Navrasa- A thesis on An Approach of adaptive reuse as a Boutique Hotel by kemikadivar

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL. A THESIS SUBMITTED TO THE SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE, AS PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF BACHELOR OF DESIGN 2020 -2021

Kemi Kadivar Student

Gurjit Matharoo Guide

Pratyush Shankar Dean SEDA

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

DECLARATION I hereby declare that the thesis titled “An approach of adaptive re-use in the form of Boutique Hotel.” is an independent work by me and has not been submitted at any other forum. I am submitting this work for as partial fulfillment of the Thesis course for the Bachelor of Design Program at SEDA, Navrachana University.

Kemi Kadivar - Student

In my capacity as a guide of the student’s thesis, I certify that this work can be submitted for partial fulfillment of the Thesis course for Bachelor of Design Program at SEDA, Navrachana University.

Gurjit Matharoo - Guide

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Acknowledgment This study would not have been possible without the support, presence, and faith of many individuals. I wish to express my deepest gratitude to my guide in thesis, Architect Gurjit Singh Matharoo for sharing his invaluable expertise throughout the thesis. I would like to offer my special thanks to Aditya Dicky Singh for letting me document his beautiful n invaluable historic Haveli. Also, I would like to offer my special thanks to professor Shalini Amin, program Chair-person-B.design, and professor Advaita Jalan for their constant support and en¬couragement. I am also grateful to the other members of SEDA who have supported me throughout. My appreciation also goes to my family and friends for their unceasing encouragement and support.

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Table of Content

1. Introduction 1.1 1.2 1.3 1.4

Aim Objectives Scope and limitations Methodology

2. Adaptive Re-use 2.1 What is adaptive Re-use 2.2 Importance of adaptive re-use 2.3 Types of approaches to the adaptive re-use of a building 3. Functional approach 3.1 Hospitality as a function of adaptive re-use 3.2 Classification of different types of travel accommodation 3.3 Introduction to Boutique Hotel 4. Design Programme 4.1 Programme brief 4.2 Typology and Finance 4.3 Site 4.3.1 site brief 4.3.2 site analysis

5. Case study 5.1 RAAS Jodhpur 5.2 Neemrana fort palace 6. Design Concept 6.1 study of Miniature Paintings 6.2 study of 9 rasas of music and dance forms

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

7. Design 7.1 Introduction 7.2 Ground floor 7.2.1 Ground floor zoning 7.2.2 Ground floor design layout 7.2.3 Mood board 7.2.4 3d views 7.3 First floor 7.3.1 First floor zoning 7.3.2 First floor design layout 7.3.3 Ashva mahal 7.3.3.1 Plans and Folded Elevation 7.3.3.2 Mood board 7.3.3.3 3d views 7.3.4 Adbhut Mahal 7.3.4.1 Plans and Folded Elevation 7.3.4.2 Mood board 7.3.4.3 3d views 7.3.5 Neel Kund 7.3.5.1 Plans and Folded Elevation 7.3.5.2 Mood board 7.3.5.3 3d views 7.4 Second floor 7.4.1 Second floor zoning 7.4.2 Second floor design layout 7.4.3 Veer mahal 7.4.3.1 Plans and Folded Elevation 7.4.3.2 Mood board 7.4.3.3 3d views 7.4.4 Shant Mahal 7.4.4.1 Plans and Folded Elevation 7.4.4.2 Mood board 7.4.4.3 3d views 7.4.5 hath Kund 7.4.5.1 Plans and Folded Elevation 7.4.5.2 Mood board 7.4.5.3 3d views 7.5 Third floor 7.5.1 Third floor zoning 7.5.2 Third floor design layout 7.5.3 Shringar Mahal – The restro 7.5.3.1 Plans and Folded Elevation 7.5.3.2 Mood board 7.5.3.3 3d views 10 AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

7.5.4 Shant bagh 7.5.4.1 Plans and Folded Elevation 7.5.4.2 Mood board 7.5.4.3 3d views 7.6 Fourth floor 7.6.1 Fourth floor zoning 7.6.2 Fourth floor design layout 7.6.3 Utth Mahal 7.6.3.1 Plan and Folded Elevation 7.6.3.2 Mood board 7.6.3.3 3d views

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Abstract

Interior describes a place, describes the nature or emotions of the person who lives there or to whom it belongs! While traveling, hotels are our home for few days! Designing a home means designing a personalized space according to one’s comfort, tradition, and lifestyle. Today’s luxury travelers seek destinations with a personality that embraces their surroundings or tells their own story. India is a country of rich cultures and heritage, endorses many beautiful palaces, Havelis, and places with historical values. Many of these places have already been restored and many are still abandoned. It is very important to protect our rich heritage which is being lost in this edge of modernization. Many adaptive reuses have been carried out to restore these places and Boutique hotels are one of the options when it comes to adaptive reuse. This thesis focuses on designing a boutique hotel in the form of adaptive reuse in context to the history of space/ local crafts.

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1.Introduction One of the most exciting aspects of travel is the ability to experience what life is like in another part of the world for a short time. Many historical places have hidden gems that are abandoned or decaying. Adaptive reuse can help in reliving this place of historical significance. Re-purposing these buildings like hotels, we can add meaning to this abandoned construction and acknowledge its historical values. This thesis focuses on the designing of a boutique hotel and understanding the culture and tradition of the place to give the restored place, its value. This will let the traveler, staying in the hotel know more about the tradition of that place through the architecture and interior hospitality of the place.

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1.1 Aim: This design thesis aims to design a boutique hotel through adaptive reuse of existing buildings with context to history behold by building in the form of local craft/culture or tradition associated with building in past.

