which India is the first signatory. Architectural Journalism for Pappal is informing public about architect's perception in relation to building design with a holistic approach. Pappal was awarded Architectural Journalism Award, student category (2013-2014) by A3 foundation, Chandigarh for his involvement in Architectural Journalism writings. He has also been awarded Citation for Journalism Trophy, Topic - Importance of stambh (pillar) in architecture at Zonal NASA Convention 2013. While proceeding in this direction, he wants to develop a unique style whereby he could follow his heart and do something what others haven't done so far in this upcoming field of Architectural Journalism in India.

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Conservation case studies Our Cultural Heritage is an important asset which is often underdeveloped when in the public arena. The Madhya Pradesh Monuments Project (MPMP) is a unique endeavour where sizeable funding is being put into the domain of development of cultural heritage, considering them as important public assets. MPMP is a partnership between the Government of Madhya Pradesh, Department of Culture & the World Monuments Fund to conserve 43 historic monuments and sites across the state. Images: courtesy, World Monuments Fund

The Madhya Pradesh

Monuments Project Government of Madhya Pradesh, Department of Culture and The World Monuments Fund he Madhya Pradesh Monuments Project (MPMP) is guided by a Memorandum of Understanding under which World Monuments Fund (WMF) is providing technical support for the preparation of conservation plans and training and capacity building, while Government of Madhya Pradesh is committed to undertake the expenditure in implementation of conservation works. Government of India through the 13th Finance Commission had allocated a promising investment of INR 175 crore towards conservation of heritage buildings - one of the largest allocations by the centre to the Department of Culture. In recognition of the commitment of Government of Madhya Pradesh, WMF has partnered with the State Government to match their budget with an investment of up to 5 million US dollars to support the conservation initiative by bringing in expertise, and hence recognition on a global platform. The methodology for the project has allowed for systems of management practice to achieve good qualitywork, which the conventional systems of the government practice is often not able to achieve as usual methods of civil work projects are applied to heritage conservation projects as well. Ingredients for best practice have been built into the project process which engage in conservation planning, encourage peer review, rigorous consultations between project consultants, engineers of the department

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and sector specialists, and further create platforms and systems for interdisciplinary dialogue and monitoring of works. The scale and range of involvement under the umbrella of MPMP makes it exceptionally unique. The project includes an assortment of almost 43 monuments which are geographically spread well across the extents of the

largest state in the country, all accessed by 4 important nodal cities identified by the Directorate of Archaeology for their circle offices around which circuits of monuments have been created Orchha-Gwalior in the North, Indore in the South West, Jabalpur in the North East, and Bhopal in the centre. Some sites sit within the major cities while others are housed deep within the rural

hinterland, such as the Hinglajgarh Fort in Mandsaur. The collection of sites chronicles the deep-set history of the region, from the group of Temples at Ashapuri near Bhopal built in the ancient period to the 19th century LalBagh Palace in Indore.Their diversity represents a range of building typologies from tribal forts, colonial palaces to ancient archaeological sites

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fact file: project location client

: Dhar Fort : Dhar District, Madhya Pradesh : World Monument Fund, New York (WMF, NY) and Department of Archaeology, Archives and Museums, Government of Madhya Pradesh (DoA, GoMP) conservation architect : Vijaya Amujure, New Delhi commencement date : January 2014 completion date : March 2015 (anticipated) area : 1,07,750-sq m cost : Phase I (FY 2011-2012) - 50.00 lacs (completed) Phase II (FY 2012-2013) - 150.00 lacs (ongoing)

which engage with diverse layers of history,touching national narratives to regional accounts of tribal communities and provincial royalty.

RESPONSE TO VARIETY ON OFFER THROUGH ARTICULATION OF KEY GOALS FOR THE PROJECT The process of conservation planning and project management established for MPMP showcases a responsiveness to this wide variety of heritage. Taking into account the varied physical, historical and current social contexts of the sites, an integrated multi-disciplinary approach has guided strategies aimed towards comprehensive conservation and management. Managed by the Project Coordination Team (PCT) - a nodalgroup of conservation architects headed by a Project Management Specialist conservation planning for MPMP engages with over 25 conservation specialists across India, who are guided by a Technical Advisory Committee (TAC) comprising specialists in historic embellishments, structural issues, geotechnical experts to civil engineers, procurement specialists and more. The model aims to set precedence for a sustainable model for conservation and management of cultural heritage in the country. In line with the initial aims of

fact file: project location client

: Mahidpur Fort : Mahidpur, Ujjain Ujjain, Madhya Pradesh : World Monument Fund, New York (WMF, NY) and Department of Archaeology, Archives and Museums, Government of Madhya Pradesh (DoA, GoMP) conservation architect : Aishwarya Tipnis Architects, New Delhi commencement date : January 2014 Completion date : March 2015 (anticipated) area : 1,23,240-sq m cost : Phase I (FY 2011-2012) - 50.00 lacs (completed) Phase II (FY 2012-2013) - 50.00 lacs (ongoing)

