Cultural landscapes, Cultural heritage centre, Hampi (B. Arch, APIED)

CULTURAL HERITAGE CENTRE CULTURAL LANDSCAPE OF HAMPI

ISHITA AGRAWAL 14sa130

D.C. PATEL SCHOOL OF ARCHITECTURE ARVINDBHAI PATEL INSTITUTE OF ENVIRONMENTAL DESIGN SPONSORED BY PARISAR TRUST & CHARUTAR VIDYA MANDAL (Afiliated with Sardar Patel University, Vallabh Vidhyanagar) Vallabh Vidhyanagar - 388 120 (Gujarat) Phone: 237586 & 235179 Fax: (02692) 237586 E-mail : info@apied.edu.in, director@apied.edu.in, www.apied.edu.in

ANNEXURE IV- APPROVAL CERTIFICATE

This dissertation titled Cultural Heritage Centre for Cultural landscape of Hampi and done by Ms. Ishita Agrawal, Roll No. 14sa130 is hereby approved as creditable work on the approved subject, carried out and presented in a manner sufficiently satisfactory to warrant its acceptance as a prerequisite to the Degree for which it has been submitted.

It is to be understood that by this approval the undersigned do not necessarily endorse approve any statement made, opinion expressed or Conclusion drawn therein, but approves the Study only for the purpose it has been submitted and satisfies himself/herself as to the requirements laid down by the Dissertation Committee.

NAME OF INTERNAL GUIDE: Prof. Advaita Jalan SIGNATURE & DATE:

NAME OF EXTERNAL GUIDE: Dr. Meghal Arya SIGNATURE & DATE:

EXAMINED BY INTERNAL GUIDE: EXTERNAL EXAMINER:

CHAIRMAN, DISSERTATION COMMITTEE:

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

Acknowledgments The nature of this project and methodology involved was such that it involved discussions with various people at different stages of progress.

I would like to express my deepest gratitude to my internal guide Prof. Advaita Jalan for her immense support and continuous guidance throughout the entire course of my thesis, and these 5 years of architecture. I would also like to thank the institute and our thesis coordinator Prof. Sanjay Pitroda for giving me this opportunity.

I am indebted to my external guide Dr. Meghal Arya for all her help and time, for continuously pushing me to dive deeper and do better.

I am very grateful to Ar. Renuka Oka, Ar. Amit Mistry and Ar. Rahul Patel for their gracious help and inputs at various stages.

This project would not have been possible without help from organisations and people related to this project, Mr. Nayak and the Hampi World Heritage Area Management Authority (HWHAMA), ASI Hampi, INTACH Bangalore, The Kishkinda trust Anegundi, Tourist Development Authority Hampi. The locals and tour guides at Hampi were warm, welcoming and very supportive.

My regards to Ar. Mohan Rao, INDE, Bangalore for reviewing my work and aiding its improvement, sharing his insights about Hampi.

I owe a deep gratitude to Ar. Shabbir Unwala for being the most inspiring mentor and teacher, and the whole team of Design Workshop, Lonavala. To Gauri ma’am, Murtu, Dias, Jhalak, Aman, Chaitaly, Khyati, Yash and others for all the love and learnings. To taikum for helping me in the crucial times.

I owe this thesis to my parents, who have been my pillars of strength, supporting me at all stages and always inspiring me to do better; to Amma Babaji, who have always showered me with love, and my brother for always looking out for me.

To the batch 14SA, for the craziest memories throughout this 5-year journey.

To NASA and the three years of best experiences, exposure and learnings.

To Shivani, Rajvi, Saloni and Anand for being the best people ever, this journey would have been impossible without you guys. Shivani, being my travel partner- Goa, Hampi, Kheerganga, Pondicherry, Makadamba, everywhere; and for all type of recreational activities possible. Rajvi, for being my 3AM partner, with our occasional discussions about life, music et al. Saloni, for being the most chirpy roommate for 3 years; always helping me out when I need her. Anand, for his immense support and motivation from first year till last.

To Rishabh for all the moral support and motivation, striving me to do better each day; Shikhar for all the pep talks and being just a call away, Shivam and Shantanu for always making me laugh; Ghazal for being a support system since forever, Abhinandan for always bringing dessert.

To Kratin, Akshat, Paranshu and Murtaza for the best times; Aarjavi and Megha for the rides to unknown places; Riya, Krina and Moksha for all the timepass.

To the best seniors- PJ, Kruti, Shashi and KV; thanks for all the learnings.

To the juniors Shivangi, Rishi and Zalak for helping me with my last minute urges of doing better.

Lastly, to all the music that helped me get through the long nights before juries, I have no idea how i would’ve survived without it.

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

Abstract “The cultural landscape is fashioned from a natural landscape by a cultural group.

Culture is the agent, the natural area is the medium, the cultural landscape is the result”

-Geographer Carl Sauer

Culture can be defined as learning and sharing ways of living and thinking.

The changes in the landform around the human settlement were the manifestation of culture of place. The cities and civilisations come into being in a certain environment, depending majorly upon the Locale (the landform/ context) and the Culture (social fabric and communities), along with the techniques of survival used by these communities.

Cultural Landscapes, being an important part of our national heritage, provide a sense of place and identity; and map our relationship with the land over time.

This thesis examines the different facets of cultural landscapes and what role they play, with the case of Hampi World Heritage site. The intent is to increase the preception of heritage from monuments to a holistic view of Cultural landscape, reviving the tangible and intangible cultural heritage along with a reflection towards the natural heritage.

The study is to be carried out looking at the Monuments (major tourist attraction points), Settlements (communities and culture); and the Landscape (how it has shaped the past and present settlement patterns).

SETTLEMENTS

TECHNIQUES (for survival)

LOCALE

(Context/surroundings)

CULTURE

(Social fabric and communities)

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

Table of contents Approval certificate Acknowledgments Abstract Table of contents

1. INITIATION and APPROACH 1-8 1.1. Introduction 1.2. Objectives 1.3. Scope and limitations 1.4. Process/Methodology 1.5. Understanding heritage 1.6. Types of heritage 1.7. Why is cultural landscape preservation important?

2. THE VIJAYANAGARA EMPIRE 9-48 2.1. Rationale for selection 2.2. Essence of Hampi 2.3. Introduction to Hampi 2.3.1. Location 2.3.2. Climate 2.3.3. Accessibility 2.3.4. History

2.3.5. Hampi World heritage site 2.4. Components of the Setting 2.4.1. Monuments 2.4.2. Landscape

2.4.3. Settlements (Analysis of Anegundi)

2.4.4. Intangible cultural heritage 2.5. Present day tourism and infrastructure 2.6. Site selection and justification 2.7. Master plan 2.8. Design programme

3. DESIGN APPROACH, INTERVENING IN THE HERITAGE ZONE 3.1. Site Analysis 3.2. Heritage regulations 3.3. Narration of the setting 3.4. Understanding building in context

3.4.1. Understanding the monuments 3.4.2. Usergroups 3.5. Case studies

3.5.1. Extension and visitors’ centre to CSMVS, Mumbai

3.5.2. Contemporary Arts centre, Nottingham

3.5.3. Acropolis museum, Athens 3.6. Vision and strategies

3.6.1. Spatial qualities

3.6.2. Layout and planning

3.6.3. Elements of the design

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

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4. DESIGN DEVELOPMENT 81-93 4.1. Design drawings 4.2. Details 4.3. Model photos 4.4. Views

References List of Figures Appendices

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

01 INITIATION AND APPROACH 1.1. Introduction 1.1.1. What are cultural landscapes?

1.1.2. Types of cultural landscapes 1.2. Objectives 1.3. Scope and limitations 1.4. Process/Methodology 1.5. Understanding heritage 1.6. Types of heritage 1.7. Why is cultural landscape preservation important?

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1. INITIATION AND APPROACH 1.1. Introduction Humans, from the start of time, were able to settle nearly every landmass on this planet, changing and shaping it to suit their needs. Humans started to study and relate to their surrounding landmass to reap maximum benefits from the resources of the land.

The early human habitation sites were located on the migratory routes of the herding animals.

Soon, they understood wild plants could be domesticated and planted on a fixed piece of land, which enabled them to produce food and support the population. The permanency in food supply made migration for the most part obsolete, fueling permanent settlement patterns.

From history till present date, humans shape the surroundings according to their comfort and needs, and the settlement patterns speak of the same.

As more people started to live in close proximity, they began to share knowledge, which laid the foundation of culture. These traditional knowledge systems are still carried out in some part of these cultural landscapes.

Fig. 1: Culture

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INITIATION AND APPROACH

1.1.1. What are Cultural landscapes?

UNESCO has put down the criteria and categories to nominate World heritage sites and other important landscapes.

CULTURAL LANDSCAPES

Cultural landscapes are cultural properties and represent the “combined works of nature and man”. They are illustrative of evolution of human society and settlement over time, under the influence of the physical constraints and/or opportunities presented by their natural environment and of successive social, economic and cultural forces, both external and internal. (UNESCO, 2011)

1.1.2. Types of Cultural landscapes •

The most easily identifiable is the clearly defined landscape designed and created intentionally by man. This embraces garden and parkland landscapes constructed for aesthetic reasons which are often (but not always) associated with religious or other monumental buildings and ensembles.

•

The second category is the organically evolved landscape. This results from an initial social, economic, administrative, and/or religious imperative and has developed its present form by association with and in response to its natural environment. Such landscapes reflect that process of evolution in their form and component features.

They fall into two sub-categories: -a relict (or fossil) landscape is one in which an evolutionary process came to an end at some time in the past, either abruptly or over a period. Its significant distinguishing features are, however, still visible in material form.

-a continuing landscape is one which retains an active social role in contemporary society closely associated with the traditional way of life, and in which the evolutionary process is still in progress. At the same time it exhibits significant material evidence of its evolution over time.

•

The final category is the associative cultural landscape. The inscription of such landscapes on the World Heritage List is justifiable by virtue of the powerful religious, artistic or cultural associations of the natural element rather than material cultural evidence, which may be insignificant or even absent.

INITIATION AND APPROACH

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AIM To increase the perception of heritage from monuments to a holistic view of Cultural Landscape; proposing a cultural heritage Centre in the heritage precinct of Hampi, integrating the monuments and living heritage of the area.

1.2. Objectives •

The intent is to create a model for management/revival of the rich cultural heritage of Vijayanagara empire, along with the contemporary living settlement such that the cultural continuity is secured.

•

Upliftment for the present communities in terms of employment generation and showcase of their culture.

•

Enhancement of the tourist orientation and activities around the present world heritage site.

•

To identify and utilise the cultural and natural assets within and around the site to their full potential, creating an experiential journey for the users.