1.2 Objectives: • To understand different approaches of adaptive reuse in existing designed projects. •To understand the intervention and relation between the old and new. •To design spaces that give an essence of the previous usage/mood of the site.

1.3 Scopes and limitation: •Physical resources being limited to some extent due to the pandemic. •It is assumed that technical exploration to conservation will be taken care of by conservation experts including structural Engineers and conservation Architects and the scope will be on aspects of interior design. •The research is limited to create understating and developing a concept for the design program.

1.4 Methodology: •Understanding the different types of adaptive reuse approaches. •Studying the different kinds of travel accommodation to create a better understanding of boutique hotels. •Studying approaches of adaptive re-use carried out in the existing adaptive reuse hotel projects by case studies. •Understanding the old to new intervention by the case studies.

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2. Adaptive Reuse AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

2. Adaptive Re-use 2.1 What is Adaptive Reuse? Adaptive re-use is a process of altering and repurposing the function of a space other than it was originally designed and built for. It is a process of changing the actual intent function of the building to meet the modern needs of society.

2.2 Importance of Adaptive Reuse Adaptive re-use helps in re-purposing a space that would otherwise be left to decay or demolished. It is important to preserve historic buildings because they are part of our collective cultural patrimony. Traditional buildings represent a vast variety of crafts and artistic skill that is no longer seen in modern construction. It protects the cultural heritage of their community. Also-purposing helps in the betterment of the economic, environmental, and social performance of the building. “Adaptive reuse projects retain unique and authentic characteristics that cannot be manufactured in new construction. Successful implementation of adaptive reuse development, blends modern technology with historic structures, creating an atmosphere and sense of place that is impossible to imitate.” Brian hutt, director of denver’s cushman and wakefield office.

2.3 Types of approaches to the Adaptive Reuse of a building

Fig 2.1 Adaptive reuse form, Diagram Based on Bollack, F. A. (2013), “Old Buildings New Forms; New directions in Architectural Transformations.”

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Parasite

Mounting a new form boldly on the side or top of the building.

Fig 2.2 Parasite

Convent de Sant Francesca Stanpedor, Spain

Peeling

Replacing and removing the essence of the skin

Fig 2.4 Peeling

Caixa Forum Madrid, Spain

Juxtaposition

Adding something in the same plot on the outside area of the structure.

Fig 2.3 Juxtaposition

Royal Ontario museum Canada Ontario, Canada

Transplanting Keeping the façade of old structure on new structure

Fig 2.5 Transplanting

School Od Design Building Melbourne, Australia

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Wrap

Wrapping the structure with a new form either by sides or by height.

Insertion

Adding new construction into the existing building.

Fig 2.6 Warp

Santa Caterina Market Barcelona, Spain

Parasite- stack

Addition of new form on the top of the building.

Fig 2.8 Parasite-Stack

Waterhouse Of South Bund Shangai,china

Fig 2.7 Insertion

Soyoo Joyful Growth Centre China

Weave

Integrating identifiable but yet connected extension into the old building.

Fig 2.9 Weave

Kolumba Museum Germany

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Fig 3.1 Functional Approach illustration

3. Functional Approach AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

3. Functional approach 3.1 Hospitality as a function of adaptive re-use

As the world grows, tourism is becoming a primary necessity, and culture and heritage play a major role in determining visitor’s destinations. The increasing interest of travelers in history, music, and art is driving the market for accommodations and amenities such as staying in hotels or eating at restaurants with a historical ambiance in a historical building. Hospitality as an function of adaptive reuse has been very popular these days. Its celebrates the culture hold by the building in the past. Functioning the adaptive reuse project into hospitality attracts the tourists and acts as economic betterment of the community owning the property.

3.2 Classification of different types of travel accommodation

TRAVEL ACCOMODATION CLASSIFICATION BASED ON SIZE 1. 2. 3. 4.

Small Medium Large Very large

BASED ON STAR 1. 2. 3. 4. 5.

1 star 2 star 3 star 4star 5 star

BASED ON OWNERSHIP

BASED ON LOCATION & CLIENTLE 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Downtown hotel Sub-urban hotels Resorts hotel Airport hotel: Motels Flotels Rotels Business or commercial hotels Transient hotels Boutique hotels Residential hotels Suite hotels Bed & breakfast hotel: Casino hotels Conference centres Green hotel

1. 2. 3. 4. 5. 6.

Independent hotel Chains Management contracts Franchise Referral groups Condominiums

BASED ON STAYING DURATION 1. Commercial hotel 2. Transient hotel 3. Semi residential hotel 4. Apartment or residential hotels 5. Extended-stay hotel

ALTERNATIVE ACCOMODATION

BASED ON SERVICES 1. 2. 3.

World class service hotel Mid-range service hotel Budget hotel

1. 2. 3. 4. 5.

Fig 3.2 classification of travel accomodation

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Boarding houses Youth hostels Camping grounds Railway or airport retiring rooms Paying guest accommodation

3.3 Boutique Hotels

Fig 3.3 Das Fort Boutique Rasnov, Romania

Boutique hotels don’t have a specific definition, these hotels have a unique personality in themselves, they are thematic. all around from their room to their restaurants to their food menu, they are themed or have a unique personality in themselves. It often allows the user to experience the local cultured travel accommodation.

