Architecture for the deceased: The spaces of final honour

ACKNOWLEDGEMENT

The satisfaction and excitement of successfully completing any task is incomplete without mentioning the people who made it possible and the fact that under their constant guidance I was able to complete this paper.

I wish to offer sincere gratitude to my guide, Ar. Prerna Sharma who gave me constant guidance and support while writing this paper. Needless to say, I was inspired by his unique approach to his vision, courage and architecture and also understood his passion for the subject.

I would also like to thank my friends and my family for their continued support and enthusiasm in the prophecy that motivated me to move forward and successfully complete the report.

Ananya deb Signature

ABSTRACT

“Death is the only certainty in life, for to the best of our knowledge all things that live must one day die. Thus, death is, and has arguably always been, a crucial part of mankind’s everyday existence whether we would choose to dwell on it or not.”

-Lindsay Anne Hall (Hall 2007)

Human is constantly worrying about his death. The natural tendency is always not to address it in any way and to stay away from places that indicate death. Death is a universal phenomenon. According to Hindu mythology, "Death is not the opposite of life, it is only the gateway to the second life cycle." People die every day and architecture does not change this fact but at least it affects the perceptions and feelings associated with places of death, the dead and the final honor.

Currently, the climate of death in India, which supports cremation infrastructure, is different from the urban landscape. Our fear and discomfort of death has left cemeteries in a lonely, cold, and depressing place so far in an urban context. Cremation rites and its associated places provide beneficial and spiritual avenues, but suffer from a lack of recognizable spatial features that allow them to perform a variety of funeral rites. The intent of this study is to analyse the influence of importance of performing last rites as per the religious and cultural beliefs of a community and the impact of urbanization on losing identity of crematoriums. Due to the multiplicity of beliefs related to the concept of death, the research paper is confined to the spaces of cremation as it pertains to Hindus in the Indian scenario. Furthermore, it explores the perspective of architecture related to planned and unplanned spaces, considering the statistics of deaths, the contemporary conditions and patterns of use of spaces of cremation, required v/s existing spaces and diverse communities prevailing in metropolis like Delhi NCR.

Keywords: Mortality, Universal phenomenon, Mythology, Emotions, Final honour, Urban context, Culture, Cremation, Statistics, Metropolis.

TABLE OF CONTENTS

Introduction

Literature review

Death in a medley of cultures

Hindu philosophy

4.Traditional spaces of Death: Study of Varanasi, Uttar Pradesh

History of Manikarnika Ghat

spatial analysis

Activity mapping of Manikarnika ghat

Questions

Methodology

7.Case Study of Planned spaces for cremation

Mahaprasthanam, Hyderabad

Ashwini Kumar Ghat

Surat, Gujarat

Studies

7.Analysis of scenario in urban context: Delhi NCR

Statistics of deaths reported in Delhi NCR:2019 & 2020

8.Case studies of crematoriums in Delhi NCR

Nigam Bodh Ghat

Lodhi Cremation ground (Dayanand Mukti Dham)

Analysis

Conclusion

LIST OF FIGURES

Figure

Figure

Figure

Figure

of

Site plan: Manikarnika

Illustration of Manikarnika

The journey of cremation

of

Figure

Ideals:

Ideals:

Ideals:

Site plan:

Picture gallery:

Figure 13 Ashwini Kumar Ghat

Figure

Location of Ashwini Kumar Ghat

15 Site plan: Ashwini Kumar Ghat

Night

Area

Figure

Figure

Picture Gallery : Ashwini Kumar

Analysis

Figure 20 Mahaprasthanam v/S Ashwini Kumar Ghat

Figure

Figure

2005 to 2020 Birth and Death Data: Delhi

Location of Nigam Bodh Ghat

Location of Nigam Bodh

Lodhi

Location of Lodhi Cremation Ground

Activity flow in Crematoriums

in New Delhi Map

INTRODUCTION

Death is unknown and it is final. It is a sort of alchemy in itself as it changes us in an instant into something completely new. Spirit, soul, and mind flash away, and what was once a living body becomes a new creation. The corpse represents, among other things, a threat to social order, an economic burden to the family and an offense to sight and smell. Also, as humans, death is a destination we all share and it makes us realize our mortality and eventually lead us to better acceptance and understanding. In this sense the rituals of death and the spaces they are conducted in have a deep significance and importance. For it is through these rituals and these spaces that the prime intersection of life and death takes place, where the living are forced to encounter and contemplate the mortality and fragility of life while simultaneously putting them in touch with the sublime of the absolute. These spaces and rituals are simultaneously for the living and dead, public yet intimately private and personal. And precisely because of this complexity and relevance to the living, the rituals of death, the treatment of the dead and the spaces of these rituals are special cultural events that strongly reflects the core worldview and beliefs of a society.

