GRADUATION PROJECT VOL-1.2 (Shri Shiva Vishnu Temple, New Jersey) by Ketan Suryawanshi

GRADUATION PROJECT

Shri Shiva Vishnu Temple in America

(Temples for Sai Datta Peetham in New Jersey, USA.) Volume-1.2 Sponsor : ND's Art World Pvt. Ltd. Karjat, Maharashtra, India. Student : Ketan Suryawanshi Programme : B.Des Guide : Archana 2020 Industrial Design

*Akshardham Temple, Delhi https://in.pinterest.com/pin/1196337390558675/

Student document publication, meant for private circulation only. UG, Industrial Design, 2016-2020 National Institute of Design, Andhra Pradesh, India. All illustrations and photographs in this the document is copyright by respective people/organization. Edit and designed by - Ketan Suryawanshi E-mail - ketan0252@gmail.com Processed atNational Institute of Design, Andhra Pradesh India

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Original Statement

I hereby declare that this submission is my work and it contains no full or substantial copy of previously published material or it does not even contain a substantial proportion of material which have been accepted for the awards for any other diploma or final graduation of any other educational institution, except where due acknowledgment is made this graduation project. Moreover, I also declare that none of the concepts are borrowed or copied without due acknowledgment. I further declare that the intellectual content of this graduation project is the product of my work, except to the extent that assistance from others in the project’s design and conception or style, presentation, and linguistic expression is acknowledged. This graduation project (or part of it) was not be submitted as assessed work in any other academic course.

I hereby grant the National Institute of Design the right to archive and to make available my graduation project/thesis/dissertation in whole or in part in the Institute’s Library in all forms of media, now or hereafter known, subject to the provisions of the Copyright Act. I have either used no substantial portions of the copyrighted material in my document or I have obtained permission to use copyright material. Student Name in Full: _______________________ Signature: Date: ___________________________

Student Name in Full: ______________________________________ Signature: ____________________________ Date: __________________________

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Preface As part of the curriculum at NID, the final year students are required to take up a degree project at the end of their 8th semester. This project is expected to follow the design process, and one is expected to work in the industry. The Degree Project is expected to be of 4-6 months duration. The Degree Project aims to implement the learnings of the student into an industry scenario. It exposes the student to learn how the industry functions and helps understand the limitations and constraints of working in the industry. This helps build a better understanding for students about the workings of a studio/corporate consultancy. This experience also helps them market ideas to the right people in the right way, enabling them to make the right choices when they set foot into the industry. The degree project enables and enriches the students with experience with which he or she can confidently enter into the design field. I pursued my graduation project at ND Studio, Karjat, India.

Acknowledgement It is my pleasure to express my vote of thanks to the National Institute of Design and ND Studio for offering me an opportunity on this project. I would like to express my thanks to my project guide Archana for her guidance and valuable support throughout the project. Constant dialogue with her helped me plan out my process well in advance and gave me insight into the design process countless times. I am grateful to Sekhar Mukerjee, our director, for his endless support towards every student of our college, and for being an essential part of my batch’s growth as designers and humans. Many thanks to all my faculty members and fellow students at NID, who shared their experiences and knowledge and for keeping me motivated towards this project. My sincere thanks go to Shri. Nitin Chandrakant Desai, Hemant Bhatkar, Praful Tambe, and the entire team at ND Studio for their support throughout the project. Special thanks to Raghu Ji, Upendra Ji, and Shishir Ji for taking this project forward in my absence. Special thanks to Ar. Rajesh Khaire for providing me with everything I needed relating to the basics of Architecture norms. The thanks extend to Ar. Vinu Patel for providing me with the basics of Architecture norms and Drawings from the USA, New Jersey. Also, to Sai Datta Peethem and their team for constant support and for providing me with the production pictures of the site. Special thanks to my best buddies and batch-mates for their long-distance support during difficult phases in this project. Special thanks to Mrs. Archana for providing me with everything I needed for the documentation. Lastly, thanks to my family for their never-ending support, unwavering belief, guidance, and wisdom.

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

National Institute of Design, Andhra Pradesh The National Institute of Design Andhra Pradesh was established in September 2015 as an autonomous Institute under the DPIIT, Ministry of Commerce and Industry, Government of India. It is situated temporarily in Acharya Nagarjuna University on Guntur - Vijayawada highway (NH 16) as a transit campus before moving to permanent campus to come up in 50 acres site in ‘Amaravati,’ new Capital City of Andhra Pradesh. It is the first NID to set up by the National Design Policy, approved by Parliament in 2007 for establishing four new NID’s across the country after the five decades of the National Institute of Design, Ahmedabad.