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fact file: : Rai Praveen Mahal Precinct : Orchha, District Tikamgarh, Madhya Pradesh : World Monument Fund, New York (WMF, NY) and Department of Archaeology, Archives and Museums, Government of Madhya Pradesh (DoA, GoMP) conservation architect : CRCI (India) Pvt. Ltd area : 12230-sq m cost : Phase I (FY 2011-2012)- 28.50 lakhs (completed) Phase II (FY 2012-2013)- 21.50 lakhs under process

project location client

the MoU, the projects also endeavours to establish standards and benchmarks "to guide the process of protection, preservation, along with promotion and development for State's cultural heritage" with a focus towards capacity building, training and monitoring as key objectives of the partnership. To demonstrate a consistent conservation methodology which ensures attributes of high value both tangible and intangible are protected, assessments of value and risk have been critical in informing all the stages of strategic planning for the sites from initial assessments, and conservation planning to implementation of work on site.

SUCCESSES AND LEARNINGS The project has offered a platform for invaluable leaning. The MPMP project, in addition to being a conservation project, has been a large-scale demonstration of peer group sharing and multi-stakeholder learning in the field of conservation. Robust collaboration amongst conservation specialists through peer review has been essential in appropriately addressing the concerns and challenges of the sites. Through socialisation with consultants, contractors and stakeholders, it has been possible to capture varied inputs which are filtered through the TAC to produce finalised

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strategies. Critical engagement with these specialists addressing diverse aspects of conservation from art, landscape, risk management, structure, geotechnical issues,etc. has made the process truly multidisciplinary in nature. This collaborative effort has contributed to best practice to be employed for conservation. Two workshops, as part of an envisioned series, have also been conducted over the past year to streamline the process of preparation of Detailed Project Reports (DPRs- which comprise the conservation plans, details of construction, tender documents and take off sheets) to implementation and make the process more interactive by sharing experiences of various consultants involved in the project at a common platform during different stages of the project. They have also provided another opportunity to continue dialogue between Government of Madhya Pradesh and consultants and created opportunities for the sharing of resources for mutual benefit. Effort is being made for several projects to engage in inter-departmental dialogue within the State Government on their interests and concerns to enable conservation to be addressed holistically by all stakeholders. A historic monument is a public

asset,often with vested interests by the Department of Tourism, the Water Resources Department, Forest Department among others. Cooperation amongst these departments to acknowledge that interventions should protect authenticity and integrity of sites has been actively pursued during work for MPMP. For instance, endeavours to protect the cultural landscape of Orccha, not just the individual monuments, have led to healthy dialogue with the MPRDC, WRD and Nagar Palika, whose response to address needs based on sound conservation philosophies has been most encouraging. While the consultants are mindful of the needs of the community while planning for conservation, consultations are also being under taken by the Department of Culture with the local community, community based organisations and local elected representatives to address the needs of the community in the setting of the heritage buildings especially in the case of living monuments as found in Orchha. Now halfway through the course of the project, with implementation underway on a number of sites, it is most promising to witness informed proposals for a diverse aspects of conservation being addressed on sites.

The varied nature of work, not focused only on conservation of physical fabric, but also on aspects related to art, landscape, sensitive visitor amenities, infrastructure development around heritage sites /needs of the site essentially recognises the myriad nature and possibilities that our cultural heritage offers, which is often overlooked through our traditional systems of addressing antiquity. This important partnership has produced a positive climate for learning and informed conservation planning for the long term sustainable management of our heritage. These integral ingredients have led to the creation of an understanding of conditions that are necessary to enable good conservation practice. The MPMP project,through these systems,aims to serve as an important model in the history of sustainable conservation management in modern India. Text: courtesy, Project Coordination Team, MPMP-WMF comprising: Gurmeet Rai, Project Management Specialist; Priyanka Singh, Conservation Architect; Antara Sharma, Conservation Architect; Saumya Tripathi, Conservation Architect; and Yogesh Kumar, Conservation Architect.

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Published on 1st of every month W.P.P. Lic No. MR / TECH / WPP-26 / SOUTH / 2014-15 Regd. No. MH / MR / K'devi-58 / 2013-15 Posted at Mumbai Patrika Channel Sorting Office Mumbai - 400 001 on 3rd & 4th of Every Month