Everyone is touched by death in some way or the other; either directly or indirectly and in any case - “Everybody in one way or another; is afraid of death.” Spaces of cremation therefore could be relevant as sacred landscapes that find the connection between the varied conceptions and in a culturally constructed geography or help develop a complex symbolism exploring the poetic, narrative and ritualistic aspect of architecture. This is because as Blinda Straight says “Death is a terrifying rupture into mundane existence, death demands a response on the part of individual and communities.''

In India, a land of deeply held beliefs and long followed religious and ritualistic practices, death is given a lot of importance. It has been argued that in Hindu mythology, "Death isn't opposed to life as it is commonly held in the west, but is only an entrance to another cycle of life.” This belief makes the ritual related to death both critical and natural.

Hence death is natural and part of life, according to Hindu mythology it is the entry into any important (later life). However, in the contemporary landscape, the constant loop of birth and death has used them extensively, but these places have become blind spots in the urban context due to lack of recognition. Perhaps, this was due to the cremation of the dead and the obvious monuments and great architectural tradition for that purpose did not really exist. The architectural expression of cremation ghats in the urban landscape is an intriguing question that forces us to examine and return to traditional cremation rites without any specific boundaries. And even in these contemporary

“If death is undeniably a universal phenomenon, then why is it constantly exorcised and shunned in our daily experience?”

- Gian Giuseppe Filippi (Hawkins, Mookerjee, and Mothersbaugh 2010)

cremations, there is criticism that cremations are limited to a specific ritual and set of 'actions' by those who live with the dead. This raises the question of why there is still a social ban regarding the final farewell places? There is a definite difference between the rituals of death and the myths and beliefs deeply rooted behind the places of cremation. But why are these myths, beliefs and customs and those places considered important?

The cremation rites that have great symbolic value in the city are not synchronized in the contemporary city? Sometimes in an unconscious way, the action of creation gives the echo of space, its feeling and its purpose. This raises the question of the appropriate role of these places in the current cultural geography of an Indian metropolis such as Delhi NCR and whether there is a distinct typology that can replace previously unseen and marginal landscapes in more visible cultural and secular spaces. Can these places signify a final goodbye in character and urban context?

“Death is an abstract, philosophical subject to study, which is tackled from a speculative point of view, and to which no immediate efficacy is attributed”

- Gian Giuseppe Filippi (Mrtyu - Concept of Death in Indian Traditions)

AIM OF THE STUDY

The aim of the study was to study the spatial-cultural features of the burial ground in a contemporary Indian city, to distinguish between traditional locations for activity against the landscape in the urban context, and to assess planned and operational flows in urban areas. An unplanned place in the context of Hindu beliefs and funeral rites.

OBJECTIVES OF THE STUDY

Understanding the concept of death in the context of myths, rituals and beliefs related to death as stated in Hindu mythology.

Study of intersection of rituals and its spaces- i.e., the spaces of cremations in India.

Understanding the architectural character of the Traditional spaces of cremation i.e., Varanasi.

Identifying the activity flow and character of spaces in planned crematoriums of India.

Understanding the current scenario and character of spaces for cremation in the urban context and metropolis, Delhi NCR.

Analyzing the gap and reason of crisis for cremation spaces in Delhi NCR during Covid 19.

LITERATURE REVIEW

DEATH IN A MEDLEY OF CULTURES

Death is a challenge to all kinds of philosophical security. Everyone should see death as a part of life at some point. In addition to the biological understanding of death, man has been trying to explain various aspects of death since life existed. The concept of death and the afterlife of the physical body is very philosophical, with theories forming different theories and ideals about birth, death, life after death, processes of death, rituals, etc. as practiced by different societies. This led to doctrines that had their own philosophy of religion governing the set of funeral rites performed for the final honor.(Hall 2007)

Some definitions of death by philosophers are:

(Death)….”is something that is the separation of soul from the body? It died when the body is separate from the soul remains alone, apart, with himself, and when the soul separates from the body, left alone, apart, with itself...”

-Plato

“Death, if we want to name it and it’s unreality, is the most dangerous thing…This is not the life that recoils in horror at the death and preserves pure destruction, but life is death, and remains even in death, which is the life of the mind.”

