PILGRIM’S CENTRE AT PANDHARPUR
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I.
ACKNOWLEDGEMENTS
I would like to acknowledge all the people who have helped in the completion of this thesis. First and foremost, I thank my supervisor, Ar.Romero Silveira and Ar.Yusuf Bengali. This study would not have been possible without their skilful supervision, constant encouragement and support, and kindness. I am highly indebted to my guide, Ar.Kiran Kalamdani for his valuable comments and positive suggestions on this study. My deep appreciation also goes to him for his guidance during the thesis. I would also like to thank the Faculty Allana College of Architecture, Principal Ar.Lina Debhnath. I am grateful to Ar. Dhwani Iyer and Ar. Vinish Desai for their help and support during my entire candidature. I also acknowledge my friend, Ar. Prajakta Sane for her help in formulating this report. This study is about pilgrims’ journey. However, it has also been a fulfilling journey for me and a learning experience. I strongly believe that right from its origin to its completion; the sole driving force has been Lord Vithoba of Pandharpur. His blessings have manifested in the form of help and support from all the people mentioned above.
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II.
DEDICATION
I would like to dedicate this thesis to my grandparents. Especially Aai who accompanied me for my field trip to Pandharpur. Their encouragement and assistance during my fieldwork , along with my parents needs to be specially mentioned.
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III. PREFACE
Space perceived and experienced through movement presents an interesting array of imagery which blends together to form a comprehensive whole. This profound and deeply significant human activity connects the individual places to form an integrated sacred network. The practice of pilgrimage has developed over centuries across the globe and continues to grow and influence a huge cross section of society to come together and move en-masse towards religious centres and personal enlightenment. The phenomenon of pilgrimage is central to the public realm. Its study involves an intricate layering of beliefs, customs, traditions and religion which collectively govern the people-space relationship. The transformation of a space to a place, from static to dynamic, from passive to active occurs during this activity, maintaining the traditional usage while simultaneously evolving as a product of interaction between people, rituals and spaces. The research is based on my study of the Alandi-Pandharpur Pilgrimage in India. It is an outcome of my participation in the ritual as, both, an architect and a pilgrim. The spatial experience transcends the criteria of aesthetics and functionality of a public space to a deeper exploration of human characteristics and convictions. From this perspective, the thesis considers the broader role of designed spaces, the extent of inclusion of community rituals and their significance in the shaping of built environment.
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TABLE OF CONTENTS i.
ACKNOWLEDGEMENTS ……………………………………………………………………………………..2
ii.
PREFACE ……………………………………………………………………………………………………….3
iii.
DEDICATION …………………………………………………………………………………………………...4
iv.
TABLE OF CONTENTS ………………………………………………………………………………………..5-6
1.SYNOPSIS……………………………………………………………………………………………………………….9-12 1.1 Aim 1.2 Objective 1.3 Research method 1.4 Data collection technique 1.5 Scope 1.6 Limitation 1.7 Design solution 2 INTRODUCTION………………………………………………………………………………………………………..13-33 2.1 Understanding a pilgrimage 2.2 Pilgrimage concepts 2.3 Key elements of a pilgrimage 2.4 Alandi Pandharpur palkhi 2.5 Movement to Pandharpur 2.6 History 2.7 The river and its influence 3EFFECT OF THE PILGRIMAGE IN A TOWN- LONANAD……………………………………………………………34-46 3.1 Selected spaces for observation
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3.2 Application of the physical criteria 3.3 Scale and proportion 3.4 Activity mapping of the palkhi in town 4 INFERENCE……………………………………………………………………………………………………………………47-49 4.1 Movement pattern in a palkhi 4.2 Findings of the study 4.3 Conclusion 5 CASE STUDIES………………………………………………………………………………………………………………..50-51 5.1 Gajanan maharaj , Shegaon 5.2 Kumbh mela 5.3 Mina tent city,Mecca 5.4 Vithal mandir Pandharpur 6 COMPARITIVE ANALYSIS……………………………………………………………………………………………………52 7 DESIGN STANDARDS………………………………………………………………………………………………………….52-60 7.1 Parking 7.2 Kitchens 7.3 Toilets 7.4 Loading unloading 7.5 Dormitories 8 DESIGN BRIEF AND ANALYSIS……………………………………………………………………………………………….61-65 9 DESIGN APPROACH…………………………………………………………………………………………………………….65-78 10 SITE SELECTION AND ANALYSIS……………………………………………………………………………………………79-80 11 DESIGN SOLUTION
