Jaswant thada an extensive study by HEMANT JOSHI

‘AN EXTENSIVE STUDY ON JASWANT THADA’ the pragmatic aspects of self-sustenance of heritage architecture due to lack of government funds.

Department Of Architecture And Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

JASWANT

THADA

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

PREFACE

The following treatise is a published work of the Department of Architecture and T.P. at M.B.M Engineering College and Faculty of Architecture, Jodhpur, Rajasthan(India). As a part of a new annual curriculum, the students of third year of were taken to the Jaswant Thada complex, for a group project. This exercise was a curricular experiment proposed by our design studio heads as an attempt to deviate from the usual teaching methods that existed before. The basic intention of it was, to prepare the students of third year for the practical world of architecture as, by the end of the year the students would be interning at various architecture firms for practical training. Furthermore, it made the students learn the ways of extracting information from a given site, by pooling in the limited resources and producing the output in time. Jaswant Thada: Popularly referred to as the â&#x20AC;&#x153;Taj Mahal of Marwarâ&#x20AC;?, it is built out of intricately carved sheets of marble. Considered an epitome of Rajputana architectural style. The magnificent marble structure stands in blinding white contrast to the surrounding reddish brown rocky hills that dominate the landscape. The exercise was to document and study the given site and also collect necessary external input such as surveys, group discussion or even our own observation so as to give the required recommendations and conclude onto technical and pragmatic solutions to the existing problems from the standpoint of architecture and overall development of this historic structure.

Hence, all work presented henceforth is a result of the study conducted by the team of teachers and students. While studying the Jaswant Thada complex we inferred that it a is already a well conserved heritage site but not well managed. The Jaswant Thadda itself is a remarkable piece of architecture to look at and it is also a nice and quite public space, but all the assets that this magnificent structure offers are not leveraged well in terms of bringing tourist attention or generating enough income for that matter. Moreover, most tourists also skip over Jaswant Thada during their Jodhpur visit. The report is an attempt to bring these issues under the spot light, and also suggests ways to cope with them. Thus, the following report not only brings under cover the various specifics of the Jaswant Thada complex from the standpoint of architectural discourse but, it also talks about tourism development, construction techniques and conservation methodologies suggested by the students. Doing this group project made us develop our coordination, management and other soft skills along with technical exposure to the documentation process. The students were divided into groups to achieve different goals . This group study lasted for 15 days and right since day one when we visited the complex their was enthusiasm and synergy amongst all the groups. The first three days were invested in site survey and measurements and the consecutive days were consumed in the putting together of all the data and material. Therefore, the entire study was nothing but a collaborative learning experience not just from an academic standpoint but it also taught us workman-ship and taught us to have fun a long with the academic burden just by inculcating a sense of work ethics and professionalism.

JASWANT THADA

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

ACKNOWLEDGEMENT

We the students of the Department of Architecture owe a great many thanks to the people who helped and supported us in the process of documentation and report making. It is our pleasure to write a few words of acknowledgement. This report is a result of thought, hard work, and insight from a large group of people at the Department of Architecture and T.P. of MBM college of Engineering and also many other important associates. We take this opportunity to acknowledge the immense our design studio heads Dr. Rajesh Sharma, Ar. Kamlesh Khumbhar, and Ar. Ajay Pal Singh Rathore, who guided us through out the documentation process and had taken the pain to make all the necessary corrections with attention and care. With them this project and report would have been a distant reality. Our deepest thanks to Ar. Saurabh Gehlot to whom we are extremely thankful and indebted for sharing his expertise, and sincere and valuable guidance and extended encouragement. Our sincere thanks also goes to Mr. Karni Singh Jasol (Director-Mehrangarh Museum Trust) Dr. Sailesh Mathur (Chief Manager, Mehrangarh Museum Trust), Ar. Shubham Deo Prajapat (Conservation Architect/Assistant Manager, Mehrangarh Museum Trust), and Mgr. Laxmi Singh who provided us an opportunity to learn from their rich experience, and Dr. Mahendra Singh Tanwar (Head Librarian, Mehrangarh Museum Trust) who gave access to the library and research facilities. Without their precious support it would not be possible to conduct this project.

We are also grateful to Mr. Pramod Dvivedi (Department Of Civil Engineering, MBM Engineering College) for assistance with managing the permission with Mehrangarh Museum Trust, and Dr. Shankar Goyal (HOD Department Of History, JNVU) to whom we have to express out our appreciation for sharing their pearls of wisdom with us. We are also immensely grateful to and Mr. Bundu Ghoshi (Maison) whose expertise in the field of traditional construction, craftsmanship, and building conservation helped us to shape this report with accuracy and legitimacy. Special thanks to JNVU Central Library and RTDC Office Jodhpur for providing us data to support our documentation.

JASWANT THADA

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

CREDITS PROJECT: JASWANT THADA - ‘A Pragmatic Study’ COLLEGE: Department Of Architecture And Town Planning, M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ). Address: Residency road, Ratanada, Jodhpur, Rajasthan ( India ). Email: 123rsa@gmail.com Phone: 0291-2510120

STATUS: Published on September 2016.

PROJECT TEAM: Project Heads : Dr. Rajesh Sharma Ar. Kamlesh Kumar Ar. Ajay pal Singh Rathore. Student Teams: Report Editing: Rishita Puri Goswami Hemant Joshi Krati Bishnoi Shinu Gupta

Construction Research Team: Furkan Baig Mirza Aindri Mishra Apara Sharma Divya Jain Kriti Bafna Mohammed Haroon Riya Bissa Vanshika Jain

Conservation Team: Raas Shaukat Rafi Aayushman Singh Bhati Akshun Gupta Anjali Purohit Anupama Kaushal Kamakshi Sharma Neha Gupta Piyush Jangid

(Studio Director) (Studio Director) (Studio Director) Tourism Team: Shobhit Maheswari Aadhar Jain Gazal Kothari Hardika Sharma nidhi Jindal Ronak Gaba Sweta Gupta

Drafting Team : Anshul Pandey Anushree Gupta Dharmanshu Chouhan Dimple Mehra Hardika Sharma Harshita Bhansali Shubham Mathur Vikas Tekwani Yashvi Jangid

JASWANT THADA

III

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

FOREWORD We hear this complaint from students that when they get out of college, they don’t seem to know enough? This was observed during the tanning practical last year and I, from that moment started thinking that what we could do to address this issue. And keeping this in mind I started conceptualizing the design problems which shall develop the skills which is not only purely technical skill – it is a principled stance in support of collaborative innovation, creative freedom and future relevance. The main objective of this design problem was to develop the architecture of participation and the culture of sharing. Architectural design studio is considered as the backbone of education of the future architects. In recent years, it is widely noted that the architectural education has changed significantly and thus several changes in the design studio will be needed. Advancement in the technology and the availability of internet (or free internet by Reliance Jio) has changed the methods of communication. The free flowing information on internet has changed the perception of the architectural practice, clients in architect’s office frequently come up with the images of ,what they would like there project to be. Architecture(or Architectural Design) in past was concerned with producing individual works of art on individual styles, where the method of design was intuitive and relied heavily on the talent of individual designer. Although this approach to architecture has resulted in great achievements, the education and practice of architecture in recent times faces severe challenges and crucial issues. There is increasing evidence that the gap between the student’s educational experiences and effectiveness of those in implementing that in actual practice is growing larger. This dilemma suggests that we must embark on the effort of educational reform. The study and making of a report on JASWANT THADA has given great lesson, important among that is that it is most difficult for the students to work as a team, as the issue of shifting responsibility and the intention of hiding face was observed strongly. It was also realized that it takes a lot of efforts to organize the work in a systematic format and to produce the output in a effective and presentable manner. When we were almost done with the work, we came to know that the software’s which we have used for preparation of the report was not appropriate and the file became too heavy to be handled. Another learning was how to develop a high resolution image from Auto CAD. It was also observed that the transfer of information (comments given by studio in charges) was not efficient and a lot of time actually was wasted in bringing the whole team on the same platform. Coordinating and the essence of the team work was largely lacking in the class as previously they have been used to work in an isolated individual system. The surprisingly time taken for the measurement was only three days and more than fifteen days were spent in putting the information on computer and coordinating the drawings and making minor corrections. This studio did not follow the established formula of a design studio; it did not follow a chronological order, there was no time schedule and there were no prescribed exercises and output. The method involved turning away from traditional pedagogy and raising horizontal discussion and cross-student fertilization. The traditional role of the studio ‘instructor’ was thus cancelled and replaced with the idea of the ‘facilitator’. The present exercise is first step in this regard. Although I could not consider it to be more than 10% successful ,still I believe that rather than succeeding in a wrong direction, it would be appropriate to be partially successful on the right direction. I firmly believe that this paves the way for design education to openly discuss and debate the delivery system of architectural education and its impact on the future role of architect. I think that we at our college need to teach our students not only to become architect, but also to become student of Architecture for life. Best, Dr. Rajesh Sharma Studio In charge

JASWANT THADA

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

CONTENTS

KHESHTRIYA SANDHARB 1)

EPIGRAPH – – – – – – – –

1.1) 1.2) 1.3) 1.4) 1.5) 1.6) 1.7) 1.8)

(01-24)

BACKGROUND LIFE IN JODHPUR TRADITIONAL BUILT ENVIRONMENT CLIMATIC CONDITION THE RISE IN UNDERGROUND WATER ARCHITECTURAL CHARACTERISTICS ABOUT JASWANT THADA TOPOGRAPHY

NIRMANA

(25-44)

2) BUILDING CONSTRUCTION ---------------

----------

2.1) MATERIALS AND CONSTRUCTION TECHNIQUES 2.2) ORIGIN OF TECHNOLOGY, MATERIALS LABOUR FORCE 2.3) TRADITIONAL AND BUILT ENVIRONMENT 2.4) METHODOLOGY AND STYLE 2.5) THE MAIN BUILDI NG 2.6) THE GARDEN 2.7) THE FOUR CINOTAPHS 2.8) THE MAIN CHATRI 2.9) CHATRI A 2.10) CHATRI B 2.11) KHAMBHA 2.12) THE PLAIN KHAMBHA 2.13) SURANGDHAR KHAMBHA 2.14) ELEMENTS OF CHATRI -- 2.14.1) DASA -- 2.14.2) KANGRA -- 2.14.3) CHHAJJAS -- 2.14.4) GALAT -- 2.14.5) CHAAP 2.15) TODI 2.16) MARGOL -- 2.16.1) CUSPED MARGOL 2.17) HISTORICAL MATERIALS -- 2.17.1) LIME MORTAR 2.18) CRAFTING 2.19) DESIGN TOOLS 2.20) CARVING TOOLS 2.21) SURANG DHAR KHAMBHA 2.22) THE KANGRA 2.23) GEOMETRICAL JAALI -- 2.23.1) ATHAAS -- 2.23.2) TEEN JAU

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

(45-54)

CONSERVATION 3) CONSERVATION ---

---

3.1) THE PROJECT 3.2) FACTORS DETERIORATING HERITAGE SITES -3.2.1) NATURAL FACTORS -3.2.2) SOCIAL FACTORS 3.3) IMPORTANCE OF THE PROJECT 3.4) CONSERVATION AND PRESERVATION TECHNIQUES -3.4.1) CONSERVATION OF BUILDING ELEMENTS -3.4.1.1) BRICKS AND STONES -3.4.1.2) STTUCOS -3.4.1.3) WOOD SIDING