-Hegel

"The rituals, beliefs and myths unite the participants both with each other and with situations and collectives beyond themselves, such as relatives at other places, ancestors and rising generations". Rituals bridge the gap between past, present and future and diminish the threat that death poses.

Death is a highly personal event but according to Kastenbaum, death can be thought of or classified into three broad ways:



Death as an event: Here death is something that happens and it happens at a particular time, place and in a particular way. Death is an event that cuts off a life. In this context of life, place and cause of death can be recorded on a death certificate.

Death as a condition: Here the main focus is to establish the termination of life particularly bringing the medical context to it and those signs of termination are obvious to all the observers.



Death as a state of existence and non-existence: Death is what becomes of a person after death. The context of religion providing explanations of 'life' after death is symbolized here.

Each culture has its own beliefs, which describe how the world works and the role people play in the world. In societies where most people share the same religion, religious beliefs significantly shape culture. Each culture has its own beliefs about the meaning and purpose of life and what happens after death. It explains how people in those cultures approach death. For example, if people believe in the afterlife, they may consider death more bearable. In some cultures, people believe that when someone dies, their spirit directly affects the living family members. Family members find solace in the belief that their loved one is watching over them. In general, beliefs about the meaning of death help people to understand it and to deal with its mystery.

As described by Aldo Rossi '' The city itself is the collective memory of its people and like memory it is associated with objects and places. '' Therefore, it can be argued that these places of burning are very important places, which affect the space of one’s mind. As safe areas of memories and history, cemeteries serve as landscapes of silent stories for the dead in the city and as rituals that take place in the products and spaces of ritual performances for the ‘living’. Both can maintain and clarify the boundary - especially by minimizing expressions in examples of mixed cultural practices. '' '

An underlying philosophy in Hindu mythology, like other aspects of life, revolves around the concept of death. Although this philosophy is not generalized, it is important to have a comprehensive understanding of the rituals associated with death and cremation.

UNDERSTANDING DEATH IN HINDU PHILOSOPHY

Hinduism is centered around reincarnation; It is believed that when someone dies, the soul is born in a different form. They believe that the 'soul' is birthless and immortal. Death is simply the giving up of the physical body. The holy trinity of Brahma, Vishnu and Mahesh are considered to be the most powerful of the Indian gods. After the casting of the mortal body after the completion of the earthly migration, he wants to merge in Brahman and if he succeeds in this endeavor, he will be liberated from the cycle of birth and rebirth and attain Nirvana or ‘Nirvana’. Receives, which fails in another body and is reborn and the cycle continues indefinitely.

Lord Shiva is the destroyer. Lord Shiva loves the fiery earth and at the end of the world cycle destroys not only the heavens and the earth, but also the shackles that blindly bind every particular soul. According to Hindu mythology, Shiva is the god of destruction and hence the only god found in the cemetery. He is believed to dance with five elements; That is, water, air, earth, ether and especially fire form ‘Nataraja’ and while doing so is covered with ash. There is another myth which states that one of the underlying principles of Shiva is Vairagya, where a person has to sacrifice himself for the funeral while still alive.

KARMA, MOKSHA, YAMA AND KRIYA:

The Vedas say that the ancient Hindus believed in the immortality of the soul. ‘The soul of man shall not perish, neither shall it be pierced with fire, neither shall fire burn it, nor the air dry it, neither shall water dampen it. The inner reality is the soul, which is immutable and eternal. In the theory of karma, one's karma plays an important role and, like mythology, karma is the sum of the actions performed on a person's present and past existential states, which are considered to be the factors that determine their future existence.(Arora 2014)

Yama is the head of death in Indian mythology. The Vedas describe him as the first person to die, illuminating the path of death that all mankind follow. "The reason for keeping the dead facing south is that he is the head of the dead resting place south of the earth. He is described as having a great appearance, with green eyes, red eyes and riding a buffalo dressed in red with a mace to hunt. He is believed to be the one. The dead are brought to their kingdom where Yama examines their records and confirms

their next life conditions based on karmic balance.

As a central and unified feature of life, the timely completion of actions, ritual performances confirm the Indian spirit of human society and its association with the creative rhythms of the world. Rituals that recognize events facilitate the transformation of life, disrupt the continuity of life, and transition from one stage of life to another. Daily rituals include sun salutation by chanting morning and evening mantras. Until he returns to "hermitage", the person does not relinquish his responsibilities for the observance of family rites. Rituals are believed to eventually lead to the center - also recognizing the “point” and the spiritual dimension of existence.