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LORD VITHOBA, PANDHARPUR 8
1. SYNOPSIS AIM OBJECTIVE RESEARCH METHOD DATA COLLECTION TECHNIQUES SCOPE LIMITATION CONCLUSION
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1. SYNOPSIS INTRODUCTION Pandharpur is the most popular pilgrimage city on the banks of the Bhima river in Solapur, Maharashtra. The Vithoba temple attracts lakhs of Hindu pilgrims during the major yatra in the month of Ashadh. Pandharpur hosts four annual yatras of hindu devotees. Among them, the pilgrimage in the month of Asadh attracts most number of people. The others happen in Karthik, Shravan and Magh. The palkhi is a socio-economic gathering of people starting from about 2000-3000 people from Alandi to 2-5 lakh people midway and around 67lakh people till Pandharpur. It consists of varkaris, followers of lord vithoba. On their way from Alandi to Pandharpur that takes them 18 days to reach, they are supplied with food and shelter at their halts by local people, businessmen etc. as a donation for a holy cause.
1.1 AIM The research examines the spatial manifestation of the pilgrimage holistically and looks at its potential in the designing of built environment. On the one hand, the aim is very specific to the selected pilgrimage, hence, the results can be said to have limited applicability. However, on the other hand, they have wider implications. The main aim of the thesis is: 1. To study through the event of Alandi-Pandharpur pilgrimage, the ‘responsiveness’ of the architectural setting of selected public spaces. 2. To come up with a practical and adjustable design solution for the warkaris in Pandharpur who travel a long distance to come in sync with the driving force, lord Vithoba of Pandharpur. 3. To maintain the traditional architecture of the core town, and historic settlements, with improvements in structural elements and techniques. 4. Local materials and craftsmanship shall be utilized to maximum extent for generating employment and promoting local business.
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1.2 OBJECTIVES 1. The design must blend with the regional settings of Pandharpur. 2. It should be consider the sentiments of the warkaris and their devotion towards the Almighty along with the issues they face during their stay during the holy months.
1.3 RESEARCH METHOD PARTICIPANT OBSERVATION METHOD Within the framework of fieldwork data collection, observation is the first stage. It requires a careful preparation and understanding of the tasks to be performed and achieved. The values of direct and personal observations may be summarized as follows. Gives a holistic perspective to understand the context of the phenomenon. Firsthand experience with the allows the researcher to be open and discovery oriented rather than relying on prior conceptualizations Able to see things which may escape other participants due to limited awareness. Participation in the activity, gets a clearer picture and can form his own views. The element of reflection and introspection is highly useful in interpretation stage as it draws upon the entire body of knowledge adding substantially to the data. Stage 1: Review of Literature Stage 2: Designing Fieldwork Part a. Formulating the Participant observation Method Part b. Data Collection techniques Stage 3: Analysis and Interpretation
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1.4 DATA COLLECTION TECHNIQUES Collection of existing data Photography Fieldwork Notes Activity Mapping
1.5 SCOPE Understanding how the pilgrimage happens, the factors that affect the movement of the people, their needs and requirements. To understand what problems the Warkaris face during their stay at Pandharpur and the bother that happens to the town at their arrival. To experience the walk towards Pandharpur and then answer their accommodation, food and hygiene along with cultural needs through design. Finding a remedial design configuration which can be repeated in itself and at other such pilgrim spaces. Achieving a peaceful, community dependent and spiritual environment which can suit the conditions of Pandharpur and the sentiments of the Warkaris.
1.6 LIMITATIONS Limiting the design to the regular crowd and not the total number of people, which will help save on land and not keep the centre isolated while the locals use their own houses for stay and other activities.