(55-70)

TOURISM 4)

TOURISM -------

4.1) 4.2) 4.3) 4.4) 4.5) 4.6)

IMPORTANCE DEVELOPMENT AS INDIVIDUAL SITE FOOTFALL ANALYSIS SURVEY PROPOSED IDEAS SWOT ANALYSIS

CONCLUSION

(71-73)

A PHOTOGRAPHIC JOURNEY OF THE PROJECT

(74-80)

REFERENCES

(81-82)

APPENDIX

(83-86)

JASWANT THADA

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

KSHETRIYA SANDHARBH (LOCAL INFORMATION)

Department Of Architecture and Town Plannimg M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India )

EPIGRAPH -– – – – – – –

CONTEXTUAL INFORMATION BACKGROUND LIFE IN JODHPUR TRADITIONAL BUILT ENVIRONMENT CLIMATIC CONDITION ARCHITECTURAL CHARACTERISTICS ABOUT JASWANT THADA SITE TOPOGRAPHY

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

EPIGRAPH 1.1 CONTEXT INFORMATION Country : India State : Rajasthan District : Jodhpur Altitude : 231 m. ( 758 ft. ) msl Coordinates : 26.28° N 73.02° E

jodhpur Fig. 1.1 : Location

Rajasthan and the Marwar region

1.2 BACKGROUND (THE BLUE CITY) Jodhpur city is the principle city of marwar region to the west of aravalli hills, and the second largest city of Rajasthan, India. The city provides a complete contrast to the surrounding country, due to the sudden appearance of hills and ridges near it and presence of a number of lakes. The old city of jodhpur was a total fortified town protected from all sides by massive, sturdy stone walls.

Fig. 1.3 : Walled city of Jodhpur

The city is called the ‘sun city’ due to the sunny and bright weather, all round the year. The vivid blue-painted houses near the majestic Mehrangarh fort, Umaid Bhawan palace, Jaswant Thada, ensure a memorable trip in exploring the erstwhile royalty of India. Fig. 1.2 : Jodhpur Fort

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

The origin of Jodhpur dates back to 1459 when the foundations of the city were laid by the famous king Rao Jodha of Rathore dynasty.

Since the foundation stone was laid, 530 years ago, of the Fort on the hill, various other buildings have been built. Many of these stone buildings have withstood the onslaughts of warrior and to some extent the weathering of time.

Fig. 1.4 : The statue of famous King Rao Jodha

For three hundred years after the establishment of the fort the rulers of Jodhpur, when they died, were cremated at the former capital, Mandore, six miles to the north.

Fig. 1.6 : The Jodhpur fort

Jaswant Thada located close to the forts the memorial and royal cenotaph

Fig. 1.5 : The former capital of Jodhpur - Mandore

Fig. 1.7 : Jaswant Thada â&#x20AC;&#x201C; the royal cenotaph

KSHETRIYA SANDHARBH

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

1.3 LIFE IN JODHPUR Jodhpur is like one gigantic joint family in the middle of a desert. A lot less people live here as compared to the actual population density. Yet, it's the 2nd largest district in Rajasthan. With so much space and so less people, a regular upper-middle class home is like a mansion by any big city standards with multiple floors and attached bathrooms. Sandstone is very abundant in the state so most new homes outer structures are completely built with sandstone.

Fig. 1.9 : Culture

1.4 TRADITIONAL BUILT ENVIRONMENT The old city of Jodhpur can boast of having a traditional urban fabric which reflects the culture, climate and geography of the region. The built environment of the city is a typical example of the rich vernacular architecture of Rajasthan, using stone as the major material of construction.

While the town is slowly becoming more city-like, there are still patches/plots of land which are owned by villagers who shifted in the city for better prospects. You would literally find cows sitting on the streets with no care or worry. It's a quintessenti-al Indian experience. A medley of urban and rural households and lives. There are still people who have never seen an escal-ator and would approach one cautiously if they ever encount- ered one which they did when Jodhpur got it's first "mall" or shopping complex few years ago. It also had Jodhpur's first McDonalds. It's a city which is still not completely a city yet.

Fig. 1.8 : Street scape Fig. 1.10 : Clock tower market

Fig. 1.12 : Stone as the major material of construction

Fig. 1.11 : Modern street scape

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

The topography of the area which is not flat has been taken care of beautifully by building on slopes giving the effect of growing mass. The growing mass of built forms culminates in the form of Mehrangarh fort which is located on the highest point, on a hill within the walled city.

1.5 CLIMATIC CONDITION The climate of Jodhpur is generally hot and semi arid. It usually is considered a hot and dry region. But today, due to global warming and other manmade causes the climatic pattern all around the world have changed drastically, and jodhpur is no exception. The desert coolers are no more a source of comfort because in reality due to these extensive changes the climate of jodhpur has morphed from hot and dry to hot and humid. This increase in humidity is also because of the growth of vegetation due to the water available from Indra Gandhi canal. The rise in humidity adds to the normal discomfort. Rainy season starts from late June to September. Temperatures are extreme throughout the period from March to October. In the months of April, May and June, high temperatures routinely exceed 40 degrees Celsius.

Fig. 1.15 : Indira Gandhi canal

1.6 THE RISE IN UNDERGROUND WATER: Fig. 1.13 : Fort is located on the highest point

It consists of buildings with exquisitely carved stone facades, jharokhas, beautiful courtyards, narrow meandering streets perfectly negotiating the terrain, compact bazars, community spaces and religious buildings. All of it is put together very harmoniously. Jodhpur has a distinct built environment, as compared to other cities of Rajasthan.

Fig. 1.14 : A market view of Jodhpur

The city had unique medieval rainwater harvesting and water management system which enabled city to survive in arid desertic climate with frequent droughts. After Indra Gandhi chanal people stopped using underground water which resulted into rise of water level. Despite the water crisis in the desert state of Rajasthan, the groundwater table in certain areas has increased, thus taking the total number of safe water blocks from 25 to 44. According to the groundwater department’s latest report, among the 248 groundwater block in the state, 44 are now under safe category, which was 25 in 2011. The groundwater department collected the data till 2013 and compiled the ground report, saying the safe water blocks increased by 19 from 25 in 2011 to 44 in 2013. “Annual average rainfall in above to normal category and more recharge due to surface water irrigation are the main reason for the increase in the water table,” the report said. Alarming rise in groundwater level in Jodhpur has become a cause of concern for the residents and the administration. The groundwater level in the city has increased to such an extent that KSHETRIYA SANDHARBH

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

it has reached the foundations and undergrounds of the houses and shops. People are now pumping water out from the basements. If they stop pumping out water, the basement would be about 1.5 metre under water within a day.

Fig. 1.18 : Sewage water from the Jojari has inundated the road that connects villages

Fig. 1.16 : A shop in Sojati Gate has installed four motors to pump water out

Once crying for water, Jodhpur has too much of it now. The water table is 2.4 metres below the ground level. Dig a tubewell and get a lake, say residents. Digging for minor construction, phone or electricity lines can push water up in the form of fountains. Government officials and scientists fear a high-intensity earthquake might wreak havoc in the city. Cracks have started appearing in some city walls.

During monsoon last year, the Barmer-Jodhpur state highway got flooded with rain water. As an immediate solution, the Jodhpur Development Authority has installed pump sets at 64 points in the city. According to an estimate by the Ground Water Department (GWD), 29 million liters of visibly clean water is pumped out daily, most of which is drained into sewage lines. Overflowing sewerage has resurrected the Jojari, a seasonal river on the cityâ&#x20AC;&#x2122;s outskirts. Its course had been untraceable till recently. The river water is now a stockpile of filthy sludge.

The city was once drought-prone. To salvage it from the crisis, in 2003 the Jhelumâ&#x20AC;&#x2122;s water was brought to the city and three adjoining villages through the Indira Gandhi Canal System and Kailana Lake. The canal brings about 250 MLD water to Kailana Lake. If this water is not used, the lake will overflow.

Fig. 1.19 : The Kaylana Lake

Ancient records show existence of a highly scientific water supply system. The Rajput rulers had constructed a series of connected baolis (step wells) across the city. It ensured ample water to the entire city. With time and growing population, the baolis fell out of use and became storages of refuse. The connection between the baolis was severed leading to overflow in the surrounding areas. The government is yet to find a solution to bail the city out of its predicament. Residents of the affected areas in the city now fear monsoons the most.

Fig. 1.17 : Overflowing sewerage has resurrected the Jojari

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

1.7 ARCHITRECTURAL CHARACTERISTICS Rising in the middle, high above the city, is the dauning citadel of Mehrangarah- an invincible fortress within which are juxtaposed exquisitely carved stones palaces. Many rajput kings and queens were fond of building. They built beautiful palaces, created useful water bodies and established temples and other institutions. Thereby the built environment of the city became richer.

The palaces within the fort are not individual and separate but are linked with one another both horizontally and vertically. The palaces have very interesting names, such as the Moti Mahal (Pearl Palace), Sukh Mahal (Pleasure Palace), and Phool Mahal (Flower Palace). A certain amount of spatial continuity is maintained.

1.7.1 The Mehrangarh fort : Rising perpendicular and impregnable from a rocky hill that itself stands 120m above Jodhpur’s skyline, Mehrangarh is one of the most magnificent forts in India. The battlements are 6m to 36m high, and as the building materials were chiselled from the rock on which the fort stands, the structure merges with its base. Still run by the Jodhpur royal family, Mehrangarh is packed with history and legend.

Fig. 1.20 : The Mehrangarh fort

Mehrangarh’s main entrance is at the northeast gate, Jai Pol. It’s about a 300m walk up from the old city to the entrance.

Fig. 1.21 : Jai pol

Fig. 1.22(a) : Inside the fort

Fig. 1.22(b) : Inside the fort

KSHETRIYA SANDHARBH

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

1.7.2 Umaid Bhawan: It is one of the largest private residences. The current royal incumbent, Gaj Singh II, still lives in part of the building. Built in 1929, the 365-room edifice was designed by the British architect Henry Lanchester for Maharaja Umaid Singh. It took more than 3000 workers 15 years to complete, at a cost of around â&#x201A;š11 million.

The building is mortarless, and incorporates 100 wagon loads of Makrana marble and Burmese teak in the interior. Apparently its construction began as a royal jobcreation program during a time of severe drought. Much of the building has been turned into a suitably grand hotel. There is a museum in the palace which includes photos showing the elegant art deco design of the palace interior, plus an eccentric collection of elaborate clocks.

Fig. 1.24 : Makrana marble used in Umaid Bhawan Fig. 1.23(a) : The Umaid bhawan Palace

Fig. 1.25(a) : Views of Umaid bhawan hotel

Fig. 1.25(b) : Views of Umaid bhawan hotel Fig. 1.23(b) : The Umaid bhawan Palace

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

1.7.3 The clock tower : The century-old clock tower is an old city landmark surrounded by the vibrant sounds, sights and smells of Sardar Market, which is marked by triple gateways at its northern and southern ends. The narrow, winding lanes of the old city spread out in all directions from here. Westward, you plunge into the old city’s commercial heart, with crowded alleys and bazaars selling vegetables, spices, sweets, silver and handicrafts.