1.3. Scope of work and limitations Scope of Work • • • • •

The scope of work includes the documentation of core zone of Hampi world heritage site at various levels.

Community participation and tourist surveys conducted and data collected.

Documentation and analysis of settlements in core zone.

Understanding the components of cultural landscapes limited to Hampi world heritage site The proposal, urban conservation, would be carried out at master plan level along with detailing the architectural intervention and key elements; integrating it with the natural heritage elements.

Limitations • •

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The project focuses only at the core zone of Hampi world heritage site and settlements involved.

Detailed conservation proposals for the monuments/heritage structures are not discussed.

INITIATION AND APPROACH

1.4. Process/methodology Background research through literature review Historic research for cultural landscapes and physical+natural heritage components

Understanding the area of study and how is it a cultural landscape

Analysis of the area of study

Understanding the components of cultural landscapes embedded within the site

Documentation of intangible cultural heritage components related to the site

Analysis of present day tourism and infrastructure of the study area

Site options in and outside the core heritage zone, understanding heritage regulations Identification of issues, needs and formulation of design programme

Understanding building in context

Case studies to intervene in the heritage zone

Visions, strategies, formulation of a masterplan proposal

Detailing an architectural intervention and proposals for the selected site

Analyzing implications the design

INITIATION AND APPROACH

of

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1.5. Understanding Heritage Cultural Heritage is an expression of the ways of living developed by a community and passed on from generation to generation, including customs, practices, places, objects, artistic expressions and values. (ICOMOS, 2002)

The Heritage Cycle diagram gives us an idea how we can make the past part of our future (Simon Thurley, 2005).

Fig. 2: Understanding Heritage Source: www.cultureindevelopment.nl

1.6. Types of Heritage

Fig. 3: Types of heritage Source: author generated

NATURAL HERITAGE Natural features consisting of physical and biological formations or groups of such formations, which are of Outstanding Universal Value (OUV) from the aesthetic or scientific point of view; geological and physiographical formations and precisely delineated areas which constitute the habitat of threatened species of animals and plants of OUV from the point of view of science or conservation. (UNESCO, 2011)

CULTURAL HERITAGE Monuments: architectural works, works of monumental sculpture and painting, elements or structures of an archaeological nature, inscriptions, cave dwellings and combinations of features, which are of OUV from the point of view of history, art or science; Groups of buildings: groups of separate or connected buildings which, because of their architecture, their homogeneity or their place in the landscape, are of OUV from the point of view of history, art or science; Sites: works of man or the combined works of nature and of man, and areas including archaeological sites which are of OUV from the historical, aesthetic, ethnological or anthropological points of view. (UNESCO, 2011)

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INITIATION AND APPROACH

INTANGIBLE CULTURAL HERITAGE The area of Cultural landscapes comprises of built fabric (tangible) and associated meanings (intangible).

Architectural manifestations are the tangible element, and the psychological ties and cultural practices are intangible elements.

The intangible cultural heritage elements are transmitted from generation to generation, which are constantly recreated by communities and groups in response to their environment.

The importance of it is not the cultural manifestation itself but rather the wealth of knowledge and skills that is transmitted.

These practices provide people and place with a sense of identity.

Image 1: Garba, Gujarati folk

Image 2: Ramlila

UNESCO has proposed five elements which constitute as intangible cultural heritage: (a) oral traditions and expressions including language as a medium, (b) performing arts, (c) social practice, rituals and festive events, (d) knowledge and practice concerning nature and the universe and (e) traditional craftsmanship.

Image 3: Rajasthani folk dance

Image 4: Kumbh mela

1.7. Why is cultural landscapes preservation important?

The present preservation approach has emphasized on the tangible (built elements), neglecting the intangible elements, which actually define or distinguish the place as we know today.

Even though our living experience entails dealing with cultural constructs in myriad forms, we tend to address its conservation and protection as an isolated entity without realizing the overall socio-economic impact.

• • • • •

Cultural Landscapes provide a sense of place and identity.

A part of our national heritage, they map our relationship with the land over time.

Being an important part of heritage, these places reveal aspects of a country’s origins and development.

Through their form, features, and the ways they are used, cultural landscapes reveal much about our evolving relationships with the natural world.

They provide scenic, economic, ecological, social, recreational, and educational opportunities, which help individuals and communities, understand themselves.

“A country without a past has the emptiness of a barren continent; and a city without old buildings is like a man without a memory.”

-Graeme Shankland

Fig. 4 : Registered Identity

INITIATION AND APPROACH

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02 THE VIJAYANAGARA EMPIRE 2.1. Rationale for selection 2.2. Essence of Hampi 2.3. Introduction to Hampi 2.3.1. Location 2.3.2. Climate 2.3.3. Accessibility 2.3.4. History 2.3.5. Hampi World heritage site 2.4. Components of the Setting 2.4.1. Monuments 2.4.2. Landscape 2.4.3. Settlements (Analysis of Anegundi) 2.4.4. Intangible cultural heritage 2.5. Present day tourism and infrastructure 2.6. Site selection and justification 2.7. Inferences and Proposal of Master plan 2.8. Design programme

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2. THE VIJAYANAGARA EMPIRE 2.1. Rationale for selection Criteria for selecting the AREA OF STUDY • • • • •

Strong community and cultural context Rich heritage Historic influences of architecture Evolution, changes in the settlement with time Scope of public domain intervention

Wai, Maharashtra

• Temple town • Ghats on bank of Krishna river • More than 100 temples • Prominence of Peshwas in history, several Wadas

Hampi, Karnataka

• Remnants of Vijaynagara empire • World heritage site • Ruins of the empire (with temples, stepwells, etc.)

• Tungabhadra basin

Shekhawati region

• Open art gallery of Rajasthani culture • Fresco art Havelis • Marwari community • Most of the havelis left abandoned

Why HAMPI? • Hampi is a world heritage site and the scope of a public domain intervention makes more sense, with focus towards the cultural landscape and natural heritage.

• Natural heritage at Hampi is more evident, and affects the overall landscape of the place since the start.

• The heritage and tourism management of Hampi is not well, and has a great scope and need of emphasis.

• Several development proposals for rural settlements, as well as commercial (such as interpretation centre) have been proposed, along with setting up of a conservation panel.

• Villages such as Anegundi and Kamalpuram in close proximity have architecturally important buildings with energy efficient traditional lifestyle and construction technology, which can further be studied and conserved.

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THE VIJAYANAGARA EMPIRE

Hampi as a CULTURAL LANDSCAPE NATURAL LANDSCAPE • The natural landscape at Hampi is enriched with symbolism from mythological references with universal recognition for its beauty.

• The landscape is largely granite based, a lot of monuments/ settlements carved out or built from the same.

• The Tungabhadra river flowing on one side with hills on the other three. The valley is rich in boulders scattered with lagoons, islands and smaller pools of water.

MYTHOLOGICAL LANDSCAPE

• Hampi is referred as the seat to the Vijaynagara empire, the last great Hindu kingdom. Another reference to the site is its association with ancient Hindu religious text, Ramayana.

RELIGIOUS PRACTICES

• It is a sacred landscape with several temples scattered around the whole area, with people worshiping many deities. The region has immense significance from religious perspective, as the Vijaynagara kingdom is believed to be responsible for the revival of Hindu intellectual traditions along with construction of temples.

ARCHITECTURAL HERITAGE

• From the Vijaynagara ruins, only the masonry structures such as fortification walls, gateways, shrines, temples, colonnades and tanks survive, and they give a very brief idea about the size and architectural complexity of this settlement at that time.

• The architectural style largely represents the merge of Hindu and Islamic architectural styles.

• There existed an irrigation system, inclusive of tanks, canals, ponds, aqueducts, remains of which can still be seen. Some Image 5: Virupaksha Gopuram overlooking the parts of the tract are still in use. natural landscape

Image 6: Virupaksha complex

Image 7: Agriculture and paddy fields

Image 8: Coracle rides Image 9: Hemkuta hills Image 10: Malvantya across Tungabhadra overlooking Hampi hill

Image 11: Monuments amidst boulders

The following values and criteria are followed according to the UNESCO world heritage listing: i. to represent a masterpiece of human creative genius iii. to bear a unique or at least exceptional testimony to a cultural tradition or to a civilization which is living or which has disappeared iv. to be an outstanding example of a type of building, architectural or technological ensemble or landscape which illustrates (a) significant stage(s) in human history Other Values and Significance of Hampi as per ASI – at National, Regional and Local levels 1.Geological value 2. Prehistoric value 3.Historic and Architectural value 4.Hampi as Sacred Landscape 5.Intangible heritage and Traditional knowledge systems THE VIJAYANAGARA EMPIRE

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2.2. Essence of Hampi Hampi is an amalgamation of different components of landscape, culture, and people.

Along with the temples, monuments, pilgrims and tourists, are the boulders, river, plains and communities.

Fig. 5: Essence of Hampi Source: author generated

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THE VIJAYANAGARA EMPIRE

Virupaksha temple entrance Gopura

Lotus Mahal, Zenana enclosure

Gagan mahal at Anegundi

Banana fiber craft in Anegundi

New palace, Anegundi (conserved)

Village life, Anegundi

Coracle rides across Tungabhadra river

Dolerite columns inside Hazara Rama temple

Achyutaraya temple

Unidentified structure amidst fields

Elephant stables

Stepped tank

Hazara Rama temple carvings

Kadalekalu Ganesha

Mahanavmi Dibba

Sugriva’s cave

Quarters for gaurds with arcaded verandah

Vitthala temple complex

Anjaneya hill, Monkey temple

Ancient bridge (Aquaduct)

Hemkuta hills

THE VIJAYANAGARA EMPIRE

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2.3. Introduction to Hampi 2.3.1. Location Hampi is a village situated in the South Indian state of karnataka. It is located in the Bellary district, 353 km away from Bangalore. The closest railway station is located in Hosapete, 13 kms away.

Hampi is situated on the banks of the Tungabhadra river. The altitude of the place is 467.0 m above mean sea level.

2.3.2. Climate Hampi’s climate is hot and dry.

Summer: Monsoon: Winter:

March to early June June to August November to February

The average annual temperature is 27.3o C, reaching highest in April-May at 37o C and lowest in December-Jan to 20o C. Annual average rainfall is 608mm.

Climate data

Fig. 6: Temperature and precipitation Source: en.climate-data.org

Temperature

Fig. 7: Temperature Source: en.climate-data.org

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Fig. 8: Location of Hampi

THE VIJAYANAGARA EMPIRE

2.3.3. Accessibility

The village and temple town recognised as a UNESCO world heritage site, listed as the Group of monuments at Hampi, is located within the ruins of the city of Vijayanagara, the former capital of the Vijayanagara Empire. Its divided into two parts, namely- the sacred centre and the royal centre.