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Fig 4.1 Design program illustration

4. Design Program 26 AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

4. Design Program 4.1 Design program brief Site: Nagaroo ki Haveli AKA “ Raja ke Saheli ki Haveli “ • • • •

• • • • •

Design overview and scopes: To refunction the space as a boutique hotel as a part of adaptive reuse. To design a luxury hospitality experience in context to the history behold by the building in past/local art and crafts. The scope is limited to interior aspects. It is assumed that any technical exploration to conservation will be taken care of by conservation experts including structural Engineers and conservation Architects. Project Goals To study the local art/craft To study the history associated with the building To analyze the site and provide necessary function and changes if needed To keep the essence of the old building in the design To provide a luxury hospitality experience to the users

Targated audience

Fig 4.2 Targated audience

Couples

Family

Solo Traveler

Youth Traveler and explorers

Type of experience •

Guests will get an experience of rajasthan’s culture, hospitality and lifestyle in a contempary form yet local.

•

Creating a strong essence of space by incorporating locally sourced material and reflecting the heritage through colours and art.

Facilities

Fig 4.3

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Amenities

Fig 4.4

4.2 Typology and Finance

Deciding a user budget to design each space.

BOUTIQUE HOTEL

CAFE

Rs.500.00/pp Approx

RESTAURANT

RS.1000.00/pp Approx

ROOM CATEGORIES

PRICE RANGE

Single Suite

Rs.7000/Night

Double Suite

Rs.10000/Night

Premium Double Suite

Rs.15,000/Night

Private luxury Suite Fig 4.5 typology and finance

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Rs.20,000/Night

Fig 4.6 Site image

4.3 SITE AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Fig 4.6 Site Location

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AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Site : Nagaroo ki Haveli ( house of Aditya Singh ) Raja ke Saheli ki Haveli

Location: Teerath, Bundi, Rajasthan 400m from Taragarh Fort Palace Built by : Raja Rao Ratan Singh

Hotel braj bhunshanjee haveli

Area: 208.17 sq m Current owner : Aditya Dicky Singh

Hotel Ksera Paradise

Hotel Bundi Vilas

Fig 4.8 Site

Fig 4.9 site entrance door

Fig 4.10 google site map

Taragarh Fort

Fig 4.11 google earth site Map

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This haveli was built by Raja Rao Ratan Singh for one of his love ladies. This haveli was built 400 years back in the 1620s. The haveli was home to Raja’s love lady and other women who lived with her. This haveli is connected to Room of King in the Taragarh Fort Palace by a Tunnel. The tunnel is presently closed from the entrance located in the haveli ( Fig 4.12). According to the stories heard by the neighbors, very beautiful women were seen in the haveli through the balcony. Many dance and music performances were assumed to be performed in the Haveli. The site is the half division of Actual Havel built by Raja. The haveli was divided based on ownership. Currently, many sealed openings are seen in the site which connects to the other half of the haveli. One of the openings is still kept open shown in Fig 4.14. Also, 2 staircases with a blocked way were found on the site. Fig 4.12 Raja Rao Ratan Singh

Fig 4.13 sealed entrance gate of the tunnel connecting the fort

Fig 4.14 Open gateway to the other part of the haveli ( not a part of site)

The site has ground + four floors. Each floor is connected to eachother with staircase. The site is situated in a narrow street at a close space to neighboorhood buildings. Currently the site is abondend and has a future look out at it as hotel by the owner. Many parts of the building were repaired 2 years back. Currently many openings are closed in the building because the surrounding has a issue of monkeys bugging in the building. Many parts of the building are found dugged, as the site belonged to late king of Bundi, people think there might be a chance of hidden treasure here. AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL 33

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4.3.2. Site Analysis AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

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AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

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AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

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AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

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Staircase to second floor

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

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5. CASE STUDY AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

5.1 RAAS JODHPUR

Fig 5.1.1 raas jodhpur pool view

Adaptive reuse- the luxury boutique hotel of RAAS, Jodhpur crafts a dialogue between the old and the new through authenticity of materials and workmanship. Located within a walled city, this luxury hotel required a strong sense of connection with its surroundings. Three, 17th to 19th century structures were painstakingly restored to accommodate heritage suites and communal areas.

Heritage structure before restoration and innervation Fig 5.1.2 old site plan

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Fig 5.1.3 Before restoration entrance

Before restoration entrance

Fig 5.1.5 Baradari Before restoration

Baradari-before restoration

Fig 5.1.7 Before restoration pavilion

Before restoration – view pavilion that was dismantled and relocated as reception.

Fig 5.1.4 Before restoration darikhana

Darikhana Terrace - before intervention

Fig 5.1.6 Before restoration Haveli

Haveli - structure before restoration

Fig 5.1.6 Before restoration site

Before restoration-Baradari in the foreground with the Haveli in the background two of three heritage structures at site

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Juxtaposition APPROACH !

Adding something in the same plot on the outside area of the structure.

Fig 5.1.7 after restoration site

Site Plan

Fig 5.1.8 site plan

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Site section

Fig 5.1.9 site section

In the middle, there are no obstructive structures. The new architecture serves as a complement to the old. The opening serves as a framing for the rest of the site. The RAAS experience, created by Studio Lotus + Praxis Inc., is anchored by three inherited historical structures arranged in a vast courtyard. The new structures act as framing components as well as modern counterpoints to the site and fort. 36 rooms are housed in new buildings that are contemporary reinterpretations of Rajasthan’s classic double-skinned constructions, with outside jaali work hiding an inner layer of masonry and glass.

Entrance gate

Fig 5.1.10 entrance gate

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Fig 5.1.11 after restoration entrance gate

Fig 5.1.12 before restoration entrance gate

Baradari block

Fig 5.1.13 Baradari block

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Fig 5.1.13 Baradari view

Baradari deck-after restoration-Alcoves built into the edge of the Baradari deck welcomes the guests entering the courtyard.

Fig 5.1.14 Baradari restaurant

Fig 5.1.15 Baradari light design

Baradari-interior after restoration-finished in Lime plaster. This is the all-day dining and lounge for the hotel guests. Mostly wall lights were used to light the space.