Opposite is the 1720 Chhatri of Maharaja Dhiraj Jaswant Singh I, with a large pavilion and a vast dome on an octagonal base. It achieves a remarkable symmetry, with a gallery supported by huge pillars. The remaining cenotaphs date to the 17th century. A path winds 350m behinds the gardens to the extensive remains of Mandore’s fort on the hill above, whose origins go back to the 6th century AD or possibly earlier – long before the Rathores. It’s now inhabited mostly by langurs, dogs and cows.

Fig. 1.27(a) : The Mandore gardens

Fig. 1.26 : The Clock tower

1.7.4 The Mandore gardens : Situated 9km north of the centre of Jodhpur, Mandore was the capital of Marwar prior to the founding of Jodhpur. Its gardens, complete with rock terraces and home to playful grey langurs, contain a variety of dark-red cenotaphs of Jodhpur’s rulers. These include the soaring but unkempt Chhatri of Maharaja Dhiraj Ajit Singh (1793), which combines Buddhist and Jain elements in its architecture. It’s an enormous edifice with a high sikhara (spire), a pillared and domed forechamber, and fine sculpture including small carved elephants and lions. The memorial also marks the spot where 64 queens and concubines committed sati on Ajit Singh’s death in 1724.

Fig. 1.27(b) : The Mandore gardens

KSHETRIYA SANDHARBH

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

1.8 ABOUT JASWANT THADA The milky white marble memorial to Maharaja Jaswant Singh II, sitting above a small lake 1km northeast to Mehrangarh, is an array of whimsical domes. It’s a welcome, peaceful spot after the hubbub of the city, and the views across to the fort and over the city are superb.

The presence of a small palace built in the early 18th century by Ajit Singh suggests that at least some of the later maharajas continued to visit and use the site. Takhat Singh was the last ruler to be cremated there. On the death of Jaswant Singh II in 1895 a new cremation site was established on a plateau that is just a few hundred yards outside the fort’s northern gate. It can be reached on foot (a 15 minute walk from the Jai Pol) but, as it lies just off the main road from the fort down to the city, it can be visited by vehicle too.

Fig. 1.28 : Jaswant Thada

Their individual cremation sites are marked by cenotaphs. Such buildings are normally called chhatris (úmbrellas’), because the usual form is a small domed pavilion, though in fact those at Mandore are modeled on temples and should more correctly be called devals.

Fig. 1.29 : Chhatris at Jaswant Thada

Fig. 1.30 : Jaswant Singh II

Fig. 1.31 : Beautiful facade of Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

1.9 SITE TOPOGRAPHY Jaswant Singhâ&#x20AC;&#x2122;s individual chhatri stands on the lower terrace to the left of the main building (you come to this first as you enter the site). On a corresponding terrace on the further side are the chhatris of the four subsequent rulers:Maharaja Sardar Singh (reign: 1895-1911),

The Jaswant Thada is architectural landmark spotted in Barren lands of jodhpur. Jodhpur is popular tourist Destination sprinkled with forts, palaces, temples and ruins of former princely splendor. The second largest city of Rajasthan is located near the heart of Rajasthan and is a major route for trade and travelling.

Summer Singh (reign: 1911-18),

Umaid Singh (reign: 1918-47) and Hanwant Singh (reign: 1947-52). They are all exactly alike, as if to suggest the former rulersâ&#x20AC;&#x2122; absorption through death into a common Rathore identity.

Fig. 1.32(b) : Elements of Jaswant Thada

Fig. 1.32(a) : Elements of Jaswant Thada

Fig. 1.33 : Site topography

KSHETRIYA SANDHARBH

Fig. 1.35 : Front elevation of Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

Fig. 1.36 : Side elevation of Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

KSHETRIYA SANDHARBH

Fig. 1.37 : Section YYâ&#x20AC;&#x2122; of Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

Fig. 1.38 : Section XXâ&#x20AC;&#x2122; of Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

KSHETRIYA SANDHARBH

Fig. 1.39 : Terrace plan of Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

Fig. 1.40 : Terrace plan of main building Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

KSHETRIYA SANDHARBH

Fig. 1.4 : Reflected roof plan of main building Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

Fig. 1.42 : Plan of main building Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

KSHETRIYA SANDHARBH

Fig. 1.44 : Section plan - ventilator of main building Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan (India)

(This page is left blank intentionally.)

KSHETRIYA SANDHARBH

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

(This page is left blank intentionally.)

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

BUILDING CONSTRUCTION 2.1 MATERIALS AND CONSTRUCTION TECHNIQUES The history of building materials is marked by a number of trends. One is the increasing durability of the materials used. Early building materials such as leaves, branches etc. Later, more durable natural materials such as clay, sand, stone, marble and further more evolutions have been made in the construction industry. This was made possible by the development of stronger materials like stones, marbles, etc. and by knowledge of how materials behave and how to use them for greater advantage and stability. 2.2 ORIGIN OF TECHNOLOGY, MATERIALS AND LABOUR FORCE One of the best examples of beautification and stability in construction and the use of materials can be seen in this memorial building. Jaswant Thada. The building was influenced by many factors which prevailed at that time, parts of the building were made at different times and each one has its own set of unique features.

Fig. 2.1 : Jaswanth Thada

2.3 TRADITIONAL AND BUILT ENVIRONMENT As per the tradition which was existing at that time, it was necessary to make a structure in the memory of that specific person. Therefore, the concept of making chatri came into existence. Four identical pillars standing on a plinth and a dome resting on the top. High plinth was given as a platform to the cenotaphs. Carvings were done in reference to the nature like, flowers, leaf designs etc.

2.4 METHODOLOGY AND STYLE The construction of Jaswant Thada started in 1899 and in that period of time, many art and cultural traditions had already invaded in India. So this building was designed and constructed in such a way so as to incorporate the features of different styles of cultures and traditions. It is influenced by Hindu temple style(deval), Muslim style designs of arches, domes, and garden concept ) . The marble used in the building is one of the finest quality which could be found at that time. It was brought from makrana (a nearby town). Impressive quality of this building is that less mortar has been used, rather its more of a interlocking in the stones . Manual labourers employed on the project were local or from nearby villages. These workers required very little training to work with conventional methods, techniques and using conventional materials, particularly lime. Most of the materials-like lime, methi, fresh water and so on were brought from local markets and nearby villages supporting economically to the local community.

Fig. 2.3 : The carvings

Fig. 2.4 : The chatri

Fig. 2.2 : The carvings in Form of leaf designs

The concept of â&#x20AC;&#x2DC;Thadaâ&#x20AC;&#x2122; a raised platform came into existence establish a memorial of kings and queens ,which gradually became a religious place. In the same way Jaswant Thada was developed in Rajasthan to create a royal cenotaph, built in commemoration of Maharaja Jaswant Singh. Jaswant Thada is a white marble memorial, built out of intricately carved sheets of marble and located with the most beautiful surrounding a water body and hills. The carving shows the genius of the sculptors. Cavity walls were created with marble. As a result, the outside surface of the monument emits a warm glow when the sunrays fall on its surface. The monument is divided into three parts , the first part included a chatri and a sculpture of peacock is said that a peacock died in the funeral of one of the queens , hence it was declared that a sculpture of peacock would also be placed in the building which is now in the demolished condition and will be placed after its restoration.

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.5 THE MAIN BUILDING

A flight of impeccable white marble steps brings us to the main memorial which is adorned with artistic sculptures, frescos, domes, pillars and exquisite latticework in marble. On its walls, portraits of several rulers of Jodhpur, dating back from the 13 century, are displayed. The elaborate ornamentation and dancing figures sculpted on the pillars that adorn the monument dedicated to the queens who sacrificed their lives on the pyre of Maharaja Jaswant Singh, are simply breathtaking.

1. 2. 3. 4.

The first chatri The main building The four cenotaph The garden

Fig. 2.5 : Main elements from site

Staircases lead to the main part of the building having a beautiful garden with a fountain. The garden and the fountain at the centre of it is a unique feature of the monument which is inspired from the Mughal gardens which provides eye soothing view to the visitors. The main memorial is based on hindu architecture with the garbgriha which has a main chatri of jaswant singh and parikrama space around it. The interior part includes the portraits of jaswant singh and other rulers ,people also tie a thread of faith to fulfill their wishes. There is a fine ,thin polished sheet of marble is placed through which light can pass and illuminates the whole interior hall. The monument is built on a plinth and every chatri is placed on a raised platform in order to show it religious supremacy. The building includes open arches as well as covered, initially the arches were made and then a solid sheet of marble was inserted. Mostly interlocking system were used to establish the joints. In chatris the interlocking was done as it is done in roof tiles.

2.6 THE GARDEN The garden is based on mughal architecture , as in most of the mughal buildings garden held an important place similarly, in jaswant thada the garden is divided into four parts with a fountain at the centre which provides a panoramic view to the tourists.

Fig. 2.6 : The garden in Jaswant Thada

Fig. 2.7 : The mughal garden

The main shikhara is derived from hindu architecture which describes that all the powers are generated from the heaven.

BUILDING CONSTRUCTION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.7 THE FOUR CENOTAPHS

The third part includes four chatris of the kings and two chatris of the queens with beautiful elevation . The rich array of jharokhas and baris , especially convey an impression of Picture squeneses. A closer look will reveal that these elements are arrayed in vertical rows, above each other. This is a visual clue, which when seen in relation to the plan reveals that each vertical row relates to a structural bay

Fig. 2.8 : The Four Cenotaphs

Their was a specific reason to build chatris,It is believed that chatri is a symbol of protection and superiority hence , it was used as a main structure. A small chatri was placed under a big chatris. The chatries were also placed on a high platform with carved columns .

2.8 THE MAIN CHATRI It is mainly the memorials of kings which inherited the throne after jaswant singh, there are four similar chatris situated in a row which presents the awestruck art of rajasthan . It comprises of the large chatri and a small chatri at the center , with a parikrama around it. The plinth is richly carved with flower and leaves pattern which makes it a masterpiece.

Fig. 2.9 : The elevation of the chatri

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Fig.2.10 : The plan of the chatri

BUILDING CONSTRUCTION 30

Fig. 2.11 : The elevation of the chatri

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.9 CHATRI A

185

275

635

510

750

990

It is the first chatri of a queen which comes first when one approaches from the right side. The memorial has a staircase and a carved platform.

Fig. 2.13 : The elevation of the chatri A

1600

1225

Fig. 2.12 : The elevation of the chatri A

Fig. 2.14 : The plan of the chatri A (All dimensions in mm)

Fig. 2.15 : The ariel view of the chatri A (All dimensions in mm)

BUILDING CONSTRUCTION

Front elevation of chatri A Fig. 1.12.1

Side elevation of chatri A Fig. 1.12.2

Section of chatri A Fig. 1.12.3

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

880

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.10 CHATRI B

100

120

530

100

615

635

885

It is the second chatri of the queen which is the smallest of all. It is some what similar to the previous chatri but is smaller in size and stands on a raised platform with two risers.

Fig. 2.17 : The elevation of the chatri B

Fig. 2.18 : The plan of the chatri B (All dimensions in mm)

870 655

620

330

1600

870

330

Fig. 2.16 : The elevation of the chatri B (All dimensions in mm)

Fig. 2.19 : The ariel view of the chatri B (All dimensions in mm)

BUILDING CONSTRUCTION

Front elevation of chatri B Fig : 2.16.1

Side elevation of chatri B Fig : 2.16.2

Section of chatri B Fig : 2.16.3

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.11 KHAMBHA The khambha, or column is the primary load-bearing member. The primary load-bearing columns that are usually occurred in the ground floor are carved out of the blocks of the stone usually 12â&#x20AC;?x12â&#x20AC;?. Rectilinear in profile, each khambha has a base(paggi) , body(sakh) and a head(sira).