1.7 CONCLUSION The sensit ivit y required in developing the ent ire Pilgrimage route and Pandharpur while st ill retaining the inherent qualit y and essence of the event is the major concern. While the tangible issues are dealt wit h through physical planning and designing of the infrastructure, there is a strong need to understand the intangible issues involved.
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2. INTRODUCTION UNDERSTNADING A PILGRMAGE PILGRIMAGE CONCEPTS KEY ELEMENTS OF A PILGRIMAGE ALANDI PANDHARPUR PALKHI HISTORY EFFECTS OF PALKHI IN A TOWN- LONANAD
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2.1 UNDERSTANDING A PILGRIMAGE Pilgrimage is a complex human activity and a widely practiced phenomenon across the globe. The essential element of journeying with a quest is central to its meaning. Being one of the most significant aspects of many religions, pilgrimage has perpetuated through different eras of human evolution. Pilgrimage is born of desire and belief. The desire is for solution to problems of all kind that arise within the human situation. The belief is that somewhere beyond the known world there exists a power that can make right the difficulties that appear so insoluble and intractable here and now. All one must do is journey. The dictionary meaning of pilgrimage is ‘a journey to a shrine or other holy place celebrated or made special by its associations, undertaken in order to gain a greater closeness to the religion, etc or as means of affirming one’s faith’. The wider application of the term goes beyond this aspect of sacred journeying. It is used to symbolize a journey with a particular purpose. But to
KEY ELEMENTS OF A PILGRIMAGE
narrow down the meaning to an anthropological context it broadly is defined as ‘a journey of an individual or a group towards a fixed goal (geographical or metaphorical) or in search of a hidden goal they believe to embody a valued ideal’.
PILGRIMAGE MEANS TO ATTAIN HIGHER SPIRITUAL LEVEL
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Conventionally and most typically, these ideals have been religious and the journey is assumed to transform oneself from a profane to a higher sacred plane. The underlying aspect is of movement from the ordinary realm of everyday living to a holy or a sacred centre. This form of a pilgrimage is central to this thesis. Commonly, this journey takes a physical form of travelling from one geographical point to another. But on a metaphorical or a spiritual level, the journey may signify a transformation of the mental state.
2.2 THE THREE STAGES OF PILGRIMAGE ARE Separation (the start of journey) • The liminal stage (the journey itself, the sojourn at the shrine, and the encounter with the shrine itself) • Re-aggregation (the home coming) In these three stages there is a marked difference in the mental state of the pilgrim which engenders the transformative nature of a pilgrimage. The first and the last stage may not always take a pronounced form, but the element of movement is embedded in all three stages.
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2.3 PILGRIM CONCEPTS- AN OVERVIEW
PILGRIMAGE IN ISLAM
One of the largest and best known pilgrimages in the world is the Islamic pilgrimage of the Hajj to Mecca (Saudi Arabia). It symbolizes the centrality of oneness with ‘Allah’. All healthy Muslim men and women (either accompanied by their husband or a male relative) are required to do the Hajj at least once during their life time. This ritual is of obligatory nature but only if it imposes no hardship for the family.The Kabah at Mecca represents the focal point of the pilgrimage as well as that of Islamic religion. It is the point of orientation for their prayers and other activities. TheMuslim who has completed this pilgrimage applies the terms hajji (for a male) and hajja (for a female) to their given names. The prophet Muhammad (570-632C.E.) decreed the Hajj one of the five important pillars, or tenets, of Islam Once in Mecca, Muslims perform a series of activities sequentially over several days which symbolically replicate Muhammad’s last pilgrimage to Mecca. These rituals induce a movement of about 40km.
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PILGRIMAGE IN CHRISTIANITY The Christian tradition of pilgrimage evolved shortly after Jesus’ death. It was followed by Christianity’s split in the late fourth century into an Eastern (Orthodox) Church in Constantinople and Western Church centered in Rome Jerusalem, the Holy Land gained importance as a prime pilgrimage site, as many events of Jesus’ life and his crucifixion took place there. Rome established itself as the second most important pilgrimage site dueto the activity of Saints Peter and Paul, the Church and the Pope; and more so as a place where early pilgrims came to do business, combining this with a visit to the holy sites. The apex of the Roman Catholic pilgrimage movement occurred between the eleventh and the fifteenth centuries with a spectacular growth in the cult of Virgin Mary at the beginning of the twelfth century. PILGRIMAGE IN JUDAISM In the course of its long history, dating as early as 12-13th century B.C.E., Judaism has incorporated a number of pilgrimage traditions and a diverse range of holy sites, though the actual practice of pilgrimage is not so prominent today. The most significant pilgrimage sites are in Israel, where Judaism evolved initially from Solomon’s Temple and later the Second Temple. Both were the seats of God and government. It was obligatory to visit these in Jerusalem, the holiest place for the Jews.