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Darikhana

Fig 5.1.16 darikhana

Fig 5.1.17 darikhana Rooftop Restaurant

Darikhana - View from Rooftop restaurant - Carefully planned lighting involves that the fort is always a highlight as compared to the hotel spaces compared to the hotel spaces

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Fig 5.1.17 darikhana Indoor tented Restaurant

Darikhana Terrace - Interior view of the tented restaurant. Darikhana Terrace - Detail - Insert of Mirrors in a folded lime plaster wall that capture Rooftop restaurant.

Fig 5.1.18 darikhana during restoration

Fig 5.1.19 darikhana during restoration

Darikhana Terrace - work in progress - Insert of metal framework for the tented structure

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Fig 5.1.20 darikhana site during restoration

Darikhana First floor - Suite Courtyard during restoration

Fig 5.1.21 darikhana site before restoration

Darikhana First floor - Suite Interior before restoration.

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Fig 5.1.22 darikhana suite interior after restoration

Darikhana First floor - Suite Interior after restoration

Fig 5.1.23 darikhana suite courtyard after restoration

Darikhana First floor - Suite Courtyard after restoration

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HAVELI BLOCK

Fig 5.1.24 haveli block

Fig 5.1.24 haveli structure before restoration

Fig 5.1.25 haveli structure after restoration

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Fig 5.1.26 spa before restoration

Haveli- Interiors - Spa before restoration

Fig 5.1.26 spa after restoration

Haveli- Interiors - Spa after restoration AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Fig 5.1.24 Heritage Suites before restoration

Haveli - First Floor - Heritage Suites before restoration

Fig 5.1.25 Heritage Suites

Haveli - First Floor - Restored Heritage suite 58 AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Fig 5.1.26 diagram

Fig 5.1.27 cutting of jodhpur stones

Building Process- 3 metre long slabs of Jodhpur Stone were individually hand cut at site by a team of highly skilled artisans to create stone screens.

AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Fig 5.1.28 on site process picture

Building Process- Development of the Skin towards the fort facing side

Fig 5.1.29 after construction

Each of the 420kg sandstone jaali panels is engineered to fold away to reveal views of the nearby Mehrangarh Fort, or to be closed for privacy and sun shading. Traditional skills and 60 AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

6. Design Concept AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

6.1 Study of Miniature Paintings of Bundi In the initial phases of the painting, Rajasthani elements with a significant Mughal influence can be seen, with men and women portrayed in a traditionally Mughal manner.Bundi miniature painting began in the 17th century and reached its height in the 18th century. Bundi’s painting is renowned for portraying streaming rivers, spectacular night sky, green foliage, vibrant movement, and a unique way of depicting water using light swirls against a dark backdrop.

Fig 6.1.2 Kakubha Ragini, Bundi, 1760 (Bundi) | Victoria and Albert Museum

However, since the rulers of Bundi had significant exchanges with the region, later Bundi paintings indicate a strong influence from the Deccan. To show their delicate line work and great creativity, the artists used mainly green, red, blue, and purple. The lotus bath, which is in the foreground of aquatic flora and fauna, is a recurring motif. Rao Chatarsal in the 17th century, Umed Singh in the 18th century, and Bishen Singh in the 18th-19th century were among the patrons who appear in various miniatures of their time. Not only did the kings support art in Bundi, but the nobles have contributed significantly.

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Fig 6.1.3 Rao Umed Singh (Bundi) | Victoria and Albert Museum

Fig 6.1.4 Raja Bishan Singh of Bundi, ca. 1820 | Victoria and Albert Museum

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The Krishna-Lila, Ragamala, Rasikapriya, Nayaka-Nayika Bheda, Baramasa, Zenana, hunting scenes, and portraits from Bundi, ,are some of the most common themes in Rajasthani painting. Bundi’s art went through many stages of growth, ranging from classical themes to portraits to scenes of great action to scenes of great sensuality.

Fig 6.1.5 Krishna and Consort on a Palace Balcony with Musicians - Kota or Bundi | Cleveland Museum of Art

The Bundi and Mewar styles of painting are very similar. Rich, glowing colours, a golden setting sun, a crimson-red horizon, and intertwined, semi-naturalistic trees are among the features. The refined drawing of the faces and an element of naturalism in the design of the trees show Mughal influence. On the end, the text is written in black against a yellow backdrop. 64 AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Fig 6.6 shows one of the famous Miniature Painting of Animals. The three animals in the paintings are elephant, horse and camel.Each of the animal here presents a a different quality. Elephant represents luck, horse represents power and camel represents the emotion of love.

Fig 6.1.6 Animal Miniature Painting

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6.2 Study of 9 RASA of Dance and Music Emotion is an incomplete, conscious phenomenon marked largely by psychological gestures, bodily responses, and mental states, according to psychology and philosophy. Mood, outlook, personality, temperament, and inspiration are all linked to emotion. Emotions have provided a rich basis for human life that rules their lives. Our feelings are governed by a variety of actions and events.But should we picture a world without feelings? Emotions give our lives colour and texture. Every day’s repetitive activities, as well as the unexpected events that make and keep our lives running, are all threads that are woven together to shape the embroidery of our lives.