Hampi continues to be an important religious centre, along with a bustling tourist place, housing the Virupaksha temple and several other monuments dating back to the Vijayanagara period.

Fig. 9: Accessibility

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Fig. 10: The Vijayanagara site Source: Hampi Vijayanagara, John Fritz and George Michell

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THE VIJAYANAGARA EMPIRE

ROYAL CENTRE

1. Hazara Rama temple 2. Hundred-columned hall 3. Great platform 4. Ruined platforms 5. Stepped tank 6. Great bath 7. Ruined platforms 8. Octagonal pavilion and nine-domed hall 9. Underground temple 10. Vaulted structure 11. Lotus Mahal 12. Watch towers 13. Elephant stables 14. Rectangular structure 15. Jaina temple 16. Vishnu temple 17. Madhava temple 18. Ulamma temple 19. Rock-cut shrine 20. Tiruvengalanatha temple 21. Octagonal temple 22. Shiva temple 23. Queen’s bath 24. Octagonal fountain 25. Noblemen’s quarter Fig. 11: The Royal centre Source: Hampi Vijayanagara, John Fritz and George Michell

SACRED CENTRE

1. Virupaksha temple 2. Manmatha tank 3. Shaiva shrines 4. Tank 5. Monolithic ganesha 6. Krishna temple 7. Monolithic Narasimha 8. Monolithic Nandi 9. Kodandarama temple 10. Shaiva temple 11. Achyutaraya temple 12. Narasimha temple 13. Sugriva’s cave Fig. 12: The Sacred centre Source: Hampi Vijayanagara, John Fritz and George Michell

THE VIJAYANAGARA EMPIRE

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2.3.4. History CHRONOLOGICAL DEVELOPMENT

The earliest developments were around Manmatha tank and Hemkuta hill,towards northern areas of the side, during 689-690 AD. Over the next six and half centuries, till Vijayanagara was established in mid 14th century, the Pampa tirtha became a ceremonial centre, consisting of numerous works of monumental stone architecture in several distinct clusters along the river.

6th century A.D. GENERIC LAND CONDITION

7th century A.D. HEMKUTA HILLS

10th century A.D. VIRUPAKSHA TEMPLE

14th century A.D. ROYAL ENCLOSURE

Early 15th century A.D. KRISHNA & VITTHALA TEMPLE

Late 15th century A.D. ACHYUTARAYA TEMPLE

Fig. 13: Stages of growth Source: Hampi landscape study, HWHAMA

The first photographic record of Hampi by Colonel Alexander Greenlaw, 1856.

Image 12: Mandapa and entrance Image 13: Charriot-like Garuda gopura of Krishna temple shrine inside Vitthala temple Source: Hampi Vijayanagara, John Fritz and George Mitchell

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Image 14: Principle gopura of Virupaksha temple

THE VIJAYANAGARA EMPIRE

Image 15: Entrance gopura and column in front of Vitthala temple

TIMELINE 14TH C. 1300

South India, Pre-Vijayanagara

1329

Delhi sultanate, under Khilji and then under Tughlaqs conquer most of Deccan

1336

Vijayanagara empire and Bahamani Empire are born

16TH C. 1538

Internal conflicts break Bahamani Empire into five sultanates

18TH C. 1701

Confederation of five sultans defeat vijayanagara army and sacks Hampi

1740

Rest of south fragmented and ruled by local chiefs

1896

UNESCO nominated Hampi as WHS

2002

Local governing body HWHAMA is set up

2010

Demolition of settlements due to ASI restrictions occur

19TH C.

21ST C.

Fig. 14: Timeline and evolution Source: derived by Author

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2.3.5. Hampi World Heritage site

Fig. 15: Hampi world heritage site Source: derived by Author

The Vijayanagara empire was declared as the World heritage site in 1986, as the group of monuments at Hampi. It has been described by the UNESCO as “A richly constituted military, civil religious residential and secular remains amidst the most picturesque hills and river setting.”

The austere and grandiose site of Hampi comprise mainly the remnants of the Capital City of Vijayanagara Empire (14th-16th Cent CE), the last great Hindu Kingdom. The property is located in the Tungabhadra basin in Central Karnataka, Bellary District.

It has a hilly terrain, with granite boulders and lush green fields dominating the area. The river Tungabhadra cuts across the bouldery landscape.

It constitutes a total protected area of 41.8 sq. kms with the following significant cultural and natural heritage: 1.

More than 1600 State Archaeology protected monuments 2.

56 A.S.I protected monuments 3.

5 Historic canals and associated water systems 4.

More than 100 kms of Fortifications 5.

More than 100 kms of Historic pathways 6.

Natural areas such as hillocks, irrigated valleys, river, water bodies 7.

Flora and Fauna 8.

Intangible heritage 20

THE VIJAYANAGARA EMPIRE

DEMOGRAPHICS Following are the statistical data for the major villages of core Hampi WHS, which are Hampi Gram panchayat (includes Hampi village and Kadirampura), Kamalapuram GP and Anegundi GP.

Fig. 16: Typology of Cultural resource Source: Integrated management plan, ASI

DISTRIBUTION OF OCCUPATION

HAMPI

KAMALAPURAM

ANEGUNDI

LITERACY RATE

SEX RATIO

Fig. 17: Demographics Source: Socio-economic study, HWHAMA

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2.4. Components of the setting 2.4.1. Monuments

The monuments are present in accordance to the landscape (hills and river); the Axis and bazaar streets present in all major temples

Image 16: Hemkuta group of temples

Image 17: Achyutaraya temple

Image 18: Hampi bazaar Fig. 18: Major temples and axes Source: From conceptual to manifest, K.B Jain

AXIS AND BAZAAR STREET Vitthala temple Image 19: Elephant stables

Image 20: Virupaksha temple

Fig. 19: Vitthala temple and bazaar street Source: From conceptual to manifest, K.B Jain

Virupaksha temple Image 21: Lotus mahal

Fig. 20: Virupaksha temple and bazaar street Source: From conceptual to manifest, K.B Jain

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Image 22: Old stone bridge

THE VIJAYANAGARA EMPIRE

2.4.2. Landscape RIVER

BOULDERS

FIELDS

The Tungabhadra flows between the hills, boulders and settlements, one of the major elements of Natural heritage

Huge boulders can be seen all around Hampi, with several myths related to them

The land here is very fertile, providing plenty opportunity of agriculture. Main crops are paddy, maize, jowar, bajra, groundnut, sugarcane, cotton and sunflower.

HILLOCKS

FIELDS

MONUMENTS

SETTLEMENTS

Fig. 21: All components of Landscape Source: Author generated

The overall landscape is composed of hills, boulders, river, monuments, fields and settlements.

THE VIJAYANAGARA EMPIRE

RIVER

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Image 23: Tungabhadra flowing amidst the bouldered hills

Image 24: Monuments spread across the hills and riverside

Image 25: Contrast between the fields and boulders

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THE VIJAYANAGARA EMPIRE

Image 26: Sunset over the Virupaksha and Tungabhadra

Image 27: Boulders merging with the heritage structures

Image 28: Sacred coconut grove near Sita pond

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2.4.3. Settlements 5-7kms

3.5 kms

5 kms

Primary roads to Hampi Settlements (in 5kms radius) Connection through river Monuments

KAMALAPURAM

Village: Kamalapura, Hospet taluka, Bellary district.

Area: 8882 ha.

Population: 24000 Distance from Hampi: 5 kms Largest settlement in the World heritage site, houses the ASI and HWHAMA offices.

ASI museum is located here.

Fig. 22: Kamalapuram land use map Source: Master plan, Hampi LPA, HWHAMA

26

THE VIJAYANAGARA EMPIRE

Commercial Residential Monuments Public

3.2% 32% 2% 50%

HAMPI Village: Hampi village, Hospet taluka, Bellary district.

Area: 343 ha.

Population: 2900 Acts as a reception to all the tourists, several homestays/guest house facilities available.

The Virupaksha temple lies here.

Fig. 23: Hampi land use map Source: Master plan, Hampi LPA, HWHAMA

Commercial 8.8% Residential 15 % Monuments 21.9% Public 1.88%

KADIRAMPURA Village: Kadirampura, Hospet taluka, Bellary district.

Area: 304 ha.

Population: 1600 Distance from Hampi: 3-4 kms Rehabilitated settlement of the Hampi village, majorly residential, proposed commercial.

Craft: Stone craft then sold at Hampi bazaar

Fig. 24: Kadirampura land use map Source: Master plan, Hampi LPA, HWHAMA

Commercial 3% Residential 48.5% Monuments 15.2% Public 5.2%

ANEGUNDI Village: Anegundi, Gangavati taluka, Koppal district.

Area: 721 ha.

Population: 3750 Distance from Hampi: 5kms(ferry+road); 20kms(road) Previous captial of the Vijayanagara empire, the oldest settlement of the Hampi World Heritage Site.

Craft: Banana fiber and Water hyacinth craft

Fig. 25: Anegundi land use map Source: Master plan, Hampi LPA, HWHAMA

Commercial 2% Residential 40.2% Monuments 9.4% Public 8.7%

THE VIJAYANAGARA EMPIRE

27

ANEGUNDI

NORTH GATE

SOUTH GATE Fig. 26: Map of Anegundi showing major roads, access, tourist pattern Source: Author generated

PRIMARY ROADS, 4 major streets running around the settlement connecting the gates.

TEMPLES lie at all the junctions acting as a gathering area where recreational activities take place

DOCUMENTED HOUSES, includes 2 residences, 2 craft workspaces and part of palace.

TOURIST MOVEMENT, only this part of Anegundi sees a fair part of tourism 28

THE VIJAYANAGARA EMPIRE

ANEGUNDI, People and activities

Daily morning activities on the street

Otla as a space of interaction

Charriot at the node of the primary street

South gate to Anegundi, used for public functions

Node of the street used for functions/gatherings

Otla as a space of interaction

Daily morning activities on the street

Otla as a space of interaction

Holy processions at riverside

Basic house typology with otla and columns

Village folk

THE VIJAYANAGARA EMPIRE

29

ANEGUNDI, Vernacular heritage PART OF THE PALACE, Rama Devaraya BACKYARD BACKYARD

Court connecting the private spaces to semi-private spaces

BATH

3.1x2.4m

Room opening up to the backyard

7.1x4.0m

KITCHEN

Thick walls (0.7m), provides good insulation and helpful for storage

7.5x3.5m

4.3x4.0m

DINING

Entrance

COURT

11x3.2m

VERANDAH 11.2x2.5m

Projected porch/ Verandah, provides buffer from main street

+ 3.8m + 1.8m

VERANDAH

BACKYARD

+ 0.6m +-0.0m

+ 4.5m + 4.1m + 2.5m

COURT

VERANDAH

+ 1.5m + 0.6m +-0.0m

Fig. 27: Documentation, palace Source: Author generated

The scale of the vernacular houses follow anthropometry perfectly, with thick walls for insulation, deep verandahs with sloping roof (flat in some cases) and a court in the house.