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PILGRIMAGE IN BUDDHISM For Buddhists, the notion of pilgrimage is very different. ‘No single place is deemed important as a sacred centre; the emphasis is on the path, which reflects Buddhism’s stress on self-transformation’. The key events in Buddha’s life occurred in four places: Lumbini (Nepal, the birth place of Buddha: circa 566 B.C.E); Bodhgaya (India, Buddha attained enlightenment); Sarnath (India, Buddha preached his first sermon); and Kushinagar (India, Buddha’s death place). As told by the Buddha himself, the followers are supposed to visit these four sites (known as the Heart of Buddhism), thus determining the geography of the Buddhist pilgrimage .
PILGRIMAGE IN HINDUISM Hindu was a term coined by Muslim invaders to indicate people who lived along and beyond Indus River and by extension was a term of convenience to describe the extraordinary and diverse native beliefs and practices of the subcontinent. Hinduism as a religion has no historical founder, no head, and no codified set of beliefs, no stipulated dogma and no credo. It is rather an ensemble of traditions, practices, history, legends, modes of worship, codes of social and moral conduct and philosophies.
CONCEPTS OF MOVEMENT, TIRTHAYATRA ‘As the Supreme becomes concretized in space and time through images and festivals, so his grace becomes localized at the tirthas forever, intensified at certain times but always available to pilgrim’ The concepts of movement, space and time are crucial to the tirthayatra and are inextricably
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linked to each other. It is pointed out that it is ‘continuous rather than linear with its recurrent movement inspace itself as an act of worship.’ The goal of reaching a tirtha subsumes the ‘darshan’ of individual tirthas on the way. Also the act of pradakshina that is the clockwise circumambulation of the shrine or the tirtha is an essential aspect of worship. Thus the Hindu pilgrims not only travel ‘to’ a tirtha but ‘through’ and ‘around’ it defining a spatial linkage and network .
The ‘Palkhi’ of Alandi to Pandharpu Movement to, through and around a tirtha in a Hindu pilgrimage
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2.4.
KEY ELEMENTS OF THE PILGRIMAGE
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2.5 REGIONAL SETTINGS To understand this pilgrimage and its distinctive nature, it is necessary to establish its historical, socio-cultural and religious foundations. The Palkhi is the most prominent religious expression of the State of Maharashtra .There are several groups of pilgrimages which occur simultaneously to Pandharpur, but I focus on Saint Jnaneshwar’s palkhi which begins from the town of Alandi. The pilgrims begin their walk of 18 days to reach the holy town of Pandharpur, about 250 km towards South-east.
Location of Maharashtra in India 21
Three districts through which the palkhi passes during its course.
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The Alandi- Pandharpur Pilgrimage route 23
2.6 HISTORY As in case of any pilgrimage, the starting point and the destination are inextricably linked to its overall formation and development. Pandharpur tirtha, today known as the spiritual capital of Maharashtra is a popular tirtha and is located on the western banks of Bhima, a prominent tributary of the river Krishna. The Vithoba of Pandharpur and its origin as a God and a divine form of Lord Vishnu, is found in inscriptions as studied by Khare and is believed to have stayed there due to the saint Pundarika’s devotion, though there have been subsequent debates about this legend.