From a biological point of view every moment of life is also death and death give birth to new life. Thus, the rite of burial - "funeral", is the rite of passage from one life to another. Until liberation, the path to the next life is determined by this new state of life, which the person must develop in his previous existence.

TRADITIONAL SPACES OF DEATH: STUDY OF VARANASI, UTTAR PRADESH

"Banaras is older than history, older than tradition, older even than legend and looks twice as old as all of them put together"

-Mark Twain

Varanasi’s unique spatio-ecological setting is central to its distinctive personality development, where the spirit of the place is deeply rooted. Many sages, thinkers, devotees and pilgrims have been coming to this city since time immemorial to realize this power. If the Hindus choose a place of great spiritual value, this city will emerge as the only holy place and the holy place of perfection.

Varanasi is a whole sacred environment, a tribute to space, time and process and a sublime play that meets to transform heaven and earth into natural abode.

Figure 2 Location of Varanasi (Source: https://issuu.com/amitasinha/docs/varanasi_ghats_2016)

It is necessary to study a place like Varanasi (Kashi) to see how the rituals of death in Hindu philosophy actually interact with the character of a place and how traditional cremation rites are conducted.

Manikarnika Ghat is a place of cremation in Varanasi so the analysis of this ghat will be studied.

Figure 3 Map of Varanasi (Source: https://issuu.com/amitasinha/docs/varanasi_ghats_2016)

MANIKARNIKA GHAT, VARANASI:

Figure 4 Site plan: Manikarnika Ghat, Varanasi(Singh 2017)

Manikarnika Ghat, popularly known as the 'Great Cemetery', is one of the major ghats in the long stretch of the holy river Ganges that flows through the city of Varanasi. This ghat is one of the two most important cremation ghats in Varanasi and is the holy pond next to where Vishnu performed his cosmic penance. This ghat is located between the confluence of the Asi and the Ganges in the middle of the Ganges, which marks the confluence of the Varanasi and the Ganges, which marks the southern boundary of the holy city and its northern boundary. "In India, the cemetery is usually outside or outside the human habitation area, in Kashi, it is very central. India is called the navel of the world and Kashi is the navel of India.

Hindu mythology talks about the Manikarnika ghat being especially sacred and that people cremated there receive moksha. As the myth goes, Lord Vishnu, after thousands of years of tapasya, managed to convince Shiva not to destroy the holy city of Kashi, when he destroys the world. Lord Shiva along with his wife Parvati, came to Kashi before Vishnu to grant him his wish. In return, Vishnu dug a kund(well) on the bank of Ganga for the bath of the couple. While bathing, a Mani(jewel) from Shiva's earring fell into the kund, hence the name Manikarnika. The Manikarnika Kund (the sacred tank) is situated behind and slightly down river to the main ghat.(Singh 2017)

Figure 5 Illustration of Manikarnika Ghat (Source: https://issuu.com/amitasinha/docs/varanasi_ghats_2016)

Sl.no . Rituals Description

1. Public procession of death by the family and the relatives. (mourning)

2. Seeking blessings at the Manikarnika temple (Lord Shiva)

3. Dipping the body in Ganga

4. Body kept to dry and prayers by the family and relatives.

The bodies intended for cremation are carried down a narrow twisting maze through the narrow lanes to the Manikarnika ghat with the mourners chanting “Ram Naam Satya Hai”

After that, the body should be taken to the Manikarnika temple, which, according to mythology, prays to Lord Shiva to free the soul from its physical body.

The body is taken down the stairs to the ghat to bathe in the holy river Ganges. As the myth says, holy water washes away all the bodily sins committed during their lifetime.

The body after the dip is kept on the stairs till the time the family and relatives are done with their prayers and offerings to Lord Shiva.

Spatial Character

Streets (closed streets) with shops, boutiques and houses are constantly activated by such processions.

The Manikarnika temple opens on to the narrow lane leading to the ghat.

The ghats are the highlighted spaces during this ritual. The body goes down the steps to be dipped in the river.

5. The wooden logs are arranged for the funeral pyre.

6. Eldest son has to light the funeral pyre

The wooden logs are brought and the body is kept on the pyre.

The eldest son was to burn the bundle of grass with holy fire in front of the cemetery at Ghat and take it to the body for cremation.

The open area pertaining to the cremations is where the pyre is set.

7. Breaking the skull with the stick.

When the body was almost summoned to the fire, the local priest smashed the dead man’s skull with a stick. According to myth, the soul is in the mind and needs to be released from the physical body. And, so that the human skull is not abused.