The utilities are generally separated from the house/in the back. High plinths and otla for recreational activities.

30

THE VIJAYANAGARA EMPIRE

ANEGUNDI, Vernacular heritage HOUSE 1: Vaishnavi WC WC

BATH COURT 9.8x2m

Entrance, covered with Jali KITCHEN

Alley leading to the court, bath and WC

4.8m

Skylight in the common area, living room 2x2.9m 8.0x3.7m

Projected porch/ Verandah covered with parapet wall and jali

8m

Living room and skylight

2.4m

Loft used as a storage space

Entrance

Fig. 28: Documentation, vernacular Source: Author generated

6.2m

HOUSE 2: Malik Arjun DILAPIDATED Previously COURT and ROOM

Verandah, facing the street

The house lies about a straight axis with all openings in a line 2.1x3.7m

2.1x3.7m

Living room and restored ceiling

LIVING ROOM Steps leading up to the house

Verandah facing the street, acts as buffer and recreatinal space

Fig. 29: Documentation, vernacular Source: Author generated

6x4m

Entrance

VERANDAH

8.5m

Back part of the house dilapidated

THE VIJAYANAGARA EMPIRE

31

ANEGUNDI, Crafts and Rural tourism The Kishkinda trust has been working towards rural tourism in Anegundi since 1997. Several initiatives have been taken up including conservation of important buildings to increase the footfall in the village.

Fig. 30: Anegundi rural tourism map Source: The Kishkinda trust

OTHER INITIATIVES BY THE KISHKINDA TRUST

Childrens’ Library

Authenitic

Several books provided cafes for by the Kishkinda trust local food

Cottage industry

Workshops have been set up which trains women and also produces goods 32

Signages and wayfinders

Homestays

Souvenir shops

Residences converted Products made from the to homestays for local crafts are sold here experiences

Resort

Conservation

Heritage resort set up in Several houses have been Anegundi for tourists restored and conserved

THE VIJAYANAGARA EMPIRE

ANEGUNDI, Crafts and Rural tourism The Kishkinda Trust WC in the backyard, at the end of the house

BACKYARD

Presently, there are two crafts practised by The kishkinda trust, engaging the community, i.e.

Banana fiber craft and Water hyacinth craft.

WC MACHINES

Semi-open space opening up into the backyard

4.3x4.2m

WORKING AREA 3.6x4.2m

Administrative area and working area are visually connected, low height parapet dividing them

Entrance court

ADMINISTRATIVE 2.7x4.2m

WORKING AREA 3.3x4.2m

Entrance through a low height compound wall into a court.

COURT

4.7x4.2m

Fig. 31: The Kishkinda trust Source: Author generated

BANANA FIBER CRAFT

Semi open space, tailoring

Entrance

Entrance working space

The process of making products using the Banana fiber, widely practised in Anegundi and exported to several cities and other states.

Rope making from banana leaves

Locking the banana in form of rope

Finished ropes, ready to weave

Weaving the ropes

Weaving the ropes

Tailoring for other products

Finishing of the products

Finished products

Finished products

THE VIJAYANAGARA EMPIRE

33

ANEGUNDI, Crafts and rural tourism WATER HYACINTH CRAFT

2.3x4.8m

Skylights in all rooms, no windows because of common wall with adjacent houses

The workshop converted house lies about a liner axis with the openings in same line

4.1x4.8m

Entrance court

RAW MATERIALS 2.3x4.8m

WORKING AREA 4.1x4.8m

Finished products

Entrance through a low height compound wall into a court.

COURT

4.8x4.8m

WC outside the house, in the court

Fig. 32: Water hyacinth craft workshop Source: Author generated

WC

Entrance

Entrance working area

Water hyacinth craft has been recently started (2-3 years) in Anegundi, where the water hyacinth (waste weed/water products) collected from nearby areas are used to make the products.

Several women from the village and nearby villages work for this craft, from their home or workshops.

Raw material

34

Moulds used for weaving

THE VIJAYANAGARA EMPIRE

Finished product

2.4.4. Intangible cultural heritage Myths and Legends Hampi is known as the Kishkinda, or monkey kingdom. It is home to many myths and legends, spread over the whole world heritage site in form of rocks, carvings, paintings etc.

Living heritage, Virupaksha temple

Virupaksha temple at Hampi is a living temple, where pilgrims gather in large amounts throughout the year to workship the deity Shiv and Parvati. Hampi is also known for several temples spread across the area.

Traditional transport systems Coracles are a form of traditional transport system used in Hampi since historic times, as a way to get across the river.

These are made by the locals and communities using waste weed from the river and banana fiber.

THE VIJAYANAGARA EMPIRE

35

Traditional art and crafts

Several art and crafts prevailed during the Vijayanagara times, as can be seen in the paintings, carvings and other monumental features across the world heritage site.

A monument is named after the 64 arts put down by Krishnadevaraya which were taught to nobel students.

Hampi Utsava, Yatra and other festivals

Different festivals as celebrated in front of the Virupaksha temple and how the whole community and tourists gather together for these festivities.

36

THE VIJAYANAGARA EMPIRE

2.5. Present day tourism and infrastructure

Fig. 33: Tourist pattern and activities Source: Author generated

BUS STOP, FLEA MARKET, PARKING

MATANGA HILL VIRUPAKSHA TEMPLE

GHATS, FERRY POINT, HOLY BATH

CORACLE RIDE

OLD STONE BRIDGE

ACHYUTARAYA TEMPLE

VITTHALA TEMPLE, STONE CHARRIOT

Major tourist activities in the sacred centre

THE VIJAYANAGARA EMPIRE

37

INFRASTRUCTURE Some efforts are being made to enhance the present tourist infrastructure at Hampi World Heritage site.

Several maps and routes have been selected for heritage walks and guided tours, bicycle tours and tuk-tuk are also available.

Fig. 34: Hampi itinerary map Source: www.hampi.in

HOMESTAYS, GUEST HOUSES

STREET LIGHTS, SOLAR LIGHTS

REST SPOTS

GUIDED TOURS

BUS/AUTO STAND

DUSTBINS

VENDORS

TUK-TUK

Visitors at Hampi month-wise

DEMOGRAPHICS Indian tourists on weekdays 800-1,000 per day Indian tourists on holidays

1,000-1,500 per day

Foreign tourists

Avg. 100 per day

Average tourist footfall is estimated to rise upto 2,00,000 per year by 2021.

Tourist volumes are predominantly religious pilgrims, supplemented by foreign tourists.

Fig. 35: Visitors at Hampi Source: Author generated

38

THE VIJAYANAGARA EMPIRE

ASI MUSEUM

The museum has a display of all the archaeological excavations from Hampi World heritage site.

It is divided into 4 sections such that: 1. A scaled model of the Hampi topography and landscape is displayed in the central court, surrounded by pathways.

2. Sculptures and idols collected from the Hampi ruins. This display contains several artefacts.

3. Collection of arms, coinage, tools, metal objects and other artifacts that were popular during the reign of the Vijayanagara Empire.

4. contains several antiquities that date back to the pre-historic and proto-historic eras.

THE VIJAYANAGARA EMPIRE

39

No. of days in Hampi

Transport to Hampi TOURIST SURVEY DATA Transport to Hampi

4% 19%

23%

12%

Car

4%

from12-3 day

Flight to bangalore

fromfrom 4-5 2-3

Car

upto 10

from 4-5

Bus/other

15%

upto 10

Bus/other

15%

65%

65%

Weekends are most busy, lot of tourists from Accomodation nearby cities visit during this time

More number of tourists prefer to visit Hampi by Information about Hampi bus, which stops at Hampi flea market

Information about Hampi

Accomodation 8%

12% 12%

tour group

hosapetehampi

newspaper

friends/family

4%

16%

friends/family

hosapete hippie island 16%

other 42%

Did you visit Anegundi?

23%

Tourist inflow

School children on day trips visit for educational/ study purposes, that’s how they know about Hampi

India (from karnataka) 23%

other

42%

Did you visit ASI museum?

19% India (from karnataka) India (out state)

27%

India (from karnataka) Foreign

Foreign 46%

hippie island

Hampi village is the most preferred place for accomodation, closer to the tourist attractions and cheap

Tourist inflow India (from karnataka) 23% Foreign 46%

hampi not staying

newspaper

other other 23%

not staying

19%

internet

46%

4%

8% 15%

internet

15%

19%

15%

tour group

15% 46%

1 day

19%

to hosapete Flight toTrain bangalore

4% 58%

4%

Train to hosapete

23%

58%

No. of days in Hampi

12%

yes no

India (out state)

no

Foreign

73%

81% Did you visit Anegundi?

India (out state) India (out state) 31% 31%

to visit TheReason survey was conducted at the time when Foreign tourists were abundant

Most of the tourist population doesn’t visit the ASI museum, connectivity and accessibility issue

Reason to visit

19%

19%

Did you visit Anegundi? yes

19%

leisure

19%

backpacking leisure 58%

23%

yes

58%

23%

study

no yes

backpacking

81%

study

no 81%

Did you visit Anegundi?

Leisure and pilgrimage are the major reasons for Travelling with whom people to visit Hampi.

The historical town of Anegundi is not famous amongst tourists.

Did you know about Hampi Utsava?

Did you know about Hampi Utsava?

Travelling with whom 15%

16% 15%

19%

16%

solo

27% 27%

solo

19%

friends

friends

19%

family

tour group/school

tour group/school

50%

Fig. 36: Tourist surveys Source: Author generated

40

50%

yes no

family

73% 73%

81%

yes yes no no

The cultural heritage and festivals are highly neglected by the tourists.

THE VIJAYANAGARA EMPIRE

INFERENCES The bazaar street in front of Virupaksha temple is always enchroached with vehicles, vendors and hawkers.

Street lights, dustbins and benches have been put up but only in this part of the site.

Half of the street lights are not in a working conditon.

No ATMs present in Hampi (min. 5kms away) and toilet facilities are not good.

Fig. 37: Present parking condition Source: Author generated

Fig. 38: No ATM facility Source: Author generated

Fig. 39: No toilet facility Source: Author generated

• Infrastructure in terms of accessible toilets is missing.