2360

The siras of the khambhas usually support todis (brackets), which support the chabna above. Khambhas vary in shape, size and purpose. When circular in plan , they are referred as surangdhar khambhas.

550

Fig. 2.21 : Front elevation of the column

600 Fig. 2.22 : Plan of the column

Fig. 2.20 : The Column

BUILDING CONSTRUCTION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.12 PLAIN KHAMBHAS The plain khambha is the most widely used type. Rectangular in profile, it is placed with its broad face facing the room , or adjacent space. The paggi may be plain , when it is slightly wider than the sakh.

2190

2200

A thin groove is marked along the length of sakh along the edges. The sira comprises the galat moulding. The plain sakh is used extensively as a framing element in the panellisation of elevations. When used for panellisation, the sakh is generally sheathed in decorative carving.

Fig. 2.25 : Front elevation of the plane column

420

Fig. 2.23 : Front elevation of the plane column

Fig. 2.27 : The Plane Columns

450

Fig. 2.28 : The Plane Columns Fig. 2.24 : Plan of the plane column

Fig. 2.26 : Plan of the plane column

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.13 SURANGDHAR KHAMBHAS

1875

The capital ,shaft and base are visually separated from each other with ribbed mouldings. The capital is carved with petal forms upturned at their tip. A second wreath of upturned petals occurs immediately above and below the ribbed mouldings, which separates the capital from the shaft. The row of the petals below the ribs , however, has a distinct bulge at the upper end. The shaft is fluted, generally with the eight fluted segments, alternating with eight v-shaped ribs. The shaft is spindle shaped with a bulging base and a narrow top..

500

Surangdhar Khambhas are essentially circular in cross-section , comprising eight fluted segments along the circumference. It has three distinct parts : base(paggi) , shaft(shakh) and capital(sira).

Fig. 2.27 :

490

Fig. 2.30 : Front elevation of the column

Fig. 2.29 : The surangdar khambhas in Jaswant Thada

A row of elongated petalmouldings with plain or serrated edges wraps around the base of the shaft. The base comprises a bulging pot-like element with a constricted top and bottom, which accentuates its shape.

530 Fig. 2.31 : Plan of the column

The ribs of the shaft continues to the pot-like element , unifying it visually with it. The surangdhar column may occur by itself or in pairs. It might be load bearing or just decorative

BUILDING CONSTRUCTION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.14 ELEMENTS OF THE CHATRI 2.14.1 Dasa: It is referred to as the plinth, it may be plain or decorated with carvings. The most common pattern carved on the dasa consists of the row of downturned petals. Various other carvings of geometrical and floral nature may also be found. The most prominent ones comprise rows of four petalled flowers called chaufulia, rows of squares turned diagonally, on their vertices, a dense mesh of alternate punched squares known as chadabundhi, or the chagola-a row of punched crosses. It is limited in application to the more showy parts of the jaswant thada.

2.14.3 Khhajjas : Fin of the stone , horizontal or curved in profile, projecting out from the face of the building to shade the wall surface. It is supported on the galat. The inner edge is provided with a drip groove. In later mughlai examples, the soffits are carved with decorative patterns, such as the Marwari and moti Marwari designs.

2.14.2 Kangra : The flat zone above the kane moulding and is mostly carved with a row of upright and down turned bell-like forms. The basic form is often enriched with the organic designs overlapped with the main design.

2.14.5 Chaap : A flat band of the stone right above the kangra, terminating the composition of chhajja , kane and kangra.

Fig. 2.32 : Primary syntax of architectural elements

2.14.4 Galat : The galat is the moulding with a convex base and a concave top , used mainly under chhajjas as a support. It may be plain or carved.

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Fig. 2.33 : Primary syntax of architectural elements in the central chatri in the center of main chatri

BUILDING CONSTRUCTION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.15 TODI The contours of the todi follows the profile of the curved acanthus leaf. The soffit is plain. The sides are carved with the profiles of the two leaves one defining the inner contour, the other as an infill design, over the rest of the surface (fig. 2.36).

170

110

230

The carving is in low relief. Along the soffit , in the centre , another acanthus leaf is carved , which appears in profile as a second leaf following the contours at the first. A smaller leaf is located at the upper end of the soffit. This form of the todi when used in the interior spaces appears as a three-way brackets. Only the central form is functional., while those carved in low relief on the wall, to the left and right of the central todi are used merely for imagery.

40 Fig. 2.34 : Todi 1

Fig. 2.35 : Todi 1 Detailled

220

Fig. 2.40 : Todi 4

40 Fig. 2.36 : Todi 2

220

Fig. 2.37 : Todi 2 Detailled 160

153

40 Fig. 2.41 : Todi 4 Dettailed ( all dimensions in mm)

230

60 Fig. 2.38 : Todi 3

Fig. 2.39 : Todi 3 Detailled

170

Todis with acanthus leaf decoration( all dimensions in mm)

A more showy and elaborate version of the same todi (fig. 2.40) is where the whole form is carved in a series of layers of acanthus leaves , each layer with an emphatic curved top along the centre in the soffit. At the apex is a hanging loomb growing out of vegetal forms. Todis are often clubbed together for structural purpose, for example double todis projecting in the opposite horizontal projections in the facade.

60 Fig. 2.42 : The todis in jaswant thada ( all dimensions in mm)

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.16 MARGOL Though shaped like an arch, the margol really cmprises a pair of brackets, used to brace the khabhas at the upper end. As the prime determinant to the shape and outline of an opening , it has an important aesthetic purpose. The shape of the margol frames the view of what is behind it, permitting obscuring the view , almost like the pictuire of the frame, through which a spectator looks through from one plane other planes beyond. The margol is also sometimes addressed by craftsmen as kara or kabagi.

2.16.1 Cusped Margol:

in jaswant thada Fig. 2.43 (a) Margols :

The most elaborate and decorative , the number of cusps may range from five to eleven. Each cusp is referred as a balan or karan in the craftsmen’s terminology. The number of cusps is always an odd number. Depending on whether the margol spans a large or small opening, it may be made in a single piece, or in two pieces , with a joint or bang , in the middle at the apex of the arch (bhenti). When made in one piece, the bhenti is at least seven inches, for structural stability. The cusped margol spans a range of openings and has a general profile varying from semi-circular , elliptical to segmental.

Fig. 2.43(b) : Margols in jaswant thada

Fig. 2.44 : Front elevation of Margol

Fig. 2.46 : Section AA’of Margol

Fig. 2.47 : Front elevation of Margol

Fig. 2.49 : Section AA’of Margol

Fig. 2.48 : Plan of Margol

Fig. 2.45 : Plan of Margol

The margols used in jaswant thada( all dimensions in mm)

BUILDING CONSTRUCTION

1207

1517

309

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Fig. 2.50 : Front elevation of Margol

2229 Fig. 2.51 : Plan of Margol

Fig. 2.53 : Front elevation of Margol

Fig. 2.52 : Section AAâ&#x20AC;&#x2122;of Margol

The craftsmen explained that there is no rigid geometrical method for its construction. The springing point of the arch is called tant and by virtue of it being shaped as the number one in the marwadi script, also as the Marwadi eka. This part of the arch normally comprises one-third of the overall height of the arch from the springing point to the apex of the bhenti.

Fig. 2.55 : Section AAâ&#x20AC;&#x2122;of Margol

The front surface of the margol is carved with the decorative foliage patterns , comprising flowers and intertwined stems and tendrils. These decorative patterns are very complex in the parts of the building where they are meant to be viewed at close quarters. Fig. 2.54 : Plan of Margol

The margols used in jaswant thada( all dimensions in mm)

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.17 HISTORIC MATERIAL 2.17.1 Lime Mortar Lime: various grades of lime were used according to the requirement of plastering, masonry, terracing, etc. The proper slaking of lime is crucial to the production process and to obtain a lustrous plaster, lime was soaked for one year. Sand: course dieseline sand of fine particles or pores particles was used to mix in and make lime mortar. Mortar mix: traditionally, gud (jiggery), guggal (gum) and cheen (fibre of jute) work as binding materials and methi ( fenugreek) to make the mortar waterproof. The concoction ensured malleability of the mortar. Process: Ponds were constructed for slaking of lime and the time period are noticed and it could be used after certain time period. Lime slaking time is of minimum 45 days. Ratio of 1:3 used for floor finish due to larger about of wear and tear. So if 9 basket of lime is used than 27 basket of sand is used. For load bearing wall mortar mix is mixed with lime.For fine finished surface Arish plaster is used in which lime is sleeked for at least one year in which lime is kept in deionised water and it must be changed after every 15 days.

Fig. 2.56 : Methi

Fig. 2.57 : Cheen

Fig. 2.61(a) : Lime fig

Fig. 2.61(b) : Lime fig

Structure, material, technology: The jaswant thada was recently built but at different period using the three universal and historical materials of stone, lime and mainly marble. While each structure maintains its own special character, taken historically, the successful juxta position and association of buildings on site read as a well-planned, pleasure-place complex. Architectural spaces are a fine combination of enclosed, open and semi-open spaces, which is reflected in the admirable organisation of gardens, courtyard and terraces throughout the plan. The span of marble stone slabs governed the width of covered spaces. Domes were used for wider spans. Ceilings and domes were supported by load-bearing walls and columns supported bracketed aches, to create baradaris (colonnades punctuated by marble or stone pillars). A variety of bracketed openings appear like constructed arches. Carved stone elements like jail, takiahs and brackets, lighten the appearance of monolithic. Most buildings have projected weather sheds and plinth and water is channelled through a well developed system of canals, fountains and reservoirs.

2.18 CRAFTING

Fig. 2.58 : Gud

Fig. 2.59 : Auggal

Fig. 2.60 Mortar mix

Technique: Sides of marble is made rough and with the help of hammer and scissors groves are made and interlocking system is used for joining the stones and attain stability without using mortar. Pinning two stones at a time in a row by iron clips.

The craft tradition as practised by craftsmen Mainly consists of carving various building components such as khambas, margol, todi, jharokhas individually from blocks of and assembling the finished components on site. The basic blocks of stone nowadays arrive to the workshop as machine sawn blocks or planks, available in standard sizes. These blocks are than further shaped or cut on site using electric saws and grinders. The availability of limited sizes and shapes of stone put a a rein on the craftsmanâ&#x20AC;&#x2122;s creativity,as he has to force his thinking, and his proportioning only on the sizes of stone readily available. However, in looking at buildings of the past , it is fairly easy to deduce that there was Generally a standard set of sizes used for various building components, and that these sizes did not alter much in the course of the development of the architectural tradition.

BUILDING CONSTRUCTION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

2.19 DESIGN TOOLS The tools used by the craftsmen for designing and carving are very basic and do not seem to have changed at all from the working tools and methods of their ancestors from centuries before. The design tools include a crude steel compass called prakar or ajol in local terminology and an L-shaped foot scale called gaj or guniya. The compass is used heavily in the layout of almost every design but its circumference is limited to a maximum of ten or twelve inches . For larger radii, required when designing domes, bangaldar chhajjas etc., a string with a piece of colored chalk tied at one end is used as compass. Together with some colored chalk or pencils, the prakar and gaj are all that comprise the craftsmen design tools. Prakar and gaj are used for geometrical designs and stencils for organic designs.