8. Throwing the pot filled with the holy water on the ashes.

Facing the river, standing at the feet of the corpse, the eldest son throws the pot filled with Ganga water over his shoulder. It shatters and breaks on the last of the burning pyre and the family walks away without looking back signifying that they are done with their relationship to the body.

9. Floating the ashes away in Ganga.

The last of the ritual says that the ashes need to be collected by the eldest son in an urn after all the rituals are done and then need to be floated in the holy river of Ganga for further peace to the soul.

(Arora 2014)

N/A

Figure 6 The journey of cremation in Manikarnika Ghat (Source: https://issuu.com/amitasinha/docs/varanasi_ghats_2016)

RESEARCH QUESTIONS

1. What is the symbolic role/meaning of spaces of cremation in the Indian urban context?

2. How do planned and unplanned spaces operate in the urban context like Delhi NCR?

3. What are the norms and regulations followed while designing crematoriums in urban context?

4. Is there a need of reinterpretation of these spaces?

5. Why has there been a crisis of cremation spaces in Delhi NCR in Covid19?

STUDY METHODOLOGY

Final death rituals are based on sociological, cultural, anthropological and spiritual standpoints. The entire research paper has been divided into eight divisions, catering the different research questions that have been raised.

The research paper aims at looking at the need to not only improve the image of the crematoriums, but also provide it with a respectful platform in the eyes of the people and bring about a paradigm shift as well as evolving the idea of a secular designed space in case of Delhi NCR.

CASE STUDY: PLANNED SPACES FOR CREMATION

The architectural style of utilitarian buildings such as the cemetery in India is not traditionally described. It forms the invisible part of the fabric from which it is made, which does not add to the aesthetic exploration of the changing viscosity of the city. It can be read singularly in this space. This concept is probably bare and necessary, it does not need to be formally printed with ideas, but it is handled with small, false solutions - not necessarily artistic or thoughtful. In such rare cases, designers are involved in the process. When talking about a planned burial ground in an urban setting, one should not forget to mention the Mahaprasthanam in Hyderabad.

Under a commission from the Phoenix Foundation, the Design Architecture Studio modernized a neglected cemetery and cemetery in India. The design uses the existing 3.7-acre cemetery as its canvas, filling it with contemporary ritual arrangements and playful structures with metaphorical geometry and weaving generously interconnected spaces. DA Studios was hired by the Phoenix Foundation in collaboration with the local municipal corporation to create a 'state-of-the-art' space for Hindus to perform cremation ceremonies culturally and on occasion.

Figure 7 Location of Mahaprasthanam (Source: Google Earth)

A multi-faceted narrative composed of an Entrance Pavilion, a Cold Room, a landscaped area, a pavilion for an Electrical Crematorium, Administration Blocks, Ceremonial Yards, a Waiting Hall, Changing and Rest Rooms, a Canteen, Traditional and Public Funeral Pyre, Existing Graves and a Parking is generated.

Explaining the functional aspect of this layout, the architects say,

“Due to building on an existing crematory, the open land pockets left a scattered layout to the built forms. This leaves an organic layout of spaces. A screen and stone posts and plants add further privacy to each pyre.”

VAIKUNTA MAHAPRASTHANAM is a manifestation of the deepest respects, remembrance of fondest memories and of those moments cherished with the loved.

Figure 8 Ideals: Eternal embrace (Source: https://archello.com/project/mahaprasthanam)

ETERNAL EMBRACE

Stalasuddhi: A stage where purification of the cremation ground and laying pyre is conducted.

Dahana-Samskaram: The final rites of funeral.

Cremation is one of the pure redemptions of those who have lost and loved one another. When the spirits of the dead leave home, one feels a moment of strength and vulnerability by living at the end; From where a form reaches as a monument, it is the most distant exit.

Figure 9 Ideals: Ulterior honour (Source: https://archello.com/project/mahaprasthanam)

ULTERIOR HONOUR

Ekoddista-Sraddha: This is the stage where the body is purified as a preparation for the pyre; as an offering to the lord of fire.

Pancha-Pindadanam: Sacrificial offerings to several deities at various stages of the cremation take place before and after the cremation of the body.

The expectation and burden caused by the unfulfillment of bitter-sweet memories and desires is the hardest of all stages of death. An anxiety, a distracting moment in one’s life, where time freezes and the burden of memories overwhelms life. A surreal monument stretches and bends, supporting and approaching memories, creating a look of respectful bowing.