• Dustbins and streetlights are provided only in front of the Virupaksha and Vitthala temples, half of which are not in working condition.

• Proper orientation is needed in terms of understanding the importance of the rich cultural heritage of the area.

• The facilities in terms of tourist information or interpretation are non-existant.

• The present ASI museum doesn’t serve any purpose other than the display of artefacts from ruins; no information or explaination is provided thereof.

• The ASI museum is barely visited by half the tourists because it is 5kms away from the Hampi World heritage site.

THE VIJAYANAGARA EMPIRE

41

2.6. Site selection and justification Site options and connectivity

Fig. 40: Site options Source: Author generated

42

THE VIJAYANAGARA EMPIRE

Site justification Site selection criteria

• Connectivity -Visual connection -Road networks and transportation -Connection to the settlements and monuments • Topography- presence of hills, river, boulders etc.

• Landscape features • Existing tourist movement pattern • Context- cultural importance for the communities • Future proposals

Fig. 41: Site options, connectivity Source: Author generated

TOTAL SITE AREA USABLE SITE AREA

SITE 1 60,918 sq.m 18,500 sq.m

0m 100 200

SITE 2 41,285 sq.m 18,000 sq.m

500

Vehicle access Pedestrian access

THE VIJAYANAGARA EMPIRE

43

SITE 1

SITE 2

• At a distance of 500m from Virupaksha temple.

• Direct connectivity by road, entance to the Hampi WHS • Hillocks on one side of the site, natural heritage • Vendors present on the site, close to Hampi village • Site currently used as Hampi flea market, parking for visitors and bus/rickshaw stand • The site is in direct vicinity of the monuments, hampi bazaar and Virupaksha temple • Lies in the core heritage precint • Lies in the commercialised area of Hampi village • Existing proposal by HWHAMA

• At a distance of 500m from Vitthala temple • Accesible by road till Vitthala temple, bicycles and tuk-tuk • Hillocks, boulders on one side of the site and river on other side • Closer to natural heritage • Monuments near the site frequently visited by visitors, mantapa used for Hampi Utsava • Ruined bridge acts as a historical and cultural connect to Anegundi • Lies in the back of Vitthala temple, thus doesn’t hamper the monumental importance of the structure.

Fig. 42: Site justification Source: Author generated

Inferences • After analysing both the sites, a masterplan is proposed inclusive of both and infrastructure development along the pedestrian route between both.

• The programme and functions at both these site differ according to the context they are in, and proximity to Hampi centre.

• The usergroups at both the sites may differ as one is in the commercial centre while the other more towards natural heritage.

44

THE VIJAYANAGARA EMPIRE

2.7. Masterplan Hampi is a living heritage site, and rejuvination of the core area is needed (also proposed).

The two sites chosen for intervention lie in the core zone, and the functions are divided over these two connected by a 2km long route proposed for infrastructural development at specific spots and Heritage walks.

TUNGABHADRA RIVER

VITTHALA TEMPLE

OLD STONE BRIDGE

SITE B

TUNGABHADRA RIVER

VIRUPAKSHA TEMPLE

HAMP

I BAZA

AR

SITE A

ACHYUTARAYA TEMPLE

2.8. Design Programme Design brief

• The project is seen as a way to rejuvinate the core zone of Hampi, integrating the cultural heritage with the present infrastructure and settlements, enhacing its importance as a living heritage site.

• The orientation and experience of glory of the Vijayanagara empire in a holistic manner, with equal focus on the natural heritage, which plays an important role.

TUNGABHADRA RIVER

VITTHALA TEMPLE

OLD STONE BRIDGE

• The functions at this site are more tourist oriented because of the footfall • Acts as a sense of arrival to the place • Heritage walks and tours can start from here • Most visited part of Hampi, all user groups • Hampi utsav takes place

VIRUPAKSHA TEMPLE

SITE B

TUNGABHADRA RIVER

HAMP

I BAZA

AR

SITE A

SITE A: Virupaksha precinct

ACHYUTARAYATUNGABHADRA TEMPLE RIVER

VITTHALA TEMPLE

OLD STONE BRIDGE

• The functions at this site are oriented towards the experience of natural heritage and relaxation • Lies behing the Vitthala temple • Closer to the natural surroundings, hence good for camping/adventure sports • Mythological significance, hence footfall of pilgrims

VIRUPAKSHA TEMPLE

SITE B

TUNGABHADRA RIVER

HAMP

I BAZA

AR

SITE A

SITE B: Vitthala precinct

ACHYUTARAYATUNGABHADRA TEMPLE RIVER

VITTHALA TEMPLE

OLD STONE BRIDGE

SITE B

TUNGABHADRA RIVER

VIRUPAKSHA TEMPLE

HAMP

I BAZA

AR

SITE A

2km long trail 46

Fig. 43: Masterplan and programme Source: Author generated

THE VIJAYANAGARA EMPIRE

ACHYUTARAYA TEMPLE

Information centre 200sq.m • Waiting area • Reception • Information desk • Toilets

Exhibition/Display gallery 400sq.m Heritage cell 400sq.m

• Administration, offices -100sq.m • Conference rooms -30sq.m (X2) • Briefing area, Audio visual -25sq.m (X2) • Guide training programme -60sq.m • Storage -50sq.m • Toilets

Craft training 1200sq.m

(Banana fiber, Water hyacinth, Stone craving, Lambhani embroidery, Black pottery)

• Training area • Workshop area+storage • Display area • Toilets

-100sq.m -100sq.m -150sq.m

(X5) (X5)

Cafeteria 700sq.m Handicraft market 200sq.m (Revamping the existing vendors)

Performing arts spaces 900sq.m • Art studios

-50sq.m

(X2)

• Amphitheatre

-500sq.m

• Workshop spaces -100sq.m (X3) • Toilets

TOTAL (for site A) 4000sq.m Reading areas/Library 100sq.m Cafe 300sq.m Camping areas Park/open space Viewing tower TOTAL (for site B)

400sq.m

Several spots have been identified over the 2km long trail, where temporary booths/ kiosks can be set up catering to different functions according to the need.

Public civic amenities • • • • •

Public toilets ATM Secutiy, luggage rooms Small cafes Resting spots

• • • •

Drinking water facilities Street lights dustbins Signage and interpretation areas • Light and sound shows THE VIJAYANAGARA EMPIRE

47

48

03 DESIGN APPROACH INTERVENING IN THE HERITAGE ZONE 3.1. Site Analysis 3.2. Heritage regulations 3.3. Narration of the setting 3.4. Understanding building in context 3.4.1. Understanding the monuments 3.4.2. User groups 3.5. Case studies 3.5.1. Extension and visitors’ centre to CSMVS, Mumbai 3.5.2. Contemporary Arts centre, Nottingham 3.5.3. Acropolis museum, Athens 3.6. Vision and strategies 3.6.1. Spatial qualities 3.6.2. Layout and planning 3.6.3. Elements of the design

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

49

3. DESIGN APPROACH 3.1. Site Analysis SITE A: VIRUPAKSHA PRECINCT The site lies in the close vicinity of Virupaksha temple (about 500mts.) and Hampi village, the main tourist and pilgrim centre at Hampi.

An existing bus and auto stand marks the starting point of people at Hampi and provides an opportunity to enhance the sense of arrival at this heritage place and its vibe.

The presence of both cultural and natural heritage in and around the site makes for a more experiential landscape for all user groups.

Site, coconut plantation and bazaar street

Street towards end of the site 50

Temporary structure for Hampi Utsava DESIGN APPROACH

100M 100M 100M 100M

LEGEND

N

PROTECTED MONUMENTS OPEN/GREEN SPACE RESIDENTIAL PUBLIC/INSTITUTIONAL

VIRUPAKSHA

Fig. 44: Site analysis, Virupaksha precinct TEMPLE Source: Author generated

DESIGN APPROACH

51

SITE PHOTOS

52

DESIGN APPROACH

SITE PHOTOS

DESIGN APPROACH

53

SITE B: VITTHALA PRECINCT The site lies in the close vicinity of Vitthala temple (about 500mts.), one of the major tourist attractions at Hampi.

The site is closer to the natural heritage and away from the hustle bustle of the village, making it an apt area for camping, adventure sports, meditation etc. It provides an opportunity for the user to experience rich natural heritage and landscape the place has to offer.

It is accessible by foot from site A, on an existing pedestrian route from Virupaksha to Vitthala temple. Other means of access are through the tuk-tuk services provided by HWHAMA for the tourists to visit Vitthala temple via Kamalapuram.

Line for tuk-tuk

Tuk-tuk drop off/pick up outside Vitthala

View from the road, 4m drop

Sita’s pond and sacred grove

Purandaradasa mantapa, Anjaneya hill

Old stone bridge connecting Anegundi to Hampi

54

DESIGN APPROACH

TUNGABHADRA RIVER

Existing access

4m

dr

op

Existing tuktuk drop off

LEGEND

N

PROTECTED MONUMENTS

Fig. 45: Site analysis, Vitthala precinct Source: Author generated SACRED GROVE, SITE

RIVER EXISTING ACCESS

DESIGN APPROACH

SUGRIVA’s CAVE

55

3.2. Heritage regulations KEY DESIGN CONCEPTS, put down by Ministry of tourism and ASI Protection of cultural significance of heritage site- a priority while designing sensitive solutions.

Service design (visitor movement and management plan) as key factor in enhancing experiences.

“Accessibility” A historical layer of heritage to meet the contemporary needs.

Application of universal design principles for social sustenance.

Reversibility of design solutions to achieve physical and intellectual access.

Minimizing environmental pollution for well being of the heritage site and all types of visitors.

ADOPT A HERITAGE • Entrust heritage sites/monuments to private/public sector companies/individuals for the development of tourist amenities.

• They would become ‘Monument Mitras’ and adopt the sites.

• The basic and advanced amenities of the tourist destinations would be provided by them, and also the maintenance will be looked after.

PROPOSAL

Hampi Heritage resort, in collaboration with the ministry of tourism, ministry of culture and ASI has taken up an ancient pathway from Virupaksha till king’s balance, and intends to provide various tourism and infrastructural amenities as stated below.

Fig. 46: Adopt a heritage route Source: Author generated

BASIC AMENITIES

• Clean and level pathway, put solar lighting • Three different set of toilet facilities: two sets of “sulabh” and one premium • Aesthetically designed garbage bins • Provision for drinking water • Resting places and integrating it with the architecture of Hampi • Solid waste and garbage management, collection and disposal • Local human resource development

ADVANCED AMENITIES

• Storytelling through proper signage and interpretation centre • Cafeteria and canteen • Souvenir shop selling local Lambadi tribal art, handicrafts, etc.