Fig 6.2.1 dance form

Both of these threads have one thing in common: they cause emotions in us, and we react to them with our emotions before they can become a part of our internal lives. Indeed, life can be seen as a continuous series of Emotions that manifest themselves in different contexts and situations. In Sanskrit, these emotions are known as “Rasas,” and they owe life its various hues, shades, and colours. Rasa means taste or essence in Sanskrit, and Nava means nine. Rasa is a word that is widely used to describe the feeling of being in a “emotional state.” Since they were symbolised in the Natyasastra (written sometime in 200 BC-300 AD) and established the base from which the practises of dance, music, theatre, poetry, and literature emerged, the nine Rasas have become (and continue to be) the strength of character of Indian aesthetics. The sole purpose of the concert and artwork was to elicit Rasas in the crowd. Any operation in our lives contains rasa, or, to put it another way, everything we do contains Rasa. In our lives, some rasas are more important than others (depending on our individual character). Some objects have a stronger essence than others, and others are innate. Rasa is the unseen life-giving material. 66 AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

The NatyaShastra is an ancient Indian text that analyses all aspects of performing arts and dates from the 2nd century BC to the 2nd century AD. Because of its significance, it is sometimes referred to as the fifth Veda. It contains a comprehensive description of the rasas, or emotions, that characterise both life and art. The NatyaShastra identifies nine rasas (NavaRasas) as the foundation of all human feeling. Each one is discussed in depth. It’s important to remember that a rasa encompasses not just the emotion, but also the different factors that contribute to the emotion. These two issues are inextricably linked and cannot be treated separately. Shringara (love), Hasya (laughter), Karuna (kind-heartedness or compassion), Raudra (anger), Veera (courage), Bhayanakara (terror), Bheebhatsya (disgust), Adbutha (surprise), and Shantha (surprise) are the nine emotions used in Navarasa (peace or tranquility). These are the emotions that an individual exhibits in different contexts. Scientists have discovered that any human emotion elicits a coloured aura (halo). The rainbow is divided into seven shades, each of which represents a different emotion: rage (red), greed (orange), fear (yellow), willpower (green), hope (blue), compassion (indigo), and love (violet) (violet). However, it also reflects the absence of colour (black), which is death, as well as the absence of light (white).

9 Rasas

1.Shringara Shringara is a Sanskrit word that means “love” and “beauty.” It refers to being in the company of someone of the opposite sex. It means “Romance” in English. It is the base of a relationship between a man and a woman, providing warmth and comfort. Our lives are enriched as we love and are loved. People are happier and much better because they feel connected to others. Love makes us feel valuable, understood, and secure. Shringara means that we must recognise that beauty exists in all Fig 6.2.2 Shringara Rasa places and can still be cherished. Find joy in the beauty of others. Shringar Rasa abounds in Lord Krishna’s Raas Leela, according to Indian mythology. Swami Vivekananda said that raas leela is an outward manifestation of divine leela that occurs within each and every individual’s heart. Existence is unadorned unless we love someone and have romance. The Gods demonstrated that Shringara is a sacred emotion. Shringara denotes a disregard for neatness and tidiness. We will bring peace to our lives by bringing a little slickness to our lives. Shringara is brought to life by flowers, fragrances, perfumes, and colours. The colour light green is used to represent Sringara rasa.

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2.Hasya Rasa

Hasya Rasa is a necessary part of life; after all, what is life without laughter? Hasya is divided into two types: Atmastha (self-based) and Parastha (based on others). Hasya Rasa is distinguished by its white colour. Atmastha is when we laugh at ourselves, and Parastha is when we make other people laugh. Laughter has a variety of beneficial organic impacts Fig 6.2.3 Hasya Rasa on the body. It boosts the immune system, decreases cravings, and increases pain resistance. Reduces muscle tension and discomfort while increasing muscle endurance. Laughter’s psychological and physical relief cannot be offset by a large sum of money. It has the ability to divert our thoughts away from situations that cause us to feel angry, guilty, stressed, or other negative emotions. It enables one to see tough circumstances in a certain light. Laughter and humour strengthen connections and improve relationships with people on a social basis. Also, since laughing is infectious, introducing more laughter into our lives will encourage those in our world to laugh more, which will have a positive impact on a variety of levels.

3. Karuna

Karuna means Compassion, which I would describe as a positive emotion. It is a sense of remorse for others as a result of seeing their pain, as well as an urge to help them. Compassion is beautiful because it is focused on rational concepts of equity, right, and Fig 6.2.4 Karuna Rasa interdependence. here is also an aspect of compassion which regards a quantitative dimension, such that individual’s compassion is often given a property of “depth,” “vigour,” or “enthusiasm.” The negative Bhavas of Karuna rasa are dejectedness, indifference, lethargy, anxiety, yearning excited state, illusion, loss of sense, sadness, ailments, sluggishness, epileptic loss of memory, fear, death, paralysis, tremor, pallor in the face, shedding of tears, loss of voice, and similar emotions are experienced. According to the NatyaShastra, the Karuna Rasa arises from various Bhavas, such as witnessing suicide, murder, torture, or anguish. Crying, speechlessness, sighs, expressions of sorrow, lack of meaning, bitter tears, and other related movements are all examples. Grey is used to represent Karuna rasa.

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4. Raudra Raudra translates as Anger in English. It is considered to be one of the negative emotions. Rage can be divided into two categories. The first is disruptive rage, which persists solely for its own sake. The second kind is proactive frustration, which is motivated by a sense of injustice or disappointment as well as a desire to effect substantive change. Anger is a common emotion that can vary in severity from moderate Fig 6.2.5 Raudra Rasa irritation to outright rage. It is a response to a perceived threat to ourselves, our loved ones, our belongings, our self-image, or any aspect of our personality. Anger serves as an alarm sign that something is wrong. Rage is something that everybody goes through, only a certain amount of it can be beneficial. It has the potential to inspire us to speak up for ourselves and to correct injustices. When we handle our indignation well, it has a good impact on our life and places us in a better position. Both Raudra Rasa and Karuna Rasa may be the result of some kind of deprivation. In Karuna, suffering leads to a lack of hope and resignation, while in Raudra, it leads to anger. Lord Shiva’s “Rudravtar” is well-known. Krodha (anger), Dharsana (violation of modesty), Adhiksepa (abuse), Apamana (insult), Anrtavacana (uttering falsehoods), Vakparusya (Harsh words), Droha (animosity), Matsarya (jealousy), and similar ones are the results of Rudra Rasa. Battling, tearing, harassing, cutting off, smashing, punching, hitting, hurling bullets, shedding blood, seizing weapons, and other related practises are all associated with Raudra Rasa. Rudra Rasa is shown in a reddish-brown colour scheme.