Figure 10 Ideals: Furthest Farewell (Source: https://archello.com/project/mahaprasthanam)

FURTHEST FAREWELL

Stalasuddhi

A stage where purification of the cremation ground and laying pyre is conducted.

Dahana-Samskaram final rites of funeral.

Cremation is one of the pure redemptions of those who have lost and loved one another. When the spirits of the dead leave home, one feels a moment of strength and vulnerability by living at the end; From where a form reaches as a monument, it is the most distant exit.

Figure 11 Site plan: Mahaprasthanam (Source: https://archello.com/project/mahaprasthanam)

Although the analog references are subtle, the structure also suggests a strong contemporary approach. With hollow core slabs, gravel-finished stone walls, terracotta tiled passages and the strength of pre-cast concrete panels with imported electrical equipment, solar panels for lighting and water supply, the measurement is much higher than usual. Is in the distance. A soft quality is inspired by a specific landscape that has an inanimate synergy in the surroundings. On the evocative side, the details have the authenticity and transparency of a volume.

Figure 12 Picture gallery: Mahaprasthanam(Source: https://archello.com/project/mahaprasthanam)

ASHWINIKUMAR GHAT CREMATORIUM, SURAT, INDIA: MATHAROO ASSOCIATES

Figure 13 Ashwini Kumar Ghat Crematorium (Source: https://www.indian-architects.com/en/matharoo-associates-ahmedabad/project/ashwinikumar-crematorium)

Although there is no archetype for the cemetery, the cemetery is marked by a pavilionlike structure in the open field outside the city limits. However, in most cities today, these sites are surrounded by urban development, making the pavilion lose its symbolic significance.

Ashwini Kumar Ghat (Cemetery) is located on the banks of the Tapi River in Surat - the largest city in western India. Surat in the western state of Gujarat is a busy trading center for the diamond and textile industries. During the four years between 1992 and 1996, Surat was repeatedly devastated by natural and man-made disasters: religious riots erupted violently in 1993.

Location: Surat

Year:2000

Figure

Ashwini Kumar Ghat Crematorium

Source:

Earth)

The first gesture of design is to redefine the important identity of the cemetery in the context of its urban setting. This was done by creating a large clearing. The aircraft was separated from the surrounding building and street by structures that had all the supporting functions. Thus, the site turned inwards, looking only in the direction of the river. On this plane were set up the functions of performing the rituals required for cremation - the basic lines that construct the building from the sloping angles of the site.

Respecting the strong traditional beliefs and values associated with cremation ceremonies, the project seeks to find a valid architectural expression for cremation

On one side, the rooms open into a landscape courtyard. Landscaping is minimal and unmaintained, with lawns defined by brick pavements and collecting areas surrounded by large trees that bloom over time.

After a ceremony is over, relatives and friends leave the grounds not only by returning to the entrance, but by climbing a ramp across the river, sometimes bathing in the river and climbing down the street from the shore before returning. On the home side, it crosses the circle that symbolizes life in that way. This is also where the building is first seen - so far, the building always forms the ‘background’ of events and can therefore be experienced, never ‘seen’.

Figure 15 Site plan: Ashwini Kumar Ghat Crematorium (Source: https://www.indianarchitects.com/en/matharoo-associates-ahmedabad/project/ashwinikumar-crematorium)

The Mythology

Funerals are a ritual commonly followed by most Hindus. This practice corresponds to the belief in the immortality of the soul, or the temporal nature of life and the 'body' (body). It is believed that the soul is liberated from desire by performing the final karmas of the body. The body and thus is ready for ‘nirvana’ (liberation). Cremation is an immediate ceremony, a symbolic farewell to the body by the soul before redemption or rebirth. Traditionally consecrated as a burial ground, 'Smash Ghat' has some symbolic requirements: in general, it is located on a water body, often away from human settlements, with a small temple attached to it.

It is said that God built the masonry to protect himself, this place is there to protect himself from its heat. There is a place called 'Ashwini Kumar' on the banks of this river. Site pregnant with growing rumours: Ashwinikumar Vishwakarma's daughter Surya and Sangana have two brothers. In its early days, Surya and Sangana took the form of horses - sons were born with the faces of horses. On the journey to Indraloka, Indra smiles at his unusual appearance. Nervous, aware of his identity, advises him, ‘Man should never leave his body. How can a man get salvation if he escapes from his karma? "And asks them to bathe in this place on the banks of the river Tapi, where even the birds get salvation after bathing in its holy water. Thus, the advice is granted, both men regain their beauty. They continue to become master healers - Ashwini Kumar is