Pandharpur during Pilgrimage
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2.7 THE RIVER AND ITS INFLUENCE The river Bhima takes a gradual turn towards the South-east from Pandharpur forming a crescent moon like shape due to which it is popularly known as Chandrabhaga. The varkaris reach Pandharpur on the eve of Ashadhi Ekadshi (the 11th day of waxing moon in the lunar month of Ashadh as per the Hindu calendar), which is normally in June-July. There are a number of temples in Pandharpur which an ardent Varkari visits during his stay. They are mainly divided according to their setting: those lying on the banks of Bhima, those lying on the way of the pradakshina (circumambulatory path around the temple precinct), and those of the nagarpradakshina
2.8 ALANDI AND JNANESHWAR Though the exact year when this pilgrimage began is unknown, Saint Jnaneshwar is credited to formation of the Varkari Sect towards the end of 13th century . He integrated the pilgrims, laying down the norms about the duties of a ‘varkari’ in his sacred text of ‘Jnaneshwari’. It is also asserted that the varkaris (the devotees of Lord Vithoba) did exist prior to Jnaneshwar and were also doing the pilgrimage to Pandharpur but they lacked any formal organisation. Saint Jnaneshwar’s life story (though debatable) contains various accounts of hardships that he and his siblings faced as a result of caste discrimination, and how they overcame these due to the miraculous powers displayed by him from time to time. So, at a very young age, their fame spread rapidly and they were considered to be blessed by God. His entire family (outcast Brahmins), were the first varkari missionaries. Jnaneshwar entered ‘Samadhi’ (voluntary death) at the age of 22 at Alandi (see figure 5.9), earlier known as Alankapur .
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Thus it gained spiritual importance as one of the prime locations from where his Palkhi begins. Alandi lies about 28 km North-West of Pune city and is situated on the banks of the river Indrayani. Its present form as a temple town was developed by the subsequent Maratha rulers and has kept growing due to its increasing popularity and its closeness to Pune city.
Alandi on the banks of Indrayani River 26
The temple town of pandharpur has growth in a SYMBOLIC MANNER. The growth is mainly due to augmentation of the saints such as Namdev, Tukaram etc. There is a difference in skyline that is seen over a period of time. The design should thus blend with the context.
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2.9 ELEMENTS AND FEATURES OF THE PALKHI VARKARIS Pilgrimage in Hinduism is highly recommended but optiona. On the contrary, the Pilgrimage to Pandharpur, though voluntarily undertaken by the varkaris , it is essential to do it regularly every year. It forms a part of the spiritual discipline of the particular devotional path they have chosen. The pilgrims of this particular Pilgrimage are known as ‘varkari’. The term developed during the time of Saint Jnaneshwar which went on to become the main characteristic of the Pilgrimage. Meaning and the duties associated with the term Varkari are: 1. A person living in the midst of his family and carrying on his profession or trade has pledged himself to reach(salvation).
2. He does it through a way of bhakti’ by devotion and love to Lord Krishna in the form of Vithoba of Pandharpur.
3. He does the Pilgrimage to Pandharpur every year at the fixed time, guided on the road by the society of saints
4. He is also a strict vegetarian.
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PALKHI The Marathi word ‘palkhi’ literally translated means ‘a palanquin’. Palanquin has not only been associated with pilgrimages, but to carry people as well. It has always represented a royal mode of transport. In this case, it is the palanquin in which the paduka (silver footwear) of Saint Jnaneshwar are carried with honour from Alandi to Pandharpur. It signifies his spiritual presence in the journey.
The decorated chariot carrying the palanquin
Dindi Though the processions appears to be a sea of people following each other and the Palkhi, it is not an ‘indiscriminate mass’ but has a set pattern or organisation called as ‘dindi’. The number of varkaris in a dindi may vary from 100 to 1000 per dindi, and the overall organisation is such that the oldest dindi is closest to the Palkhi. The Palkhi is normally between the various dindis and the two horses lead the whole procession.There were 26 dindis in front of the palkhi and 250 behind it 2005.