Fig. 2.62 : L-shaped foot scale called gaj in local language

Fig. 2.63 : Crude steel compass called prakar in local language

2.20 CARVING TOOLS The tools for carving are very small in number and are very basic. A flat sturdy chisel called cheni is used as the basic shaping chisel and to create rough edges on the stone blocks, for adequate grip in fixing together different blocks of stone. Another large flat blunt chisel called tinchar is used to slice stone. For finishing purposes, a set of 3 chisels are used : bepri, bepra and ghasiya. The bepri has a broad flat sharp carving end, while the bepra has a pointed sharp end for fine details. The ghasiya has a v-shaped sharp tip and is used for fine detailing. The mallet comprise a steel head with a wooden handle . The side of the steel head used for hammering is infill with raw steel and is called goli. It creates a cushion for the chisels while hammering , and is gradually consumed in the process of repetitive hammering after which it is replenished with fresh steel.

Fig. 2.64 : Stone carving flat Small chisel

Fig. 2.65 : Hammers

Fig. 2.66 : Mini stone carving Tooth chisel

Fig. 2.67 : Carbide tripped Stone Carving chisel

2.21 THE SURANGDAR KHAMBA The surangdar khamba as explained previously , Comprises 8 flutings alternatively with 8 v-shaped ribs , in cross section, which run along the entire length of the shaft, and in some examples, cross over to parts of the capital and base. A block of stone is selected with adequate Cross-sectional area to be able to accommodate the tapering form of the column. Starting point is the drawing of a square , using the guniya , on the stone. The 2 diagonals of the square are clearly marked. Using the prakar, arcs ae drawn next , with the vertex of the chorus as a centre and a half the diagonal as radius to cut the outline of the square. This repeated for each of the 4 vertices. The points cut by the arc on the sides of the square are joined together to get an Octagon . Each side of the ashtacon thus obtained from forms a unit of measurement which is used in the design of the different parts comprising The base and the capital of the column. The centre of each of the 8 sides of the ashtacon are marked and joined to the opposite side. These are the points where the v-shaped ribs called kane are introduced, within the profile of the ashtacon .arcs are drawn between 2 kane projections, with the convex profile facing the outer circumference of the octagon. At its largest cross- sectional area the diameter of the ashtacon which forms the profile of the surangdar khamba is generally 6 inches. Hence a block of stone 6 inches by 6 inches in cros section is most frequently used by craftsmen in carving the column.

2.22 THE KANGRA The kangra is a very popular frieze motif used mostly above chhajjas, directly above the kane moulding. In its laying out , a grid of horizontal divisions is the starting point , and the prakar is used dexterously to obtain the design, through a series interconnected arcs . There are some key factors, however , to remember , report the layout method is described in detail. This design as explained by the craftsmen : The design basically comprises a row of upright bell like forms with pusped edges , alternating with hanging bells, smaller in size with smaller in size and with a 4 petalled flower inserted in it.

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

A petal called paan is inserted above the smaller bell and the space between the pusped edges of the 2 larger bells.The design Is right way up when the larger bells point upwards and the smaller ones with flowers point downward. This format is called sulat, while in a reverse format , the design is called ulat. Sulat forms are more attractive and popular according to explaination of craftsmen. They are used historically in buildings is certainly more widespread than the ulat forms. Ulat forms are also used but sparingly. 2.23 GEOMETRICAL JAALI Different crafts or chirayta are drawn for designs based on the hexagonal grid, square grid and the octagonal grid. Once the grid is drawn a number of designs can be derived from it. From the illustrated design, it is possible to evaluate the potential of the chirayta in generating a range of other designs. As the author has discovered :

2.23.2 Teen Jau: With a star placed in the centre, with six peripheral stars arrayed around the central star, so two of their vertices are joined, results in an arrangement where in one horizontal row of 6 pointed stars are joined on 2 of their vertices each pair enclosing a rhombus between them. The next row of stars follows the same arrangement, however, it is staggered such that the line of centre of each star is on the line of junction between two stars in the previous row. This staggering encloses two more rhombii between the first andd second row, with their intersection on the vertex of the rhombus of the first row. Thus, an arrangement is obtained wherein a mesh of 6 pointed stars enclose a set of 3 rhombi, or teen jau , between themselves. Hence this design is called teen jau.

2.23.1 Athaas : This design is a variant of the gulathaas, except that the flowers in the centres of the octagons are omitted. The octagons are joined on the cardinals with the squares ad on the diagonals with other octagons. In the cente of the octagons are placed squares with sides equal to each side of the octagon. The vertical and horizontal axes in the cardinal directions are omitted but the diagonals are expressed however, only connecting vertices of the squares

Fig. 2.70 : The jalis in jaswant thada

Fig. 2.68 : The jalis in jaswant thada

Fig. 2.71 : Detailled drawing of jalis in jaswant thada Fig. 2.69 : Detailled drawing of jalis in jaswant thada

BUILDING CONSTRUCTION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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BUILDING CONSTRUCTION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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CONSERVATION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ). CONSERVATION ------

INTRODUCTION THE PROJECT FACTORS DETERIORATING HERITAGE SITES IMPORTANCE OF THE PROJECT CONSERVATION AND PRESERVATION TECHNIQUE

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Fig. 3.2 : Repointing process

3.1 THE PROJECT: This demonstration project deals with the restoration, revitalization and conservation of Jaswant Thada locating Jodhpur. Specifically the project calls for cleaning and upgrading the elements of the building and the surrounding area, restoring these parts of building which are damaged due to neglect over the passage of time. The aim is to preserve the rich heritage which is present. On the tourism front, it is also to draw the attention of visitors as the fort of Mehrangarh does. It is significant piece of architectural heritage which cannot be linked to the number of persons actually visiting the place. It is the step in the direction of conservation.

Fig. 3.3 : Ruins of elements

Heritage buildings differ from modern buildings in the sense that they are anticipated to last permanently. Also heritage buildings are buildings that for various factors society has decided that they shall be preserved for as long as possible.

3.2 FACTORS DETERIORATING HERITAGE SITES:

The existence of heritage in our environment has indeed provoked the belief that people came from somewhere and this offers the people the self-confidence to face the future. Heritage largely defines the identity of a society and it is passed down from one generation to another. In order to pass on to future generations what is currently identified as being of cultural significance today, we must imbibe good conservation practices especially for the heritage buildings in order to prevent them from deterioration and extend the life and basic functions of these buildings. The heritage buildings constructed in the past that have high historical, architectural, spiritual, social, political and economical values. Similarly heritage buildings are highly valuable and informative in terms of socio-cultural, socio-political, socio-economical and even technological activities of a specific society or group of individual.

Fig. 3.4 : vandalism

Heritage buildings are seriously threatened by environmental agencies such as moisture, intense solar radiation and prevailing winds which change their physical attributes. The major effects of these environmental agencies include discoloration, abrasion, cracks, stains and fungal growth.

CONSERVATION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

CONSERVATION

Fig. 3.1 : Temple inside main building

Heritage and conservation have become important themes in current discussions on place, cultural identity, and the preservation of the past. Archaeological sites have long been a part of heritage and its display, certainly before the use of the term â&#x20AC;&#x153;heritageâ&#x20AC;? and the formal study of tourism. However, current concerns with the escalating pace of site destruction can be attributed to the perception among the public and professionals that archaeological sites, like the natural environment, are finite non-renewable resources deteriorating at an increasing rate. This deterioration stems from a wide array of causes, ranging from neglect and poor management to increased visitation and vandalism, from inappropriate past treatments to deferred maintenance. No doubt the recent pressures of economic benefits from tourist activities in conjunction with increasing communication and mobility have caused accelerated damage to many sites. The primary objective of conservation is to protect cultural heritage from loss and depletion. Conservators accomplish this through both preventive and remedial interventions. In so doing, conservation embraces the technical means by which heritage may be studied, displayed, and made accessible to the public.. Implicit in conservationâ&#x20AC;&#x2122;s objectives is the basic requirement to remove or mitigate the causes of deterioration.

For archaeological sites, this has a direct and immediate effect on visual legibility and indirectly conditions our perceptions and notions of authenticity. Among the repertoire of conservation techniques applied to archaeological sites are structural stabilization, reconstruction, reburial, protective shelters, and a myriad of fabric-based conservation methods. Each solution affects the way archaeological information is preserved and how the site is experienced and understood, resulting in a push and pull of competing scientific, associative, and aesthetic values. Conservation is predicated on the safeguarding of physical fabric from loss and depletion, based on the belief that material culture possesses important scientific and aesthetic information as well as the power to inspire memory and emotional responses. In the first case, the informational value embodied in the materiality of objects and sites has been expressed in conservation rhetoric through the concept of integrity. Integrity can manifest in many states as purity (i.e., free from corruption or adulteration) or completeness of form, composition, or context. It has come to be an expression of authenticity in that it conveys some truthfulness of the original in time and space, a quality constructed partly in response to the interventions perpetrated by us in our effort to preserve.

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Apart from exposure to weather, biochemical agencies also hasten the deterioration of heritage buildings tremendously. The two major factors responsible for the deterioration of heritage buildings: 3.2.1 Natural Factors: • Biological Factors • Moisture • Rainstorm • Ground salts and water • Windstorm • Air Pollutant • Solar Radiation • Temperature • Vibration

3.3 IMPORTANCE OF THE PROJECT : Located to the forts, the memorial and royal cenotaph occupy a very important place in the urban fabric of Jodhpur. It has been maintained in a fairly good state of preservation over the years but in the need of restoration because of lack of maintenance an unexpected change in the level of precipitation. Listed below are the problems in the building and the area. Notes have been taken of the destruction which has taken place in the building. Suggested actions to restore and revitalize them are also included. Problem 1: DETERIORATION AND DESTRUCTION OF ELEMENTS AND ITS FAÇADE The exiting façade of the temple with its carved elements in the area clearly reflect the deterioration, which has taken place over time, due to both weathering and neglect.

Fig. 3.5 : Weathering of carvings

3.2.2 Social Factors: • Fire • Urban Development • Vandalism

Fig. 3.6 : wearing of brackets and carvings

Fig. 3.7 : Weathering of carvings

Fig. 3.8 : Faded floor marble due to feces

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Problem 2: BIRDS NESTING IN THE CEILING OF THE PORCH

During day time large number of pigeons flock to these building and nest under the ceiling of the corridors. Their faeces containing acidic matter damage marble. The droppings also block the rainwater spouts on the terrace. (ref: fig x1-x3) Therefore, the leakages carry acidic water into the marble joint.

Problem 3: BIOLOGICAL FACTORS Biological agencies such as mosses, fungus, algae, and insects affect construction materials like timber, bricks, stucco etc. Biological agencies attack generally wet timber that has over 20% moisture contents. Wet timber decomposes in damp condition, and once germination occurred (at temperature 20 degree C and moisture content above 20%) it enters cracks and spreads fast making the timber to loose cellulose, thereby loosing its strength and shape which results in cracks, shrinkages and loose fittings.