Figure 16 Night view (Source: https://www.indian-architects.com/en/matharoo-associates-ahmedabad/ project/ashwinikumar-crematorium)

Figure 17 Area Analysis

COMPARATIVE ANALYSIS OF CASE STUDIES

Figure

v/S Ashwini Kumar

ANALYSIS OF SCENARIO IN THE URBAN CONTEXT: DELHI NCR

STATISTICS OF DEATHS REPORTED IN DELHI NCR

A statistical analysis has been done regarding the no. of deaths reported in Delhi NCR in 2019 and 2020.(Singapore 2013)

Figure 21 2005 to 2020 Birth and Death Data: Delhi NCR (Source: (Government of National Capital Territory of Delhi 2015)

Even though, there is not much difference in the no. of deaths registered in 2020 and 2019, it is observed that due to global pandemic Covid 19 in 2020, a good number of deaths have been going unregistered, which also had resulted in a crisis of cremation spaces in the urban context. This crisis of space has led to us to question as in Why no. of spaces required in the urban context is not fulfilling what is already existing?

To understand this, point further, a study was conducted to figure out the bye laws and norms required for crematorium design. It has been observed that there are no properly framed bye laws or regulations for crematorium design in the urban context. There are documents stating the norms for establishment of crematoriums along the Holy Ganga River but that doesn’t cater to the needs of Yamuna River and crematoriums along the Yamuna River in Delhi NCR.

STUDY OF CREMATORIUMS OF DELHI NCR

As observed in the previous chapters, it is evident that traditional spaces of cremation like Varanasi provides an understanding of the spatial relationship between activities and the cultural significance of the spaces of cremation. This leads us to the thought of the scenario of cremation and cremation grounds in the urban context and contemporary city like Delhi NCR.

Figure 22 Location of Nigam Bodh Ghat and Lodhi cremation ground in New Delhi Map (Source: Google Earth)

To understand the spatial relationship and activity flow in the cremation grounds of Delhi NCR, we need to look into the macro as well as micro analysis of Nigam Bodh Ghat and Lodhi Cremation Ground. Delhi with a total of around 50 to 55 cremation grounds cater to around 5000 to 10,000 deaths every day. Out of these, certain cremation grounds are majorly used due to their location, size and the facilities they provide.

NIGAMBODH GHAT

Location: North - East Delhi

Nigam Bodh Ghat (9 hectares) is the largest and last cremation site in New Delhi due to residence or activities along the Yamuna River. Nigam Bod Ghat, famous for its Chetan architecture, is the oldest Dahana Ghat in Delhi, which displays festive stair ghats better than the Yamuna River. About 50-60 cremations take place every day. It built housing and housing with green cover and GT. Travel route (Grand Trunk route - Highway). It operates from 7 a.m. to 7 p.m. With the choice of the most electric cemetery. About 20%

LODHI CREMATION GROUND (DAYANAND MUKTIDHAM)

Location: Central Delhi

Lodhi Cemetery (1.5 ha) 20 - 25. Meets an important part of Delhi

Cremation ceremonies are held regularly. The cemetery is crushed by a creek

Flyover from one side and the other (a basic avenue).

The Nala (one arm of the river - in this case the Yamuna River) acts as a buffer between the cemetery and the Nizamuddin West (east side) houses and the principle surrounding an innocent cover provides a display from public buildings. Does. The cemetery also has

Figure 23 Location of Nigam Bodh Ghat(Source: Google Earth)

Now, certain factors that determine the deciding factor of establishing the cremation ground in the urban context are as follows:(Arora 2014)

Specific spaces (near nallahs): Nallah (private spaces in the community) are considered as tributaries or arms of the river (in the case of Delhi, the Yamuna is a river). Research shows the need for sacred water for the culture of these aristocracy found in these nallahs to be mixed with water available for washing the corpse before burial.

Location of Lodhi Cremation Ground (Source: Google Earth)

Distant from Residential Neighbourhood: According to research, these spaces offer the idea of sadness and grief in people. Negative explanations force these spaces being placed away from the place of residence.

Adjacent to green cover: The green cover acts like a perfect buffer between the spaces of cremation and the residential neighbourhood. Also, these green spaces provide a silent environment for the funeral procession in these crematoriums.

Understanding the amenities and activities performed in crematoriums of the urban context, an activity map can be deduced as shown below:

Figure 25 Activity flow in Crematoriums in Urban context

ANALYSIS OF SITE PLAN:(ARORA 2014)

Activity Mapping

Entrance

Bodh Cremation

Lodhi Cremation Ground

A passage for the mourners and the family to enter with the deceased body.