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MOVEMENT TO PANDHARPUR Daily routine The walk to Pandharpur is characterised by the activities carried out by the pilgrims. Within the structured dindis around the Palkhi, the daily routine of the pilgrimage is traditionally preset and followed meticulously. The daily routine of the Palkhi is more or less fixed like a timetable. It can be briefly described as follows. Early morning there is an elaborate puja (worship event) of the silver footwear of Jnaneshwar and a collective prayer. This is followed by the departure from the place of halt, normally as early as 6.00am. It begins with a loud signal when the pilgrims assemble in their dindis. The twin horses begin the journey and lead the procession. The trucks carrying the food and belongings of the varkari normally leave ahead of the Palkhi in order to prepare for the midday meals. After the palanquin is placed in the bullock cart, the varkaris start singing the abhang After every three to four miles of walk, the procession halts for rest. The main halt during the day occurs at noon. It is normally near a river or water source as cooking, cleaning etc. activities take place. After a collective lunch and a brief rest, the pilgrims are refreshed and begin their onward journey. The place of halt is normally on a large open ground on the outskirts known as Palkhi tal. The main tent is already set up for the Palkhi and the town welcomes it with decorations and banners. The dindis stand in a circular form and the central pathway leading to the tent is carpeted. As the Palkhi enters the Palkhi tal, the rhythmic singing picks up amidst the sound of cymbals and drums.
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ďƒ˜ The mace-bearer then asks for silence, and a short arati (worship song) is performed in front of the silver footwear which are taken inside the tent. He then announces the time of departure for the following morning, and a list of lost properties for that day and then the pilgrims go to their night quarters.
Varkaris washing clothes and utensils along the route ďƒ˜ The warkaris make tents according to the dindis and settle during the night ďƒ˜ They do their activities throughout the day like bhajans, kirtans, and prayers.
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3. EFFECT OF THE PILGRIMAGE IN A TOWN- LONANAD Selected spaces for study Application of physical criteria Understanding of scale and proportion Activity mapping Study of market spaces
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3.1 SELECTED SPACES FOR OBSEERVATION Among the various events and festivals in Lonand town, the Palkhi’s arrival and stay is much awaited and publicly celebrated. The Jnaneshwar Palkhi follows the route which passes many temples including the Bhairavnath temple, to reach its tent located in the market area or the palkhi tal . This route passes through the dense gaothan (town core) area. There are two main squares at the junctions of Laxmi road. These squares are the ‘Laxmi chowk’ and the ‘Tanaji chowk’ and they define the extent of public space on the Palkhi route.
Part plan of Lonand showing the selected spaces on the Palkhi route
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3.2 LAXMI CHOWK Laxmi chowk is the first public square on the arrival route of the Palkhi. It is formed by a meeting of three roads but is spatially and visually divided by the Laxmi temple. The temple is virtually on the edges of the three roads though it is not centrally placed in the chowk. Laxmi chowk has the temple of goddess Laxmi at its heart and hence its name. The other chowk is more centrally located and is named after the famous historic figure of Tanaji, a brave warrior from the 16th century.
Laxmi chowk showing Laxmi temple
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3.3 TANAJICHOWK Tanaji chowk is the next square on the Palkhi route and is located almost centrally in the gaothan (town core) area of Lonand. There are no significant buildings within the square, but it has three large banyan trees. The two trees abutting the Laxmi road have masonry platforms around them. However, the edges of this chowk are not well defined on all sides. On the south-western corner, there is a half complete building in concrete frame construction which is proposed for a mosque, but is currently devoid of any architectural character.
Tanaji Chowk showing the banyan trees with masonry platforms around 36
3.4 APPLYING THE PHYSICAL CRITERIA Both chowks are enclosed from all sides by buildings which are mainly residential and commercial and to a lesser extent, public or religious. The enclosing elements, in the case of Laxmi chowk are discontinuous as some intermediate plots are vacant or in a state of new construction. A triangular open plot marks one edge and is fenced up to demarcate the road area.
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3.5 SCALE AND PROPORTION
Laxmi Chowk, Plan, showing the square dimensions 38
The size of Laxmi chowk is approximately 27 m by 32m . Though the minimum dimension1 exceeds 21 m, it is important to note that these dimensions are discontinuous due to the presence of Laxmi Temple in the chowk, which divides the square into fragments. The area in front of the temple veranda is the effective space used whereas the peripheral areas lie within the street zones. This effective space is about 14m in width and thus falls within the acceptable range for small public squares.