5. Veera Veera: It’s called heroism in English. Bravery, fearlessness, courage, boldness, self-confidence, and grit are all emphasised in the Veera rasa. It’s our determination to take risks and do the right thing at the right moment, regardless of the obstacles we may face. Boldness allows one to say the facts and complete a mission without regard for the consequences Fig 6.2.6 Veera Rasa or outcomes because it is the correct thing to do. In fighting, warriors’ boldness is shown by the manner in which they go to war and the valour with which they die. We admire brave leaders because it is the most important trait in a leader. In Hindu mythology, Abhimanyu exemplified a certain kind of bravery as he went to battle thinking he would be heavily outnumbered and almost definitely die, but fought valiantly until the end. The Veera Rasa is depicted in various characters in Sattriya Dance and Culture, such as Keli Gopal, Kaliyadaman, Patni Prasad, Parijat Haran, Rukmini Haran, Rambijay, and Arjun Bhanjan. Veera Rasa serves as the basis for civil defence. Veera rasa is represented by the golden colour. AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

6. Bhayanaka

Bhayanaka means terror in English. Fear, worry, fretfulness, and anxiety are all depicted in the Bhayanaka Rasa. Bhayanaka is a sense of helplessness evoked when confronted by something more powerful than oneself. Terrorism is mostly caused by the political and economic abuse of the exploited Fig 6.2.7 Bhayanaka Rasa majority by those in positions of authority. Terrorism today is founded on deception; one man’s terrorism is another man’s freedom war. Terror may cause anxiety, paranoia, phobias, and depression. Terrorism, according to the modern interpretation, is described as immoral or unlawful acts of violence directed at random targets in order to instil fear. xtremist forces with a small power base or parties on the losing side in asymmetric warfare use it. Terrorism is used to maintain law and order, typically within the legal system of the state; we see shades of it used to terrorize criminals. Bhayanaka rasa is represented by the black pigment.

7.Bibhatsya Beebhatsya is called disgust in English. Vulgar and uncivilized acts, usage of bad words and manners evoke an unpleasant feeling which is Beebhatshya. The feeling of disgust in the mind of Prince Siddhartha towards sickness, old age and death later transformed him into Buddha which is one of the avatars Fig 6.2.8 Bibhatsys Rasa of Lord Vishnu. The colour of Bibhatsya is blue. It’s a deep sense of disgust or rejection triggered by something negative or insulting. A deep unpleasant emotion of aversion or rejection is called disgust. Disgust is a strong mental alarm sign as well as a physical feeling.

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8. Adbhuta Adbhuta means “amazement.” Curiosity, astonishment, and wonder are depicted rasa of Adbhuta. Adbhuta is the sensation of encountering something spiritual and supernatural, something never known or believed before. When we recognise that there are things we don’t understand, life becomes magical and thrilling, full of wonders to discover and opFig 6.2.9 Adbhuta Rasa portunities for new knowledge and experiences. The divine search, the search for true reality and the solution to life’s mystery, begins with wonder. Life has a lot of surprises to come. Look at the clouds and the sky colours at dusk and dawn. Take note of how the seeds, vines, leaves, and flowers sway in the breeze. Examine a variety of life forms, including plants, reptiles, birds, and humans. There is so much to be amazed by. The Mansorovar tour, according to those who have taken it, is full of surprises. In a personal basis, we will face physical obstacles as well as circumstances in which our behavioural and emotional makeup will be revealed. Yellow is used to represent Adbhuta Rasa.

9.Shanta Shanta is called tranquilly in English. Shanta is the rasa of harmony and tranquilly. It symbolises a state of equilibrium and unflappable stability. Shanta symbolises total harmony in the mind, body, and cosmos. When Buddha was enlightened, he felt shanta, which contributed to liberation or nirvana, Fig 6.2.10 Shanta Rasa which liberated him from the cycle of life and death. Despite all of science’s advancements, no cure for a lack of inner harmony and tranquilly has yet to be discovered. People also lack peace of mind despite being in good financial and physical health, demonstrating that peace of mind is not dependent on external circumstances or science or technological advances. The answer must come from inside, not from outside sources. The color of Shanta Rasa is white.

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7.Design 72 AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

7.1 GROUND FLOOR The ground floor is designed by the theme of Shanta Rasa. This floor is designed to give a peaceful and calm environment to the guests by using the tones of white and little play with the colors to keep the attention of the guests. This floor is designed in a way that it welcomes the guest by a minimalistic designed reception area with a warm tone of white. This reception area serves both the hotel guests and the guests of the restaurant and cafe. The reception area leads to two paths. One towards the first floor through the staircase and one to the lounge space connected to the Admin office. Admin office serves the Hotel guests.