Fig. 3.9 : Pigeons degrading the monument

Fig. 3.11 : Weathering on jali work

3.4 Conservation And Preservation Techniques: 3.4.1 Conservation of Building Elements • Stones • Stucco • Wood Siding 3.4.1.1 Stones Introduction

Fig. 3.10 : Residue of birds

Masonry consists of stone bonded with mortar. Mortar is a mixture of lime, sand, water and, more recently, cement. Masonry, when properly constructed and well maintained, will last for centuries. Mortar joints will normally require repointing every 50 years. Stone is the most common masonry wall, usually with limestone or granite for foundations. Stone is also common in areas where there is a tradition of stone masonry and availability of the material.

CONSERVATION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Problems Stone can deteriorate for many reasons, the key ones being: • Excessive moisture in the masonry freezing and thawing in winter • Water in the walls rusting out masonry ties • Improper cleaning, such as sandblasting • Differential expansion, leading to cracking • Airborne pollutants Some indications of masonry problems are :

Fig. 3.12 : Decaying marble surface of pillar

Bulging - indicates the wall has moved. Cracking - indicates movement within the wall. Straining - indicates excessive dampness. Crumbling - indicates moisture penetration due to poor brick or to sand-blasting. Paint Blistering - indicates moisture trapped behind paint. Mortar Cracking - indicates cement mortar is too hard and is popping out in freeze-thaw cycles. Re-pointing

Fig. 3.13 : Ground water and salts seeping the marble floor

The performance of a masonry wall depends on proper design, materials, workmanship and maintenance. Key requirements are that a wall be strong, keep moisture out and allow the mortar to flex. Most masonry work involves re-pointing and occasional replacement of deteriorated stone.

Mortar bonds masonry together. As well as compressive strength, workability and flexural (bending) capacity are important. Mortar should be weaker than the masonry to accommodate movement in walls, or else cracks will occur. The earliest mortars were lime-based, being water resistant and flexible, but often weak and susceptible to frost action. Later cement mortars, with little or no lime, are strong and fast setting, but with poor and uncertain bonding. Masonry cement is a pre-blended mixture of lime, Portland cement and other ingredients that can vary to suit conditions. When repointing • Duplicate the original mortar mix • Match the original mortar joint In applying the mortar, ensure the adjacent bricks are wet and that the mortar dries slowly under the shade of a tarpaulin if it is sunny. Allow it to cure properly.

Principle • Conserve original brick and stone with periodic checkups and maintenance. • When re-pointing, use an appropriate lime-based mortar. • Avoid cleaning. Conserve the patina of age that gives the building character. • If cleaning is necessary, carry out with great care. Do a test patch first to ensure there is no damage to the masonry surface. • Never sandblast.

Fig. 3.14 : Repointing technique

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Mortar mixes The right mortar mix for a masonry wall is very important, so that it moves with the wall. If the original mortar has fared well, the intent is to duplicate its mix. The following is a rough guide of mortars for different types of brick and stone:

Alkali - can be used on acid-sensitive masonry such as limestone, marble and glazed brick. It has a potassium hydroxide, ammonia or caustic soda base. Alkali should not be used on stone with a high iron content. Paint removers - are often the only means of removing paint. Reaction with the masonry can vary, therefore a test patch should be conducted first

Cleaning Cleaning masonry is one of the most difficult jobs there is, particularly, when trying to remove paint. In general, there is no way to remove paint that will not also damage the surface of the masonry. The only solutions are to let the paint wear off over many years or repaint. Cleaning dirt off masonry is a simpler and safer procedure, although dirt does not, generally harm masonry and, in fact, can provide attractive qualities of character and age.

Cleaning methods include the following: Water Cleaning masonry with water is the simplest, safest and least expensive method. It softens the dirt and rinses deposits from the surface. When water-cleaning, ensure the wall is watertight and mortar and caulking joints are sound, the least amount of water is used, and there are two to five weeks of dry weather before frost. The different techniques are as follows: Hand-scrubbing - using a mild detergent and hosing down when complete. This is simple and effective. Spraying - using regular water pressure to create a fine mist applied periodically over several hours and hosing down when complete. Pressure Washing - using mechanized pressure. Great care should be taken on soft masonry and mortar, which can be destroyed if the pressure is too high and spray duration too long.

Chemical Chemicals are usually used to remove paint. It can, and usually does, destroy the surface of masonry. If contemplated, a test patch should be done to determine the extent of the damage. The general approach to chemical cleaning involves wetting down the masonry, applying the chemical and rinsing off. The different cleaners are as follows: Acid - usually hydrofluoric (HFI), is mixed in a maximum concentration of 5%, preferably 1%-3%. Acid should not be used to clean limestone, marble or sandstone. .

3.4.1.2 Stucco Traditional Composition Stucco was originally a lime and sand mix and applied in three coats to the wood lath. The first “scratch” coat bound the mix to the lath, the second coat built up the strength and the finish coat provided texture and colour. Animal hair and straw can sometimes be found in old stucco and were used as binders. In the early 1900’s, Portland cement was added to the mix for additional strength. In conserving and restoring traditional stucco, the traditional composition and application should be revived. Stucco is an ancient material going back many centuries. One source suggests the word might be derived from an old German work “stucchi” which means crust. Initially, stucco was applied directly over masonry and later applied onto a wood or metal lath. When applied correctly, it will last indefinitely.

Architecturally, over the past two hundred years stucco has had an uneven history. In the early to mid-1800s, it was used in a number of ways. One was to cover over rough field stone on a building elevation. The stucco was incised with lines to make the elevation appear as cut stone. This same technique was used also with lath and stucco on wood frame buildings.

Repair The most common damage to traditional stucco is cracking or falling away at the sides or edges. These can be repaired by removing to the lath base. Wetting the area and applying new coats of a mix as close as possible to the original. This should be left to dry slowly. Bulging is a more serious problem and usually denotes the stucco has come away from the lath. The stucco in the area of the bulge or the entire wall, should be removed and redone.

CONSERVATION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

A very difficult task is to have the new repair patch stucco math the old, particularly the colour. Two alternatives are available, either re-plaster the entire elevation, which can be costly, or paint. A latex paint is recommended as it breathes and is less susceptible to peeling. Only latex paint formulated for stucco should be used. Conservation Principles • Conserve traditional stucco walls. It is a rare and little used finish. • When repairing, use the traditional ingredients and techniques, particularly the lime and sand mix. • When repairing stucco walls, analyse the stucco ingredients which may be Portland cement. • Retain skilled craftsmen to restore stucco wall or build anew.

3.4.1.3 Wood Siding Introduction Wood siding was one of the most common sidings for historic buildings. Wood is vulnerable to decay through moisture and damp and requires a finish of paint or stain. Every effort should be made therefore, to preserve original wood siding, not only because it is authentic to the building but also because it’s quality cannot be found. It is the deterioration of the finish that has frequently caused wood siding to be covered by insulated brick in the early 1900’s and, more recently, by vinyl or aluminium siding. The main challenges of wood siding are, therefore, maintenance or choosing the right replacement.

Conservation Principles • Conserve original wood siding. • If replacing, match the original profile. • For new additions, select a wood siding that complements the style of the original historic building. • Paint in period heritage colours.

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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CONSERVATION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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TOURISM

Department Of Architecture And Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

TOURISM -------

IMPORTANCE DEVELOPMENT AS INDIVIDUAL SITE FOOTFALL ANALYSIS SURVEY PROPOSED IDEAS SWOT ANALYSIS

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

TOURISM

Fig. 4.1 : Front view

4.1) IMPORTANCE Tourism is travel for recreational, leisure or business purposes. According to the world tourism organization tourists as people who "travel to and stay in places outside their usual environment for more than twentyfour hours and not more than one consecutive year for leisure, business and other purposes not related to the exercise of an activity remunerated from within the place visitedâ&#x20AC;&#x2013;(WTO 1994).Same day trips are tourism trips, as a multi month tour, as long as they last less than a year. Tourism may be regarded as economic activity of great importance. It is one of the fastest growing businesses in the world. The growing liberalization of economies and of trade in goods and services, the development of rapid, safe and affordable modes of transport and the emergence of information technologies have been major factors in economic, tourism and leisure development. The steady growth of tourism-industry during the last decade has transformed it into an economic giant and now has been recognized as a major export industry in many countries of the west as well as East including India.

Fig. 4.2 : Jharoka

With ongoing economic growth and emerging middle class, this sector is bound to grow in future. Rajasthan has been a pioneer state in promoting tourism. Jodhpur has witnessed major impacts due to tourism. These include heritage, cultural, traditions, land-use, and vernacular character, nature of spaces, infrastructure, environment, socio-economic aspects, and economy of the region, job creation and impact on other industries. At Jaswant thada clear distinction between the old and the new city is visible from the ramparts. On the other side of the city, facing the forts is the Umaid Bhawan Palace. One of the most spacious, sprawling and well planned palaces in India. Built in 1899 as a royal cenotaph by Maharaja Sardar Singh, in memory of his father Maharaja Jaswant Singh II who was the 33rd Rathore ruler of Jodhpur.

The emergence of new destinations, new marketing methods and the development of quality standards in line with a global market are required to survive the competition. Apart from economic benefits the annual movements of tourists is a potent source promoting mutual appreciation and understanding at international and national level. Tourism is the largest service sector provider in India as per the 13th finance commission.

Fig. 4.3 : The Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Fig. 4.4 : Jharoka

The rocky approach to Jaswant Thada lends a mystic aura to the entire experience. The magnificent marble structure stands in blinding white contrast to the surrounding reddish brown rocky hills that dominate the landscape. Popularly referred to as the â&#x20AC;&#x153;Taj Mahal of Marwarâ&#x20AC;?, Jaswant Thada is built out of intricately carved sheets of marble. Considered an epitome of Rajputana architectural style, essentially an mixture of Mughal and Hindu structural design, it displays lattice work in marble of the finest skill, reflecting the creative genius and sculptural expertise of the artisans of the time. The extremely thin sheets of marbles used in the construction of the tomb have been polished in such a manner that they emit a warm glow with a subtle hue as the rays of a dawn Sun gently strikes its surface. The structure, which has a central paramedical dome surrounded by several smaller domes running along the perimeter of what looks like a terrace, resembles a temple rather than a tomb. The magnificence of the edifice is enhanced by a small lake with crystal clear water, a multitiered garden and carved gazebos surrounding it. A life-size marble statue of Maharaja Jaswant Singh II seated on a horse welcomes us at the entrance to the cenotaph complex. A flight of flawless white marble steps brings us to the main memorial which is ornamented with artistic sculptures, frescos, domes, pillars and exquisite latticework in marble. On its walls, portraits of several rulers of Jodhpur, dating back from the 13 century, are displayed. The elaborate ornamentation and dancing figures sculpted on the pillars that adorn the monument dedicated to the queens who sacrificed their lives on the pyre of Maharaja Jaswant Singh. Apart from the main tomb, the cenotaph complex also houses three other memorials to successive rulers.

Entrance fee: 15/-per person(Indians), 30/- per person(foreigner), 25/- per still camera, 50/- per camcorder. Timings: all days of the week 9:00a.m. to 5:00 p.m. Visit duration : around two to three hours.