Laxmi chowk, transverse section Distance- 8m to 11m on either side of the temple with the total dimension- 27.7m Buildings- on both sides max height 8.15m. Corner building- G+2 storey’s high Stepped receding profile - 8.15 to 11.35m high. Width to height ratio - 45 to 18 degrees. These fall within the range of optimum angles to view the surrounding buildings without getting overpowered by their height.
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Laxmi chowk, longitudinal section The buildings which enclose, range from approximately 11.35 to 14.55m in height. Though the physical width of the chowk is 30m the adjoining open plot (fenced up) has an additional 24m width abutting the tallest (14.55m high) hospital building. Hence, visually the space extends beyond 30m giving the square a more spacious feel. The stark mass of the hospital building is softened by this open plot with the large tree which acts like a visual buffer.
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3.6 PALKHI IN TOWN: AN ACTIVITY MAPPING OF THE EVENT The arrival of the Palkhi and its movement till it reaches the Palkhi Tal is a process which goes on for almost an hour after it first enters the town at the junction of the highway. The two horses which lead the procession are believed to be holy and are welcomed with great honour. Their arrival marks the official entry of the Palkhi. The pace of the entire procession is reduced as it enters the town, to respond to the change of scene. The residents of Lonand welcome the Jnaneshwar’s pilgrimage amidst music, fireworks, drums and cymbals, and flower decorations.
The zones of pilgrims and the onlookers indicated in two colours get overlapped at certain nodes. This is observed in places where there is more space to expand, or where there are verandas and steps for the onlookers to gather. The entire route is enlivened with onlookers who are local residents, as well as people from nearby villages. The edge between the public and the private is extensively used during this activity.
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Map showing Palkhi arrival in Laxmi chowk 42
3.7 MARKET SPACE DURING THE PALKHI The whole place has come alive. Plastics, canvasses and jute cloths are stretched across the balconies and in some situations from the temporary poles to the streets. The make-shift stalls are thus formed and laid in the chowk which are vibrantly flapping in the breeze. Items ranging from jewellery, utensils to clothes are on sale and the voices of the vendors and the buyers mix with the wafting aromas of food delicacies and beverages being prepared in the stalls.
Laxmi chowk transformed during the Palkhi stay
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Map of Laxmi road and Laxmi chowk showing stalls layout The privately owned verandas have turned into places for pilgrims and travellers to rest, eat and chat. They also use them for small scale businesses like hair cutting and shaving, polishing of pots and pans, sharpening of knives, mending of different articles such as jewellery, watches tools, and bicycles. The street as well as its edges accommodates these activities as the people convert the steps, landings, patios, courtyards or street space to suit their needs.
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4. INFERENCE MOVEMENT IN A PALKHI FINDINGS OF THE STUDY CONCLUSION
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INFERENCE 4.1 MOVEMENT IN A PALKHI The movement patterns observed in the Palkhi are not uniform and regular which are illustrated in the following key sketches:
ANALYSIS The analysis reveals that the architectural settings of Lonand are not planned for any particular event. They have developed as a response to the day-to-day needs of the local residents without rigid design constraints. It has resulted in a complex spatial and visual configuration. The unplanned or seemingly leftover spaces (without any defined use) prove to be of maximum use during the event.
Movement patterns in the Palkhi
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FINDINGS OF THE STUDY
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ANNEXURES MY STORY
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BIBLIOGRAPHY https://www.wbdg.org/design-disciplines/architecture https://www.charlescountymd.gov/sites/default/files/pgm/planning/sdarbguidelines.pdf https://inside.mines.edu/Construction_Standards https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&cad=rja&uact=8&ved=0ahUKEwiXr6HkudfRAhXErI8KHYV5Cy QQFggtMAM&url=http%3A%2F%2Fwww.ece.mtu.edu%2Ffaculty%2Fbamork%2Fee4900%2FStdsSpec.pdf&usg=AFQjCNGeKAkLtJTnEiFuyoE_KI0vrX2Bw https://en.wikipedia.org/wiki/Design_to_standards http://publications.lib.chalmers.se/records/fulltext/167160.pdf https://en.wikipedia.org/wiki/Meher_Pilgrim_Center http://www.kurisumala.org/history.php http://www.arcon-design.com/project-details.php?procat=architecture&pro=16&propic=2
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