• Art and Handicraft bazaar, merchandising local produce by local artists directly to visitors • Open air theatre for live performances 56

DESIGN APPROACH

REGULATIONS and ZONING • The ‘Core Zone’ measures 41.8 Sq-km and is protected by Buffer zone and peripheral zone. The Core zone contains four larger settlements like Kamalapura, Anegundi, Hampi and Kaddiramapura.

• For the Core zone, -Open Space/Park/Green area Uses permitted: Parks play grounds, pathways, boulevards, natural landscaping, planting of saplings, cemeteries, public toilets, parking, STP’s wet wells, public use (Ancillary to park, open space and playground which shall not exceed 5% of total area), kiosks (not exceeding 15 sq.m).

Fig. 47: Heritage zones Source: Author generated

GENERAL REGULATIONS

4m

Fig. 48: No built on boulders Source: Author generated

Except drinking water storage facility (subject to site suitability and location study), no development activities on the rocks, boulders, hillocks and rocky outcrop shall be permitted.

Fig. 49: Height regulations Source: Author generated

• In any case the height of the building permitted in the regulated area shall not be more than the height of the monument.

• The new construction shall be in context with the surroundings and as specified in guidelines.

• For plot area over 1000 sq.m, max. plot coverage is 50% and FAR is 1.0

Fig. 50: Distance from monuments/river Source: Author generated

The minimum setback from the monuments and river, according to ASI is 100m, in the radius of which no permanent structure can be build.

DESIGN APPROACH

57

3.3. Narration of the setting The relationship between different components of the physical setting, i.e. Boulders/Hills, River, Agriculture fields, Monuments and settlements.

BOULDERS AND FIELDS

BOULDERS AND MONUMENTS

• Contrast, in terms of colour, texture and scale • Both the components are always separated

• Homogeneity, in terms of colour and texture • Contrast in terms of geometry, monuments are rigid while boulders are organic

BOULDERS AND RIVER

BOULDERS AND SETTLEMENTS

• Contrast in terms of fluidity • One affects the other; river changes its pattern according to the boulders/ hills; boulders get withered/change shape due to the flow of river

• Contrast in terms of geometry, settlements are planned while boulders are organic • Settlements are generally separated and become the foreground of these hills

FIELDS AND SETTLEMENTS

SETTLEMENTS AND MONUMENTS

• Contrast, in terms of geometry, scale and texture • Both the components are always separated

• Different character and material, contrasting scale • Both the components are generally separated

58

DESIGN APPROACH

RIVER AND FIELDS

RIVER AND SETTLEMENTS

• Homogeneity, in terms of shape and size • The fields sustain in presence of the river, settlements sustain in the presence of both

• Contrast, in terms of geometry, scale and texture • Both the components are always separated

FIELDS AND MONUMENTS

RIVER AND MONUMENTS

Fig. 51: Relationship of different components of setting Source: Author generated

• Contrast, in terms of geometry, scale and texture; monuments are huge while the fields are subtle • Both the components are sometimes separated

• Contrast in terms of geometry, scale and fluidity • Both components are generally connected/close to each other

DESIGN APPROACH

59

3.4. Understanding building in context RESPONSE TO HISTORIC CONTEXT HOW DOES THE BUILDING RELATE TO ALL THE COMPONENTS OF THE SETTING? • • • • • •

relates well to the geography and history of the place sit in the pattern of existing development and routes respect important views respect scale of neighboring buildings use high quality materials and methods add variety and texture to the setting

3.4.1. Understanding the monuments Enhanced entrances The entrance to all the temples are enhanced and monumentalised with the use of appropriate scale and gopuras as elements.

Bazaar streets The temples served as the core of these settlements and were accompanied by bazaar streets in front.

VIRUPAKSHA BAZAAR

3x x

Virupaksha bazaar street

Empty plinths Empty plinths served as important places of gathering during festivals and also served as a viewing platform for the king and other royals.

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Symmetry Symmetry is seen in all type of structures in Hampi, in both sacred and royal enclosure (both Vijayanagara and Islamic architecture).

DESIGN APPROACH

Temples and Axis All the major temples at Hampi have been planned according to cardinal directions.

VIRUPAKSHA TEMPLE

Fig. 52: Analysis of the Goupram Source: Author generated

The gopuram, which is the entrance to the temple complex, acts as a transition from one space to another.

ACHYUTARAYA TEMPLE

VITTHALA TEMPLE

The entrances/gopurams are always places in cardinals directions at an axis to enhance the access and entryway.

N

The deity is places in the axis of the entrance and is the first point of focus of the temple complex.

DESIGN APPROACH

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3.4.2. Usergroups The places visited/activities by each user group while in Hampi.

PILGRIMS

The virupaksha temple and Ghats of the Tungabhadra river north of the temple.

Blessings by the temple elephant, Laxmi (intangible cultural heritage)

Several temples on hills in Hampi and Anegundi (Matanga and Anjaneya hills)

LOCALS/COMMUNITIES

The local economy is boosted due to the tourist inflow; several guest houses and homestays have come up in villages. Locals take up other jobs as vendors, tour guides, rickshaw drivers, laborers etc.

STUDENTS/ARCHAEOLOGISTS

Several students, historians, archaeologists etc. come to Hampi for study purpose, to see and understand the importance of the Vijayanagara empire.

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DESIGN APPROACH

TOURISTS

Tourists visit most of the monuments, generally hiring tourist guides for the same.

ASI museum at Kamalapuram is visited by 25% tourists; several artifacts are displayed here.

Coracles rides across the Tungabhadra river.

ADVENTURE ENTHUSIASTS/BACKPACKERS

Adventure sports including rock climbing and cliff jumping are indulged in.

Several camps are set up near the river and between the boulders.

CRAFTSPEOPLE

Fig. 53: User group analysis Source: Author generated

Several crafts are practiced in the villages around the core Hampi area. These include: Black pottery, Stone craft, Banana fiber craft, water hyacinth craft and Lambhani embroidery.

These are later sold around the area.

DESIGN APPROACH

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3.5. Case studies 3.5.1. Extension and visitors’ centre to CSMVS, Mumbai OBJECTIVE: • To study the response to a Grade I heritage structure and museum.

• To study the programmatic requirements of a visitors’ centre and extension built for an already existing museum building.

Kala ghoda statue

Visitor centre

Located within the historic Fort Precinct, the Prince of Wales Museum is a Grade I heritage building as per the Heritage Regulations of Greater Bombay, 1995.

CSMVS

Designed by George Wittet, the architectural vocabulary of the structure built in grey basalt and kurla stone, is strongly representative of the Indo Saracenic genre. The main elevation is crowned by a dome that is inspired by the sculptural forms of Bijapur’s Gol Gumbaz.

Extension

Entrance

Wellington circle

Fig. 54:Google location Source: www.google.co.in

0m

50

100

200

Existing building:

Chhatrapati Shivaji Maharaj Vastu Sangrahalaya

Extension:

RMA Architects, 2001

Visitors’ centre:

RMA Architects, 2011

Proposed museum for children:

RMA Architects, ongoing

EXTENSION The extension to the heritage structure houses several galleries and other museum activities, including a library, museum shop, cafeteria, admin offices and a conservation studio.

The overall character of the museum is maintained by taking inspiration from the arches in the facade of existing building, and trying to contemporise it in the extension building.

However, the upper floors of the extension are kept minimal with a glass facade to let in enough light and view the garden in front.

A new building in the form of childrens’ museum is being proposed beside the museum extension, by the same architecture firm.

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DESIGN APPROACH

15m

Fig. 55:Museum drawings Source: www.csvms.in

DESIGN APPROACH

65

VISITOR’S CENTRE The visitor centre is located at the entrance of the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS).

The contemporary structure expands upon the footprint of a previously existing multipurpose hall, and is a part of an expansion plan for this prestigious urban landmark.

Fig. 56:Visitor’s centre drawings Source: www.archdaily.com

The centre fulfills various programmatic functions: • Integration of baggage collection and storage • Ticketing • Security • Museum shop • Auditorium- 200 seater • Cafeteria • Audio-visual shows • Rest rooms The roof and baggage, ticket kiosks were made over an existing multipurpose hall, giving the building a different look and enhancing the value.

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DESIGN APPROACH

DETAILS

Detail of stainless steel column supporting the verandah roof, that was custom made for the project (the pin joint).

FEATURES

ACCESSIBILITY Lifts and information in braille in the museum.

Wheelchairs available at the entrance.

AUDIO GUIDE Available at entrance to the museum.

BAGGAGE COUNTER Available at the visitors centre CAFETERIA Museum cafe set in the gardens GUIDED TOURS are offered on request and prior booking INFORMATION KIOSK Positioned at the visitors’ centre and several galleries.

LOST AND FOUND Set up in the museum office in the heritage building.

MUSEUM SHOP Part of the extension building

INFERENCES

PHOTOGRAPHY Information available at ticket counter and information kiosks

• The reflective surfaces of windows reflect the adjacent museum, resulting in visual dissolution of the new building, while making the historic structure omnipresent • The reflections also capture the vibrant surroundings—lush landscapes, handcrafted materials, and a visual fluidity created by the constant flow of visitors image • Integration of natural textures with modern means and materials further expands the defining narrative of the centre, that of a culturally meaningful intervention within a monumental historic context • The extension, on the other hand, embraces the historic characteristics of the existing building and settles in with the surroundings, the landscape.

DESIGN APPROACH

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3.5.2. Contemporary arts centre, Nottingham OBJECTIVE: • To study the design of a contemporary structure in an urban heritage precinct.

• To understand the references from history used in the design.

Project: Notthingham Contemporary Caruso St. John Architect: 3,400 sq.m Area: Year of completion: 2009 The name Nottingham is associated with Robin Hood, the popular folk hero, as well as with lacemaking. And lace, a once significant product of the city, was the inspiration chosen by Caruso St John Architects for their Nottingham Centre for Contemporary Art. Located in the Lace Market area of the city, the design aimed to recreate the feeling of found spaces in a new building.

The centre fulfills various programmatic functions: • Four galleries • Study centre • Auditorium • Café-bar • Education space • Shop

LACE-INSPIRED FACADE

The lace, being of historic and cultural significance to Lace market and the city was taken up as an inspiration for the facade of the Arts centre.

The facade is clad in lacepatterned, pale green precast concrete elements, inspired by the regular and repeated surfaces of the surrounding warehouses, which give the streets a special character.

Fig. 57:Lace inspired facade Source: www.carusostjohn.com

SKYLIGHT

At the entrance level are four art galleries, lit by 132 skylights all over.