Fig. 4.5 : Entrance stairs

Fig. 4.6 : Carving details

Fig. 4.7 : Chhatri

Fig. 4.8 : Pillar

TOURISM 56

Aerial view

57 4. Courtyard

4.2 DEVELOPMENT AS AN INDIVIDUAL SITE

SITE PLAN

2. Devkund(water body)

6. Cenotaph Chhatris for various maharajas.

5. Jaswant thada mausoleum

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

4.3 ANALYSIS: 70000

60000

50000

40000

30000 20000

INDIAN

30000

INDIAN

FOREIGNER

20000

FOREIGNER

10000

JAN FEB MARCH APRIL MAY JUNE JULY AUG SEPT OCT NOV DEC

10000

Tourists visited in 2009

Tourists visited in 2010

70000

60000

50000

40000

40000 30000

INDIAN

30000

20000

FOREIGNER

20000

10000

INDIAN FOREIGNER

10000

JAN FEB MARCH APRIL MAY JUNE JULY AUG SEPT OCT NOV DEC

Graph 1 : Tourists visited in 2011

Graph 2 : Tourists visited in 2012

70000 60000 50000 40000 30000

INDIAN

20000

FOREIGNER

10000

INDIAN

FOREIGNER

JAN FEB MARCH APRIL MAY JUNE JULY AUG SEPT OCT NOV DEC

100000 90000 80000 70000 60000 50000 40000 30000 20000 10000 0

Graph 3 : Tourists visited in 2013

Graph 4: Tourists visited in 2014

120000 100000 80000 60000

INDIAN

40000

FOREIGNER

20000

JAN FEB MARCH APRIL MAY JUNE JULY AUG SEPT OCT NOV DEC

As we analyse through the graphs of the past 7 years most of the domestic tourists visit Jodhpur in the months of October and November in and around the Diwali Break. Hence, efforts should be made to seek maximum of their attention by organising various folk festivals and events in the premises of Jaswant thada. The inflow of international tourists on the other hand starts increasing from November and is on a peek in January and February. Hence, their needs should be the top priority during this period.

Graph 5 : Tourists visited in 2015

TOURISM 58

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Chart Title

700000 600000

No. of Toiurist

500000 400000 300000 200000 100000 0

2009

2010

2011

2012

2013

2014

2015

Indian

423939

455657

383357

435919

520302

588524

Foreigner

71201

106945

103034

121034

119927

139640

129800

Graph 6 : Yearly tourist influx

Above shown is the bar diagram of tourists arrival in the town for past 7 years as we can see the tourists are on a constant rise since 2012

Graph 7 : International visitors Fig. 4.9 : The lake view

Jaswant thada is mausoleum situated approximately one kilo-meter east to the Mehrangarh fort. It is visited by various domestic and international tourists every year. The annual footfall for year 2015 was 93,634 international tourists and 2,43,607 domestic tourists. which is quite less compared to the tourists visiting the town.

Graph 8 : Indian visitors

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

4.4 SURVEY: Looking at the graphs of the total tourist visiting Jaswant thada out of the total tourists visiting Jodhpur, survey was conducted to discover what all affects the total footfall of the place. Here are some of the responses recorded from the survey.

3. If you were a developer of the public place, what different ideas would you introduce?

1. What was according to you is the best part of Jaswant thada?

Shaded sitting areas tourists appreciated the beauty and serenity of the place and complained about the lack of a shaded sitting area, where they can sit and enjoy Some peaceful moments.

According to the survey 80% tourist were fascinated by the architecture of the place. Specially the carvings on the marble and red stone. They even added that the landscape of the place adds to the beauty of this monument specially the water body. The contour and the hilly ranges.

CafĂŠ in the premises as most of us quite tired from the walk in the Mehrangarh fort

Boating the tourist enquired whether there is a boating facility available in the water body(Devkund)

Fig. 4.12 : Devkund

Fig. 4.10 Front view

Toilets were a major concern amongst the people. And a lot of tourists were unsatisfied with the bio toilet kept in the premises. A proper and organized parking 4. What would you suggest us to make this place more comfortable? Tourists added if it was more specified what this monument depicts in written form . If they do not heir a tourist guide it is just a piece of architecture to them, it does not specify the history behind the monument.

Fig. 4.11 : Chhatriâ&#x20AC;&#x2122;s outside the compound

2. Was Jaswant thada a priority to the people when they came to Jodhpur. If yes, why? If no, why? 70% of the tourists were not aware of this monument. They complained that it is not even specified anywhere on internet. Taxi drivers or tourist guides are the source to lead this place.

Fig. 4.13 : Chhatri in the Side Garden

The survey helped us to conclude over the following proposal for Jaswant Thada to increase the footfall which will eventually increase the revenue of the place.

TOURISM 60

CONCLUDED PROPOSALS FROM TOURIST SURVEY

Souvenir shop Map, sign boards

Restaurant

Folk events

Zipline

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

4.5 PROPOSALS:

Various proposals have been made the students to increase the tourism after analyzing the data and concluding the survey conducted. The proposals are as followed : 1.By providing seating near the lake, we can get more attention for the restaurant (proposed) from the local public. 2.Souvenir shop 3.Audio visual show in the premises 4.Folk events. 5.Signboards 6.Zipline 7.Shaded pathway at the 36.0 entrance.

30.0

127.0

18.0

127.0

58.0 58.0 Fig.4.14 : Plan of kitchen for Restaurant

1. By providing seating near the lake, we can get more attention for the restaurant (proposed) from the local public. Jaswant thada has a beautiful location and view, which is not being utilized to its optimum capacities, at present there is no restaurant in the premises which is a drawback in attracting tourists. Though, there has been a restaurant been proposed by the managing committee, if that restaurant has proper sitting along the path that leads from the entrance to the mausoleum compound during the evening times it will have beautiful view of the fort as well as Jaswant thada, along with water body on one side. This will attract a huge number of tourists and locals to the place.

Fig.4.15 : Proposed Restraunt

TOURISM 62

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

47.0

36.0

127.0

10’6” X 11’

30.0

39.2

24.0

2. Souvenir shop Tourists enquired about the souvenirs related to Jaswant thada. With ample amount of space available we can open a souvenir shop in the compound. Selling souvenirs like tshirts , cups and other things related to heritage of the place can generate employement.

58.0

Fig. 4.16 : Plan for souvenir shop

Fig. 4.18 : 3d view for the souvenir shop

The souvenir shop proposed her e can be constructed near the entrance after the water cooler place, it will help us generating revenue. With chitar stone façade it will match the entire structure present there

Fig.4.17 : Front elevation for the souvenir shop

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Fig. 4.19(a) : Central courtyard

Fig. 4.21 : Encircled central courtyard in the site plan

3. Audio visual show in the premises . As there is no audio visual show performed in the town we can use the gardens For such show on daily basis, displaying the history of the monuments, the kingdom marwar and its surroundings. Fig. 4.19(b) : Central courtyard

4. Folk events. The tourists seemed interested in attending the folk events organized in Jaswant Thada. Although, there are some events organized in Jaswant thada but, there are no individual events organized solely in Jaswant thada. Giving more attention in this issue can help attract more people. 5. Signboards There is a need for site map and directional signboards in the Jaswant thada compound. Tourists were found looking for facilities and searching for historical value of the place, it can be displayed by various information and signboard. It has been discussed later in the report.

Fig. 4.20 : Signage(a)

Fig. 4.22 : signage(b)

TOURISM 64

65 9.Cenotaph of Maharaja Ummaid Singh Ji (1918-1947) 10.Central courtyard

8.Cenotaph of Sumersingh Jiâ&#x20AC;&#x2122;s wife, Chauhan Ji

7. Cenotaph of Sumer Singh Ji (1911-1918)

6.Cenotaph Maharaja Sardar Singh Ji (1895-1911)

5.Jaswant Thada Memorial

3. Cenotaph of Jaswant Singh Jiâ&#x20AC;&#x2122;s wife, Panwar Ji 4.Cenotaph of Maharani Jodechiji

A map displaying various parts of the site can be installed at the entrance and sign boards can be installed in the site premises to help the tourist get better understanding of the place while they are entering.

Design of signage

Morrsmarak(peacock memorial)

2. Cenotaph of Maharaja Jaswant Singh Ji (1873-1895)

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Rao jodha stone park Starting point Rest point End point

Fig. 4.23(a) : zip lining

Fig. 4.23(b) : zip lining

6. Zipline With existing zipline facilities in the site vicinity(in the other side of rao jodha stone park the zipline facility exists.) We can make another zipline from over the devkund(pond), giving a proper view of the Jaswant thada building and the scenery in the surroundings. This would help us Seek attention from the adventure sports enthusiasts.

Fig.4.23(c) : Zipline sport

Fig. 4.24 : Gazebo at resting point

TOURISM 66

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

Fig. 4.25 : Proposed plan

Fig. 2.26(a) : view

Fig. 2.26(b) : view

Fig.4.27(a) : views

7.Shaded pathway As most of the tourists complained about the lack of shaded area in the premises we propose to design a pergola over the pathway, that leads from the entrance to the main compound. It is a long pathway of approx 100 meters and the stone as the paving gets very hot during the day time. So proper stone pergola would help us deal with this problem, in an efficient manner. The pergola can also be accessorized with creepers to give a more greener and naturalistic look. This pergola will start right after the entrance which is after the ticket counter and will continue till the staircase that leads to upper level. 8. Shaded seating A shaded seating area can be created on a risen platform in the very beginning of the compound, the shade can be temporary and can be used for various purpose, but majorly for tourists to relax and enjoy a beautiful view of Mehrangarh, Jaswant thada, Ghantaghar, and the old city.

Fig.4.27(b) : views

Fig.4.27(c) : views

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

4.6 SWOT ANALYSIS:

STRENGTH

•White marble structure situated in between red sandstone mountains. •Ample amount of land is available i) and around the structure. •Uniqueness compared to other monuments in the town. •Garden and water body situated near the structure. OPPORTUNITY

•The existing water body cannot be used for boating or fountains. •Has no restaurant, or proper washroom facility. •No attraction for local public. •No audio tourist guide facility is being provided. •Has a combined identity with Mehrangarh fort. tourist are generally tired whilst they reach here.

WEAKNESS

•By providing seating near the lake, we can get more attention for the restaurant (proposed) from the local public. •Rising demand amongst the tourist for folk events. •Existing zipline in site vicinity. •No audio visual performances in the town at present. THREAT

•Degradation of marble with time is a huge problem.

TOURISM 68

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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CONCLUSION Department Of Architecture and Town Plannimg M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India )

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

CONCLUSION

This group exercise involved site visit, measurements, CAD drafting, data collection, data analysis and discussions. And all of these went in stages. By the end of the site visit experience and witnessing the current preservation schemes and conservation undertakings taking place in the Jaswatt Thada complex, we had gathered enough data and started studying them, hence bringing out our versions of the information, We had realized that on site study and site analysis is far different from classroom teachings. It was an experience that a classroom lecture or tutorial could not give us. Talking to experts on the subject of traditional built environments and construction made us understand the practical ASPECTS OF CONSTRUCTION techniques and which enhanced our comprehension of the construction process more in comparison to theoretical classroom study. The building and construction section demonstrates all the traditional construction techniques and also gives us discourse on the craftsmanship involved in building a complex like Jaswant Thada. The report provides intracacies of traditional built environments in terms of symbolism, geomancy, and religious philosophy combined wit hthe basics of structure and stability of the building. It talks about the various terms or names that the traditional elements of the complex have, and describes them with drawings and factual references. Studying about construction techniques upsurged our knowledge in the field of architectural documentation and the process of heritage conservation. This report is prepared on the basis of the on site study and also theoretical research by the students.