Spaces: Reception Area Lounge Space Admin office

Design Theme: Shanta Rasa

Zoning

Fig 7.1.1 Space bubble diagram

Admin Office Lounge space Reception

Fig 7.1.2 Ground Floor Zoning

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Fig 7.2.4 reception area

Here new plaster is replaced by the old one.Kota stone being the local source is used here as flooring.A long framed Miniature Painting is hung highlighting one of the niche.the reception has a brass desk,imitating the brass utensils used in the early times. Warm tone of light is used to light the space

Fig 7.2.5 entrance old site

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ELEVATION EC F

F D

Admin Office

Admin office

ADMIN OFFICE +800.00MM LVL

Lounge seating

+400MM LVL

Lounge seating

+0.0MM LVL

ELEVATION GF

RECEPTION

ELEVATION DA

ELEVATION AB

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Fig 7.2.6 3d Design view facing the staircase leading towards first floor

This wall ( Fig 7.1.7) had an opening that connects to the king’s bedroom in the fort. Keeping its historical value in mind, this wall is kept untouched and the cemented area is shown with a small opened door to indicate the essence of opening in the early times. Beside it, a table is displayed with the miniature painting of the king and information about the opening. This space is beautified with an antique chandelier on the top.

Fig 7.2.7 old site image

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Fig 7.2.8 Louge space facing admin office

Steps are constructed to the climb the inaccessible platform( Ref. Fig 7.1.9). Seatings are created on both the side offering a lounge space for the hotel guests.The wall facing the back of admin office has been kept raw from the old structure to have an essense of the pervious mood of the space.

Fig 7.2.9 old site photo referrencing

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7.3 FIRST FLOOR The first floor has 3 themes in its design.It has 2 suite rooms and a public cafe with a public toilet common for ground floor and first floor. The spaces on the floor are recreated and designed in way that allow more sunlight into the space.

ROOM 1-

Ashva Mahal Single Suite

ROOM 2-

Adbhuta Mahal Double Suite

STORAGE- Multifunctional space Can ne used as Storage/ pantry for cafe CAFE-

Neel Kund

Fig 7.3.1 bubble diagram

Zoning

Fig 7.3.2 zonning

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Civil plan

Fig 7.3.3 civil1

Fig 7.3.5 civil 3

Fig 7.3.4 civil 2

Fig 7.3.6 civil 4

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+4120.00 M LVL

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7.3.1 ASHVA MAHAL ASHVA MAHAL is a single bed suite accomodating one person. It has facilities and amenities like a coffee kettle, air conditioner, blow dry, window view, study desk, and big bath space with shower and dressing space. This suite is designed on the characteristics of one on the animal from the famous animal miniature painting. The word Ashva is a Sanskrit word that means horse in English. The horse in the Miniature painting depicted the quality of power. Bold black color is used here to depict the emotion of power her. Its depicted how the power of introduction to a bold color like black change the space.

Fig 7.3.1.2 animal miniature painting

Fig 7.3.1.1 ashva

Jaipur black carpet

local sourced Kota stone flooring

Mosaic tiles

local sourced Marble flooring

Fig 7.3.1.3 mood board

MOOD BOARD AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

Fig 7.3.1.4 site civil indication

Fig 7.3.1.5 3d view ASHVA MAHAL

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Suite Amenities Single bed Wi-Fi Street view Study desk

Area: 23.6 sq m Budget: Rs.5000 per night

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7.3.2 ADBHUTA MAHAL ADBHUTA MAHAL is designed on the theme of Adbhuta rasa from the 9 Rasas of music and dance. Adbhuta means “amazement.” Curiosity, astonishment, and wonder are depicted in the rasa of Adbhuta. Adbhuta is the sensation of encountering something spiritual and supernatural, something never known or believed before. Yellow is used to represent Adbhuta Rasa. Here this rasa is depicted in the space with a color of amazement i.e yellow. Adbhuta mahal is a premium double suites providing the facilities and amenities such as a separate lounge sitting area, jharokha sitting with a view of the street, bathroom with shower, blow dryer, iron, refrigerator, coffee maker. Fig 7.3.2.1 adbhuta rasa

Antique Chandelier Jaipur yellow carpet

yellow themed window

ceramic tile

MOOD BOARD Fig 7.3.2.2 mood board

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Fig 7.3.2.3 3d view ADBHUT MAHAL

Fig 7.3.2.4 site image

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Fig 7.3.2.5 3d view lounge space ADBHUTA MAHAL

Fig 7.3.2.6 site image

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7.3.4 NEEL KUND THE CAFE This cafe is designed on the theme of Bundi the blue city. The word Neel is a Sanskrit word that means blue in English. The cafe is themed blue as the color. This cafe has 3 kinds of seatings. One is open seating, the second is semi-open seating and the third is closed space seating. the entrance wall towards the cafe is painting as a miniature painting showcasing the Krishna Leela. This cafe is a public cafe that can be used by both the guest to the hotel and the outsider guests. Rattan-style furniture is being exhibited in this space. The kund of the side of the wall which was assumed to be used to fill the water for birds has been transformed into a plant pot with bougienvella planted in it. Theme: The Blue City Bundi

Fig 7.3.4.1 bundi the blue city

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7.4 SECOND FLOOR The second floor has two entrances one from the first floor entrance and the other from beside the Kund/open to skyspace on the first floor. the entry from the Kund side connects to the 2 suite entrance and a lobby that connects to the Third suite. This floor has a privilege of a balcony in one of the suites. This floor has a very good amount of sunlight entering the

ROOM 3- SHANTA MAHAL ROOM 4- VEER MAHAL ROOM 5- GAJA MAHAL

Fig 7.4.1 Bubble diagram of spaces

Zoning

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CIVIL PLAN

G C

Fig 7.4.2 civil 1

Fig 7.4.3 civil 2

Fig 7.4.4 civil 3

Fig 7.4.5 civil 4

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7.4.1 SHANTA MAHAL This suite is named SHANTA MAHAL after the 9th Rasa of the Navrasas. Shanta is a Sanskrit word that means tranquility in English. Shanta is the rasa of harmony and tranquility. It symbolizes a state of equilibrium and unflappable stability. Shanta symbolizes total harmony in the mind, body, and cosmos. This Rasa is a symbol of peace and is depicted by white color. Here mind tones of white are used to design the space. This has a very calm bath area. The bed space has a view toward the shower through a window.