Reflected ceiling plan, top level

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The galleries are defined by thin, non load bearing walls, and are connected by large glazed openings that afford views across the width and length of the floor.

The ground floor galleries have a 4.5 m clear height and even top lighting that is moderated by a grid of lightweight coffers that are suspended within the steel roof structure.

DESIGN APPROACH

SITE AND SLOPE An existing north-south public route through the site has been given a renewed purpose by its adjacency to this new public building.

Entrance

Entrance

Existing public route

At High Pavement, to the north of the site, a covered yard provides a generous outdoor space at the entrance to the building, and a starting point for this public route.

The route culminates in a second public yard at the southern end of the building, a space where the café can spill outdoors and which provides a second entrance to the building from the south.

North end- entrance to the centre

South end, second entrance

DESIGN APPROACH

Circulation inside so as to match the slope

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Entrance

Elevation showing the slope of site

Cross-section at higher level

Cross-section and Entrance to the centre

Elevation from lower level

The two rooftop monitors, figures that give Nottingham Contemporary its silhouette within city’s skyline are clad in tall sheets of gold anodised aluminium which have been given a gently billowing profile that serves to stiffen the very thin material.

INFERENCES

• The contemporary centre into the heritage precinct takes references from history and cultural heritage of the area, but the overall character of the building gives a fresh and bold look to the urban plaza.

• The integration of public realm in the centre; with the south end plaza being an existing cafe, remodeled and given views of the gallery.

• It makes connection between the new civic building and old civic place.

• The semi-open plazas outside the entrance act as recreational areas and perfect public place for people visiting the centre.

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DESIGN APPROACH

3.5.3. Acropolis museum, Athens OBJECTIVE: • To understand building in context, to design a structure in close proximity to a world heritage site.

• To understand the references from history used in the design.

Project:

Acropolis, Athens, Greece

Architect:

Bernard Tshumi architects

Area:

21,000 sq.m Year of completion: 2009 Located in the historic of Makryianni district, the Museum stands less than 1,000 feet southeast of the Parthenon. The top-floor Parthenon Gallery offers a 360-degree panoramic view of the Acropolis and modern Athens.

The programme includes following: • • • • • • • • •

Exhibition space, 8,000 sq. m Galleries of different periods and collections Visitor amenities Display of an archaeological excavation on the site: ruins from the 4th through 7th centuries A.D., left intact and protected beneath the building Auditorium (seats 200 people) Museum store Bar and restaurant Multimedia space Glass enclosed Parthenon gallery, 2050 sq. m (provides 360 degree views of the Parthenon in distance and modern Athens)

The museum in context to modern day Athens

Museum and the Acropolis, bird’s eye view

CIRCULATION

The collection is installed in chronological sequence, from pre-history through the late Roman period, but reaches its high point (literally and programmatically) with the Parthenon Frieze.

The visitor’s route is therefore a clear, three-dimensional loop. It goes up from the lobby via escalator to the double-height galleries for the Archaic period; upward again by escalator to the Parthenon Gallery; then back down to the Roman Empire galleries and out toward the Acropolis itself.

DESIGN APPROACH

71

The Museum is conceived as a base, a middle zone and a top, taking its form from the archaeological excavation below and from the orientation of the top floor toward the Parthenon.

Fig. 58:Museum in the context of Acropolis Source: www.archdaily.com

The building is a museum of ambient natural light. The use of various types of glass allows light to flood into the top-floor Parthenon Gallery, to filter through skylights into the archaic galleries, and to penetrate the core of the building, touching the archaeological excavations below.

The excavations present at the site are not touched and instead converted to a viewing gallery from the floor above.

INFERENCES • The museum sits in the context of modern Athens and acts as a gateway to the Parthenon, which is a heritage site. It makes the tourists visit the past in chronological order and out towards the Parthenon when the history ends, to make them feel the actual presence of the grand historic structure.

• The excavation site/ruins on the ground level transports the people to a different time and makes them see the ruins in reality, even though the circulation in the ruins is restricted (they are viewed from upper level).

• The top floor acts a gallery to view the Parthenon and modern Athens, almost like feeling the presence of history and comparing with the contemporary city (along with the exhibits on the top floor).

• The circulation is very clear, with proper route through the galleries and exhibitions, forming a loop and guiding the visitors.

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DESIGN APPROACH

3.6. Vision and strategies 3.6.1. Spatial qualities

Following are the spatial qualities that are to be achieved, keeping in mind the natural and cultural heritage.

Fig. 59:Conceptual sketches Source: author generated

DESIGN APPROACH

73

74

DESIGN APPROACH

DESIGN APPROACH

75

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DESIGN APPROACH

3.6.2. Layout and planning Several options as of how to place the institute about the setting and context in the best possible way. Several clusters and single mass buildings were tried, understood and worked on.

Clusters of buildings relating to the components of the cultural landscape of Hampi such that they form courts, open to the natural heritage and follow the axis.

DESIGN APPROACH

77

3.6.3. Elements of the design Embedded within the setting

The design is seen as embedded within the setting, in between the boulders, coconut grove, fields and monuments.

It is conceived as a way to complement (while being unique) the setting and not contrast/ homogenize with it.

Follows the Axis

As is very evident in the planning and all monuments at Hampi, axis plays a very important role in terms of creating views, focal points and giving a sense of direction.

Same knowledge system is applied to the design such that the institute follows cardinal axis to the existing mantapas at the edge of the site, respecting their rhythm and geometry.

Enhanced entrances

The entrances and sense of arrival at the institute is of great significance, and the geometry of mantapas are followed, creating a grid but not overpowering the already existing rhythm.

The idea is to embed itself in the landscape, while being unique (can be explored in terms of material etc.)

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DESIGN APPROACH

Components of the setting and design EXHIBITION AREA

The coconut grove at the site is retained and pedestrian access through it provided; making it an experiential yet porous axis for people visiting the institute by foot.

Water body is seen as an interpretation of the stepwell and element of need for rainwater harvesting.

Framing vies to the natural heritage and boulders as one enters the exhibition area; making it an exhibition of culture+nature.

WORKSHOPS

CAFETERIA

An understanding of the settlements was taken into account to design the workshops, with verandahs in the front with rows of columns, thick stone walls and high plinths.

AMPHITHEATRE The component of field is realized in the cafeteria, opening towards the landscape at the back with fields and boulders.

Other part is a small kitchen garden, sufficing the need of cafeteria.

An existing structure in the middle of the site provides an opportunity of bringing the monument to focus, with an open air amphitheatre around it, acting as a backdrop.

DESIGN APPROACH

79

80

04 DESIGN DEVELOPMENT 4.1. Design drawings 4.2. Details 4.3. Model photos 4.4. Views

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

81

4.2. Design drawings

SITE PLAN Towar

ds VIR

UPAKS

HA TE

MPLE

AUTO BUS ST

AND

STAND

HAMP

I BAZA

ARKET

-LVL 1 NG .5M

%

EET

FLEA M

PARKI

10.00

%

10.00

%

10.00

AR STR

TOILET

EXISTIN

G CO

%

%

F

10.00 10.00 %

%

F

N

10.00

ERIA

%

CAFET

TATIO

10.00

F

%

F

TION WAITIN AND G

T PLAN

10.00

RECEP

CONU

10.00

PUBLIC

SOUV

ENIR S

EXHIB ITIO HERITA N AND GE CE LL

HOPS

F

DISPLA

Y AND

EXISTIN G MONU MENT

WORK

AMPH

ITHEAT

SHOP

S

RE

SITE SECTION

VIRUPAKSA TEMPLE +50.0M

MANTAPA

GSEducationalVersion GSPublisherVersion 279.1.2.100

GROUND LVL BOULDERS/HILLOCK

EXHIBITION AREA

EMPTY PLINTH

EXISTING PLANTATION

MANTAPA VIRUPAKSHA TEMPLE

+4.0M +-0.0M

A

RESTING AREA

AXIS

EXHIBITION SPACE

KITCHEN GARDEN

SEATING

B

B’ WASH AREA

SEATING SCULPTURE GARDEN WATER CHANNELS

KITCHEN

FIELD

N

PLAN

A’

CAFETERIA

D TEMPORARY EXHIBITION

TEMPORARY EXHIBITION

EMPTY PLINTH

D

BRIEFING AND WAITING AREA

RECEPTION AND WAITING AREA

STORAGE

C WATER BODY DISPLAY AREA

WORKING AREA C’

SCULPTURE GARDEN C

DISPLAY AREA

WATER BODY

DISPLAY AREA

C’

MEETING AREA DISPLAY AREA

WASH AREA

OUTDOOR DISPLAY

N

LOWER LVL PLAN

D’

UPPER LVL PLAN

D’

EXHIBITION AREA

+4.0M +2.8M +-0.0M G. LVL

SECTION AA’

WATER BODY

WASH AREA

SECTION BB’

SECTION DD’

FIELD

CAFETERIA

CAFETERIA

EXHIBITION

DISPLAY AREA

SECTION CC’

DISPLAY AREA

WATER BODY

PATHWAY

RESTING AREA

WATER BODY

HERITAGE CELL

EMPTY PLINTH

F

SOUVENIR SHOPS

SOUVENIR SHOPS

AXIS

BANANA FIBER CRAFT WORKSHOP

COMMON WORKING AREACOURTYARD

WATER HYACINTH CRAFT WORKSHOP

SEMI-OPEN SPACE FOR STONE CUTTERS

STONE CRAFT WORKSHOP

COMMON WORKING AREACOURTYARD

BLACK POTTERY WORKSHOP

E

E’

WASH AREA

WASH AREA

WASH AREA

WASH AREA

DISPLAY/EXHIBITION

N

PLAN SECTION EE’

BANANA FIBER CRAFT

F’

COURTYARD

WATER HYACINTH CRAFT

BACKYARD, WORKING AREA

STONE CRAFT

COURTYARD

BLACK POTTERY

WORKSHOPS

SECTION FF’

BOULDERS

DISPLAY

COURTYARD, WORKSHOPS

SOUVENIR SHOPS

+4.0M +3.2M +-0.0M G. LVL

SECTION THROUGH AMPHITHEATRE

AMPHITHEATRE

EXISTING STRUCTURE

COCONUT GROVE

4.2. Details Concrete parapet and roofing

PRODUCED BY AN AUTODESK STUDENT VERSION

Mangalore tiles

PRODUCED

BY AN AUTODESK roofing over verandah Window detail

2000 3200

Kota stone as seating and tabletop

2100 900 475

750

Detailed section through workshops, Verandah 300mm RCC parapet IPS/China mosiac 15mm thk lime concrete 50mm thk brick bat