Space for worship

An area to cleanse the body with the holy water

Passage to the shed for the funeral.

Getting the wood from the storage area

Sitting areas for the mourners

A prayer hall + a room for the ashes + office area+ water tank

The shed for the funeral pyre.

Electric cremation area

Thus, a brief mapping of the activities and flow of people in crematoriums of the urban context of Delhi NCR.It is evident that the usage of spaces ad activity mapping are different in Crematoriums of Delhi NCR as compared to the Traditional space of Manikarnika Ghat of Varanasi. The common thread binding them is that flow of rituals to be performed for the last rites and bidding the final adieu.

Although in Delhi NCR, the spaces for different activities are more defined and user oriented as compared to that of Varanasi. In Varanasi, it has been observed that there is not clear demarcation of space which also might lead to confusion at times. Thus, here the urban context plays an upper hand for clear demarcation of spaces, but it also should not be missed out that there are no clear bye laws or regulations for maintenance of the Cremation ground in the urban context as such. This has also led to a crisis of spaces in cremation during the global pandemic of Covid 19 as seen in Delhi NCR.

Had there been proper designated regulations and bye laws for maintenance of cremation grounds and also a clear cut statistics for no.of spaces required and no.of spaces available for cremation, there wouldn’t have been the hassle that was evident in Covid 19.Undoubtedly ,the spaces in Delhi NCR have clear designated areas for activities as well as proper facilities ,which also acts as parameters for preference of cremation ,but a properly framed set of bye laws and regulations would have been effectively helped in retaining the scenario of better management.

CONCLUSION

Going back to the research questions for this paper, it is seen that majority of the questions relate to the definition of the space and the cultural influence in the urban context. This research paper focusses on how the role of the sacred spaces of cremation has changed and evolved considerably over the time.

Traditional spaces of cremation signify the essence of rituals and beliefs in its true sense. The environment created in such a setting thus portrays the true beliefs in the purest form. It has been evidently observed in The Manikarnika Ghat of Varanasi. Even at times of the urban crisis for crematoriums in the urban context, efforts have been made by certain organizations so as to establish planned spaces and return back the emotional and sensitive significance to these spaces of the final adieu. The case studies of two widely acknowledged planned crematoriums of India- Mahaprasthanam in Hyderabad and Ashwini Kumar Ghat crematorium in Surat depicts the appropriate planning and designation of spaces required to give them the identity of the sacred space.

There has been a strike difference between deaths reported in 2019 and 2020 due to the Coronavirus pandemic outbreak. Contextual examination shows how these places are compulsorily overestimated, neglected and underestimated. In addition, qualitative and quantitative analysis provide in-depth insight to the Lack of quality and efficiency of existing burial grounds, capacity, location, provided environment, architecture etc.

Although urban planners provide the concept of a sense of neighborhood cremation. There are still 50-55 cemeteries available in Delhi for public convenience and practical observation shows how it has been difficult to maintain the number of deaths each day. In a city like Delhi there are obstacles, but there is still a feeling that town planners have failed and have not been given serious scrutiny over the allocation of such places.

The whole idea behind this research paper is to study the journey of the crematoriums so far and how an architect can change the perception of such places in society. Looking forward to all the defects in the present cemetery are in all spheres- physical, spiritual, and emotional and spiritual. When one designs, he is either fearful or superstitious or a combination of both. But the fact must be understood blanks were created not only for those who died but also for mourners who came to pay their respects. The basic meditative nature of cremation needs to be addressed in a more hygienic manner, clean and orderly way. Efforts should be made to provide clarity and create meaningful spaces, where to go to such places is not forbidden in society and fill the heart with blessings and memories of the great memories of the heavenly spirit.

BIBLIOGRAPHY

Arora, Sanchit. 2014. “SPACES OF CREMATION - THE INVISIBLE SACRED LANDSCAPES IN INDIAN CITIES Research Paper Coordinator : Ms . Ritu Verma RESEARCH PAPER IN ARCHITECTURE Submitted By : -.”

Government of National Capital Territory of Delhi. 2015. “Annual Report on Registration of Births and Deaths in Delhi.” Directorate of Economics & Statistics (2016):129.

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Singh, Prof Rana P. B. 2017. “Banaras , the Cultural Capital of India : Visioning Cultural Heritage and Banaras , the Cultural Capital of India : Visioning Cultural Heritage and Planning.” 1(February 2015):100–122.