The section of heritage conservation has been dedicated to inculcate a sense of awareness and importance of heritage conservation. Despite the various measures undertaken to preserve this built environment, there are a few visible detoriations and challenges that the building faces, like detoriation of faĂ§ade elements, biological corrosions, etc. The conservation section talks about some techniques to cope with these issues, which includes the currently used methods and a few more. We also got to see this restoration process on site and observing the use of traditional tools and machinery on site for preservation. Heritage conservation is one of the important aspects of the report. Another important aspect for us was to study and analyse the inflow of tourists in the Jaswant Thada complex and aslo propose some measures to increase the number of tourist visits. As it is a fact that most of the tourists that visit Jodhpur skip over Jaswat Thada and its an important issue that needs to be addressed. The report presents actual data of tourist influx which supports this claim. And it is an issue that the amount of money that is used in preserving this complex larger than the amount of money it receives via tourist visits. Since tourist visit is the only source of income for the complex, the survival of this complex as a public space is at stake. The report demonstrates and recommends a few measure to copes with this problem. Although there are a few amenities like cafĂŠ, parking, etc. have been already proposed and these changes are currently under construction, but, the report sates a few more interesting additions that could possibly attract mre tourists to the complex, hence producing more income.

Thus, this exercise did help us better understand what we would face in the future as architecture practitioners. And it was in all a great learning experience for us. It made us more thoughtful about the traditional construction process and also made us appreciate the traditional architecture In that process.

CONCLUSION

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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A PHOTOGRAPHIC JOURNEY OF THE PROJECT. Department Of Architecture and Town Plannimg M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India )

Department Of Architecture and Town Plannimg M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India )

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

THE JOURNEY

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

THE JOURNEY

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

THE JOURNEY

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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THE JOURNEY

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

REFERENCES

Citations at :[1] CPWD department jodhpur. “Jodhpur restoration report” [2] Himanshi Das “PRINCIPLES OF DESIGN AND CRAFTSMANSHIP IN THE TRADITIONAL ARCHITECTURE OF JAISALMER” : WELSH school of Architecture, Cardiff University,:.September 2005.

[3] Jain Associates Archiects And Conservation Consultants, Ahemdabad (in aasociation with Anu Mridul Architect, Jodhpur) : “LOKSHETRA - HERITAGE CONSERVATION ZONE JODHPUR” : INTACH (New Delhi) : August 1989. [4] AR. MEENAKSHI KHANGOT : “Stapathya Kala : Principles Of Design And Craftmanship In The Traditional Architecture Of Jaisalmer”: [5] Data collected from RTDC office, jodhpur. [6] JNV University central library references. [7] Image courtesy : google, tumbler, pinterest .

JASWANT THADA

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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APPENDIX Department Of Architecture and Town Plannimg M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India )

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

APPENDIX

RECORD OF FIGURES --------------------------------------------

Fig. 1.1 : Location Fig. 1.2 : Jodhpur Fort Fig. 1.3 : Walled city of Jodhpur Fig. 1.4 : The statue of famous King Rao Jodha Fig. 1.5 : The former capital of Jodhpur - Mandore Fig. 1.6 : The Jodhpur fort Fig. 1.7 : Jaswant Thada – the royal cenotaph Fig. 1.8 : Street scape Fig. 1.9 : Culture Fig. 1.10 : Clock tower market Fig. 1.11 : Modern street scape Fig. 1.12 : Stone as the major material of construction Fig. 1.13 : Fort is located on the highest point Fig. 1.14 : A market view of Jodhpur Fig. 1.15 : Indira Gandhi canal Fig. 1.16 : A shop in Sojati Gate has installed four motors to pump water out Fig. 1.17 : Overflowing sewerage has resurrected the Jojari Fig. 1.18 : Sewage water from the Jojari has inundated the road that connects villages Fig. 1.19 : The Kaylana Lake Fig. 1.20 : The Mehrangarh fort Fig. 1.21 : Jai pol Fig. 1.22(a), (b) : Inside the fort Fig. 1.23(a), (b) : The Umaid bhawan Palace Fig. 1.24 : Makrana marble used in Umaid Bhawan Fig. 1.25(a), (b) : Views of Umaid bhawan hotel Fig. 1.26 : The Clock tower Fig. 1.27(a), (b) : The Mandore gardens Fig. 1.28 : Jaswant Thada Fig. 1.29 : Chhatris at Jaswant Thada Fig. 1.30 : Jaswant Singh II Fig. 1.31 : Beautiful facade of Jaswant Thada Fig. 1.32(a), (b) : Elements of Jaswant Thada Fig. 1.33 : Site topography Fig. 1.34 : Ariel plan Fig. 1.35 : Front elevation of Jaswant Thada Fig. 1.36 : Side elevation of Jaswant Thada Fig. 1.37 : Section YY’ of Jaswant Thada Fig. 1.38 : Section XX’ of Jaswant Thada Fig. 1.39 : Terrace plan of Jaswant Thada Fig. 1.40 : Terrace plan of main building Jaswant Thada Fig. 1.41 : Reflected roof plan of main building Jaswant Thada Fig. 1.42 : Plan of main building Jaswant Thada Fig. 1.44 : Section plan - ventilator of main building Jaswant Thada

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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Fig. 2.1 : Jaswanth Thada Fig. 2.2 : The carvings in Form of leaf designs Fig. 2.3 : The carvings Fig. 2.4 : The chatri Fig. 2.5 : Main elements from site Fig. 2.6 : The garden in Jaswant Thada Fig. 2.7 : The mughal garden Fig. 2.8 : The Four Cenotaphs Fig.2.9 : The plan of the chatri Fig. 2.10 : The elevation of the chatri Fig. 2.11 : The elevation of the chatri Fig. 2.12 : The elevation of the chatri A Fig. 2.13 : The elevation of the chatri A Fig. 2.14 : The plan of the chatri A (All dimensions in mm) Fig. 2.15 : The ariel view of the chatri A (All dimensions in mm) Fig. 2.16 : The elevation of the chatri B (All dimensions in mm) Fig. 2.17 : The elevation of the chatri B Fig. 2.18 : The plan of the chatri B (All dimensions in mm) Fig. 2.19 : The ariel view of the chatri B (All dimensions in mm) Fig. 2.20 : The Column Fig. 2.21 : Front elevation of the column Fig. 2.22 : Plan of the column Fig. 2.23 : Front elevation of the plane column Fig. 2.24 : Plan of the plane column Fig. 2.25 : Front elevation of the plane column Fig. 2.26 : Plan of the plane column Fig. 2.27 : The Plane Columns Fig. 2.28 : The Plane Columns Fig. 2.29 : The surangdar khambhas in Jaswant Thada Fig. 2.30 : Front elevation of the column Fig. 2.31 : Plan of the column Fig. 2.32 : Primary syntax of architectural elements Fig. 2.33 : Primary syntax of architectural elements in the central chatri in the center of main chatri Fig. 2.34 : Todi 1 Fig. 2.35 : Todi 1 Detailled Fig. 2.36 : Todi 2 Fig. 2.37 : Todi 2 Detailled Fig. 2.38 : Todi 3 Fig. 2.39 : Todi 3 Detailled Fig. 2.40 : Todi 4 Fig. 2.41 : Todi 4 Dettailed ( all dimensions in mm) Fig. 2.42 : The todis in jaswant thada ( all dimensions in mm) Fig. 2.43(a), (b) : Margols in jaswant thada Fig. 2.44 : Front elevation of Margol Fig. 2.45 : Plan of Margol

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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Fig. 2.46 : Section AA’of Margol Fig. 2.47 : Front elevation of Margol Fig. 2.48 : Plan of Margol Fig. 2.49 : Section AA’of Margol Fig. 2.50 : Front elevation of Margol Fig. 2.51 : Plan of Margol Fig. 2.52 : Section AA’of Margol Fig. 2.53 : Front elevation of Margol Fig. 2.54 : Plan of Margol Fig. 2.55 : Section AA’of Margol Fig. 2.56 : Methi Fig. 2.57 : Cheen Fig. 2.58 : Gud Fig. 2.59 : Auggal Fig. 2.60 Mortar mix Fig. 2.61(a), (b) : Lime fig Fig. 2.62 : L-shaped foot scale called gaj in local language Fig. 2.63 : Crude steel compass called prakar in local language Fig. 2.64 : Stone carving flat Small chisel Fig. 2.65 : Hammers Fig. 2.66 : Mini stone carving Tooth chisel Fig. 2.67 : Carbide tripped Stone Carving chisel Fig. 2.68 : The jalis in jaswant thada Fig. 2.69 : Detailled drawing of jalis in jaswant thada Fig. 2.70 : The jalis in jaswant thada Fig. 2.71 : Detailled drawing of jalis in jaswant thada Fig. 3.1 : Temple inside main building Fig. 3.2 : Repointing process Fig. 3.3 : Ruins of elements Fig. 3.4 : vandalism Fig. 3.5 : Weathering of carvings Fig. 3.6 : wearing of brackets and carvings Fig. 3.7 : Weathering of carvings Fig. 3.8 : Faded floor marble due to feces Fig. 3.9 : Pigeons degrading the monument Fig. 3.10 : Residue of birds Fig. 3.11 : Weathering on jali work Fig. 3.12 : Decaying marble surface of pillar Fig. 3.13 : Ground water and salts seeping the marble floor Fig. 3.14 : Repointing technique Fig. 4.1 : Front view Fig. 4.2 : Jharoka Fig. 4.3 : The Jaswant Thada Fig. 4.4 : Jharoka Fig. 4.5 : Entrance stairs

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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Fig. 4.6 : Carving details Fig. 4.7 : Chhatri Fig. 4.8 : Pillar Fig. 4.9 : The lake view Fig. 4.10 : Front view Fig. 4.11 : Chhatriâ&#x20AC;&#x2122;s outside the compound Fig. 4.12 : Devkund Fig. 4.13 : Chhatri in the Side Garden Fig. 4.14 : Plan of kitchen for Restaurant Fig. 4.15 : Proposed Restraunt Fig. 4.16 : Plan for souvenir shop Fig. 4.17 : Front elevation for the souvenir shop Fig. 4.18 : 3d view for the souvenir shop Fig. 4.19(a), (b) : Central courtyard Fig. 4.20 : Signage(a) Fig. 4.21 : Encircled central courtyard in the site plan Fig. 4.22 : Signage(b) Fig. 4.23(a), (b), (c) : Zip Lining Fig. 4.24 : Gazebo at resting point Fig. 4.25 : Proposed plan Fig. 2.26(a), (b) : View of shaded corridor Fig.4.27(a) : Platform Fig.4.27(b) : Temporary pavilion for shading

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Graph 1 : Tourists received in 2011 Graph 2 : Tourists received in 2012 Graph 3 : Tourists received in 2013 Graph 4: Tourists received in 2014 Graph 5 : Tourists received in 2015 Graph 6 : Yearly tourist influx Graph 7 : International visitors Graph 8 : Indian visitors

LIST OF GRAPHS :

Department of Architecture and Town Planning M.B.M. Engineering College, JNV University Jodhpur, Rajasthan ( India ).

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JASWANT THADA