200mm thk RCC slab

Roof detail

Stone foundation

10mm thk wooden shutter 50x55 thk wooden frame 30mm thk Granite slab

50mm thk kota stone into the wall

Opening detail

Kota stone flooring 100mm thk PCC 150mm thk gravel 200mm thk RCC coping Water channel Granite rubble used from the site

250mm thk RCC bed

PRODUCED BY AN AUTODESK STUDENT VERSION

Foundation detail

DESIGN DEVELOPMENT

UTODESK STUDENT VERSION

Fig. 60:Construction details Source: author generated

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

ODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

600

83

LANDSCAPE DETAILS

PRODUCED BY AN AUTODESK STUDENT VERSION

Water channel and building edge

Water channel for stormwater drainage

PRODUCED BY AN AUTODESK STUDENT VERSION

Water channel details when covered/uncovered

STONE PAVING SLAB GABION BASKET FILLED WITH GRANITE, 450MM THK

STEEL COLUMN 0.1M

Opening detail in Gabion wall

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

STEEL COLUMN 0.1M

RCC FOOTING

Gabion wall as an aesthetic element

Foundation detail for Gabion wall DESIGN DEVELOPMENT

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig. 61:Landscape details Source: author generated

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PRODUCED BY AN AUTODESK STUDENT VERSION

GABION BASKET FILLED WITH GRANITE, 450MM THK

4.3. Model photos Model for both sites, masterplan SCALE- 1:2000

DESIGN DEVELOPMENT

85

SITE MODEL Scale- 1:500

86

DESIGN DEVELOPMENT

UNIT MODEL- CAFETERIA Scale- 1:200

DESIGN DEVELOPMENT

87

UNIT MODEL- EXHIBITION AREA Scale- 1:200

88

DESIGN DEVELOPMENT

UNIT MODEL- WORKSHOPS Scale- 1:200

DESIGN DEVELOPMENT

89

4.4. Views

Pedestrian entrance from the mantapas and coconut grove

Entrance to the Exhibition, framing view towards natural heritage

90

Entrance to the institute

DESIGN DEVELOPMENT

Birds eye view of the institute

Birds eye view, Amphitheatre

Birds eye view, Workshops

DESIGN DEVELOPMENT

91

Exterior of Exhibition, outdoor display

Exterior of Exhibition, Sculpture garden

92

Display area, heritage cell and water body DESIGN DEVELOPMENT

Cafeteria and fields

Entrance to the workshops

Workshops display area

DESIGN DEVELOPMENT

93

References Fielden, B. (1982). Conservation of Historic buildings. Oxford: Architectural press.

Fielden, B. (1998). Management Guidelines for World Cultural Heritage Sites. Rome: ICCROM. Michell, J. F. (August 2014). Hampi Vijayanagara. Jaico publishing house.

Page, R. R. (1998). A guide tp cultural landscape reports. Washington DC: US dept. of the interior.

Group pf monuments at Hampi, UNESCO https://whc.unesco.org/en/list/241 Essays on cultural landscape of India https://essayswriters.com/essays/Description/cultural-landscape-of-india.html Indian cultural landscapes https://architexturez.net/doc/az-cf-21175 Hampi Archaeological heritage tourism analysis https://shodhganga.inflibnet.ac.in/bitstream/10603/87638/12/12_chapter%204.pdf How vernacular architecture of Hampi shaped community interaction? https://www.gounesco.com/how-vernacular-architecture-of-hampi-shaped-community-interaction/

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

List of figures Fig. 1: Culture Fig. 2: Understanding Heritage Fig. 3: Types of heritage Fig. 4 : Registered Identity Fig. 5: Essence of Hampi Fig. 6: Temperature and precipitation Fig. 7: Temperature Fig. 8: Location of Hampi Fig.9: Accessibility Fig. 10: The Vijayanagara site Fig. 11: The Royal centre Fig. 12: The Sacred centre Fig. 13: Stages of growth Fig. 14: Timeline and evolution Fig. 15: Hampi world heritage site fig. 16: Typology of Cultural resource Fig. 17: Demographics Fig. 18: Major temples and axes Fig. 19: Vitthala temple and bazaar street Fig. 20: Virupaksha temple and bazaar street Fig. 21: All components of Landscape Fig. 22: Kamalapuram land use map Fig. 23: Hampi land use map Fig. 24: Kadirampura land use map Fig. 25: Anegundi land use map Fig. 26: Map of Anegundi showing major roads, access, tourist pattern Fig. 27: Documentation, palace Fig. 28: Documentation, vernacular Fig. 29: Documentation, vernacular Fig. 30: Anegundi rural tourism map Fig. 31: The Kishkinda trust Fig. 32: Water hyacinth craft workshop Fig. 33: Tourist pattern and activities Fig. 34: Hampi itinerary map Fig. 35: Visitors at Hampi Fig. 36: Tourist surveys Fig. 37: Present parking condition Fig. 40: Site options Fig. 41: Site options, connectivity Fig. 42: Site justification Fig. 44: Site analysis, Virupaksha precinct Fig. 45: Site analysis, Vitthala precinct Fig. 46: Adopt a heritage route Fig. 47: Heritage zones Fig. 48: No built on boulders Fig. 49: Height regulations Fig. 50: Distance from monuments/river Fig. 51: Relationship of different components of setting Fig. 52: Analysis of the Goupram Fig. 53: User group analysis Fig. 54:Google location Fig. 55:Museum drawings Fig. 56:Visitor’s centre drawings Fig. 57:Lace inspired facade Fig. 58:Museum in the context of Acropolis Fig. 59:Conceptual sketches Fig. 60:Construction details Fig. 61:Landscape details CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

Appendices SURVEY FORM FOR TOURISTS ARVINDBHAI PATEL INSTITUTE OF ENVIRONMENTAL DESIGN VALLABH VIDHYANAGAR

A.P.I.E.D DISSERTATION, SEMESTER X

SURVEY FORM (only for study purpose)

Name:

Age:

Where are you coming from?

How did you reach Hampi?

Train/Flight/Car/Other

How did you come to know about Hampi? Newspaper/Internet/Tour group/Other For what purpose are you here?

Leisure/Backpacking/Study/Other

For how many days are you visiting Hampi? Weekend/4-5/up to 10 days/more than 10 How many of you are visiting Hampi?

Are you with a tour group or alone?

Tour group/Solo traveler/Family/Friends/Other

Where in Hampi are you staying?

Hampi/Hippie island/Kamalapuram/Other What kind of accommodation do you prefer? Homestay/Resort/Huts/Dormitories/Other Do you plan on visiting the nearby village of Anegundi?

Yes/No

What landmarks are you planning on visiting on you trip here?

Did you visit the Archaeological museum at Kamalapuram? Yes/No If yes, did the museum provide enough information/orientation?

Are you satisfied with the tourist facilities provided at Hampi? Yes/No If no, what other facilities are you looking for?

Better accommodation Better infrastructure (lighting, dustbins etc.)

Better tourist orientation facilities (wayfinding, museums, etc.)

Better food joints Any other Did you know about Hampi utsav, held annually? Yes/no Any other problems you faced while visiting hampi?

How can the tourist orientation at Hampi be made better? Suggestions.

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

SURVEY FORM FOR ARTISTS ARVINDBHAI PATEL INSTITUTE OF ENVIRONMENTAL DESIGN VALLABH VIDHYANAGAR

A.P.I.E.D DISSERTATION, SEMESTER X

SURVEY FORM (only for study purpose)

Name:

Age:

House/shop no.:

Religion:

Village:

Craft/traditional Skill: Since how many years are you practicing this craft?

Where do you work from?

Salary (income) per annum: where do you store your raw materials?

Was the tradition passed down into your family?

How many members from your family practice this?

Do you export to other towns/cities?

If yes, How? What kind of space is needed for practicing this craft?

How does the tourism affect your skills/craft?

How has the tourist population affected your daily routine?

Do you think tourism is better for your village?

If yes/no, why?

Yes/no

Is there any migration from/to your village, due to tourism?

Yes/no

Do you think your crafts and culture need revival? Yes/no What role does Hampi World heritage site play in it?

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

SURVEY FORM FOR AUTHORITIES ARVINDBHAI PATEL INSTITUTE OF ENVIRONMENTAL DESIGN VALLABH VIDHYANAGAR

A.P.I.E.D DISSERTATION, SEMESTER X

SURVEY FORM (only for study purpose)

Name: Authority:

Village:

What has been the condition of Hampi world heritage site since last 5 years?

What have been major infrastructural changes in the last 5 years?

What major changes are under way, or projected for future?

What role does the nearby villages play for the WHS, making it better or worse?

How are these villages affected due to WHS? What role do the communities play in the tourist orientation of Hampi?

Which areas in and around Hampi be built upon?

What kind of resettlement has been proposed for the people for Hampi village?

What happened to the relocation of Hampi bazaar area?

What are the current connectivity routes between the villages (Hampi and anegundi)?

Are any more connections proposed over the river?

What kind of development can be proposed here, in terms of tourism and community upliftment/education?

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI

SURVEY FOR COMMUNITY COMMERCIAL

RESIDENTIAL SURVEY (only for study pupose), APIED

SURVEY (only for study pupose), APIED Village Shop no.

Gender (F/M) Ownership (rented/owner) Total income Which village do you come from?

Mode of transport Education (Pri/Sec/G/PG/Higher) Work type Recruitment (No. of people) Export Raw materials Storage area for raw materials

Village House no.

Ownership (rented/owner) Religion Total members in family Male Female Age group (no. of people) Children (0-15) Youth (15-30) Middle aged (30-60) Old (60 and above) Total earning members Males Females Total family income Education (Pri/Sec/G/PG/Higher) Male Female

Who are customers/consumers?

Occupation Male Female Mode of transport Job in tourism (Y/N) If yes, How many members?

No. of vehicles and type

Does tourism help in your work? (Y/N)

Members of family outside (no.)

Nature of job

Timings of your shop Peak hours/season of business

If yes, How? Traditional skill/craft Typology of shop Condition (dilapidated/renovated) Age of the building Construction materials Since how many years is your work setup?

Remarks (If moved,migrated)

Traditional skill/craft in family Possibilty of homestay (Y/N) Typology of house Condition (dilapidated/renovated) Age of the building Construction materials What are your shared spaces?

Sanitation facilities (Y/N) Use of river (Y/N) Lack of which facilities?

Is tourism is better for you village? (Y/N) Why? Migration/resettlement due to tourism?

How imp. is Hampi WHS for your work?

Other remarks/problems

Remarks

How imp. is Hampi WHS for your village?

Remarks

CULTURAL HERITAGE CENTRE FOR CULTURAL LANDSCAPE OF HAMPI