Fig 7.4.1.1 Shanta Rasa

Jaipur inspired floral motif wall paper

Antique Chandelier

Jaipur Carpet

Wood

MOOD BOARD Fig 7.4.1.2 mood board shanta mahal

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Fig 7.4.1.3 3d view shanta mahal 1

Fig 7.4.1.3 3d view shanta mahal 2

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101

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7.4.2 VEER MAHAL

Fig 7.4.2.1 veer rasa

This suite is named VEER MAHAL after the Veer Rasa of the Navrasa of dance and music. Veera is a Sanskrit word that means heroism in English. Bravery, fearlessness, courage, boldness, self-confidence, and grit are all emphasized in the Veera rasa. We determine to take risks and do the right thing at the right moment, regardless of the obstacles we may face. Boldness allows one to say the facts and complete a mission without regard for the consequences or outcomes because it is the correct thing to do. This suite has a play of bold colors with contrast to the color depicted by the Rasa i.e golden color. This suite has a very beautiful Balcony looking to the street. Also, this suite has separate lounge seating. It is one of the premium double suites in the hotel.

existing old wall good earth india jaipur wallpaper

chandelier

jaipur pink carpet Marble Flooring

Fig 7.4.2.1 mood board veer mahal

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Fig 7.4.2.2 Lounge seating area

Fig 7.4.2.3 bed area

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105

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7.4.3 GAJA MAHAL This suite is Named GAJA mahal. GAJA is a Sanskrit word that means elephant. GAJA MAHAL has facilities and amenities like a coffee kettle, air conditioner, blow dry, window view, study desk, window with a long seating. This suite is designed on the characteristics of one on the animal from the famous animal miniature painting. The elephant in the miniature painting depicts lucks. The suit is designed on the theme of an elephant.

fig. 7.4.3.1 elephant miniature painting

fig 7.4.3.2 animal miniature painting

fig 7.4.3.3 mood board gaja mahal

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109

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7.5 THIRD FLOOR The third floor has four spaces, indoor restaurant, outdoor restaurant, exhibition space, and kitchen the restaurant. Indoor restaurant and outdoor restaurant are connected. while the exhibition space and kitchen are independent.

Fig 7.5.1 bubble diagram of spaces

Fig 7.5.2 zoning AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

111

Fig 7.5.3 circulation

Fig 7.5.4 site view facing towards taragarh fort

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113

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7.5.1 SHRINGAR MAHAL THE RESTAURANT AND BAR

This restaurant is named and designed from the 5th rasa of the navrasa.Shringara is a Sanskrit word that means “love” and “beauty.” It refers to being in the company of someone of the opposite sex. It means “Romance” in English. It is the base of a relationship between a man and a woman, providing warmth and comfort. The restaurant is designed on the theme of shringara and the colour depicted by the rasa i.e green Fig 7.5.1.1 Shringar rasa expression

MOOD BOARD

Fig 7.5.1.2 Mood Board

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Fig 7.5.1.3 3d view Shringar Mahal

Fig 7.5.1.4 3d view Shringar Mahal

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7.5.2 SHANTA BAGH THE OUTDOOR RESTAURANT This outdoor restaurant is named SHANTA BAGH baseb on the rasa Shanta. Shanta is called tranquilly in English. Shanta is the rasa of harmony and tranquilly. It symbolises a state of equilibrium and unflappable stability. Shanta symbolises total harmony in the mind, body, and cosmos.This reastaurant embraces the beauty of the surrounding from a height which is above the noise. this restaurant has a view of the mountain n view towards the city and lake.

Fig 7.5.2.1 shanta rasa

Fig 7.5.2.1 shanta bagh restaurant

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119

7.6.1 UTT MAHAL UTT MAHAL is a private luxury suite. Utt is a sanskrit word which means Camel in english. This suite is themed on camel from the famous miniature painting of animals. Camel is a symbol of love.This suite is themed on love iwhich is shown by the expression of red colour in the space.This suite is different from all the other suites. it offers a balcony which gives a view of the whole city of bundi and another view towards the Taragarh fort.

Fig 7.6.1.1 camel

Fig 7.6.1.2 animal miniature painting

Fig 7.6.1.3 3d view utt mahal

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Fig 7.6.1.4 3d view utt mahal

Fig 7.6.1.5 3d view utt mahal

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BIBLOGRAPHY https://drvidyahattangadi.com/what-is-the-navrasa-of-life/ https://www.indiefolio.com/project/59f20bf5c0fa6/the-navrasas https://archnet.org/sites/7156/media_contents/81964 https://archnet.org/sites/7156/media_contents/81937 https://studiolotus.in/showcase/raas-jodhpur/35

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List of figures 2.1- 2.9 https://portfolio.cept.ac.in/2021/S/fd/reuse-revive-hospitality-spaces-ir3010-spring-2021/pratha-a-boutique-hotel-spring-2021-ui0917 4.4 4.5

6.1.2 6.1.3 6.1.4 6.1.5

6.1.6

6.2.1 6.2.2 6.2.3 6.2.4 6.2.5 6.2.6 6.2.7 6.2.8 6.2.9 6.2.10 6.2.11 7.3.4.1

7.4.3.1

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AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL

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124 AN APPROACH OF ADAPTIVE REUSE IN THE FORM OF BOUTIQUE HOTEL