NID AP’s Vision is to offer the best Design Education for India by innovation, research with sustainable products and services to make the quality of life better and safer. To meet the challenges of life by design in the sectors of health & medical devices, transportation & mobility, defense products, renewable energy products, small cities, sports, and environmentally friendly products is NID AP’s Mission. The objective of the institute is to provide design education that interacts with technology, engineering, manufacturing, and business to improve the quality of life. Life at NID AP is exploration personified. A peregrination of academics, people, and cultures. Students not only derive inspiration from their natural domains but have the opportunity to amalgamate their inherent cultures with what the state of Andhra Pradesh offers. Students at NID AP intend to introduce to the people, the variance, and grandeur of India. Cultural events or even academics, there is no media that hasn’t been explored by the students at their time in college.

National Institute of Design, Andhra Pradesh Transit Campus

Courtyard of National Institute of Design, Andhra Pradesh Transit Campus.

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Industrial Design Industrial design is a process of design applied to products that are to be manufactured through techniques of mass production. Its key characteristic is that design is separated from manufacture: the creative act of determining and defining a product’s form and features takes place in advance of the physical act of making a product, which consists purely of repeated, often automated, replication. This distinguishes industrial design from craftbased design, where the form of the product is determined by the product’s creator at the time of its creation.

Industrial Design Batch 2016 of National Institute of Design, Andhra Pradesh Transit Campus.

All manufactured products are the result of a design process, but the nature of this process can take many forms: it can be conducted by an individual or a large team; it can emphasize intuitive creativity or calculated scientific decision-making, and often emphasizes both at the same time; and it can be influenced by factors as varied as materials, production processes, business strategy, and prevailing social, commercial, or aesthetic attitudes. The role of an industrial designer is to create and execute design solutions for problems of form, function, usability, physical ergonomics, marketing, brand development, sustainability, and sales.

Rajiv Jassal

Associate Senior Faculty Industrial Design

Amaltas Khan Associate Senior Faculty Industrial Design

Industrial Design at NID Andhra Pradesh, focuses on preparing students for professional growth as well as their societal contribution as industrial designers. The course curriculum for the Graduate Diploma Program in Design (GDPD) in Industrial Design commences with a rigorous Foundation Program to lay a strong base on fundamentals of design. Further, each progressing semester contains courses to support the semester projects, ensuring the theoretical and practical learning of the subjects. The curriculum is critically designed to build the core strengths as well as the specialization as per the changing industry requirements. Students also work in close interaction with industry to identify their specialization such as consumer electronics, kitchenware, furniture, etc, and accordingly, develop their portfolio of works. Collectively, the teaching-learning pedagogy in the domain of industrial design at NID Andhra Pradesh enriches the knowledge and experience of students within their interest areas and enable them to wisely choose a design career.

Archana

Faculty Industrial Design

Industrial Design Workshop at National Institute of Design, Andhra Pradesh Transit Campus.

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Sunny Bairisal

Assoc. Sr. Tech. Instructor Industrial Design

What is the Graduation Project The end of the student academic tenure at the National Institute of Design is marked by the culmination of the substantial investigation in the field of design on a topic closely allied to their discipline of the study. It is through the graduation project and subsequent documentation of the same that this investigation takes place. This is the final academic project for the student. A jury comprising faculty members evaluates the students’ performance in the graduation project, after which, students are awarded NID ‘S professional education program final graduation. The graduation project is an opportunity for students to demonstrate their expertise as independent practitioners of design. However, this project must be done with academic rigor incorporating systematic inquiry and informed design decisions. The phrase ‘Systematic Inquiry’ implies the presence of a structure and method by which the student must carry out his / her project.

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

CONTENT 1 RESEARCH & REF. ........................................................................ 01-38 1.1 Regional Variations in Hindu Temples ............................................................................................................................................................ 03 1.2 About Sai Baba .................................................................................................................................................................................................... 19 1.3 Sai Baba Temple Reference ............................................................................................................................................................................... 21 1.4 Panchamukha Ganpati Temple ......................................................................................................................................................................... 25 1.5 Meenakshi Mataji Temple .................................................................................................................................................................................. 27 1.6 Panchamukha Shiva Lingam Temple ............................................................................................................................................................... 29 1.7 Balaji Temple ....................................................................................................................................................................................................... 31 1.8 Karthikay Temple ............................................................................................................................................................................................... 33 1.9 Panchamukha Hanumanji Temple ................................................................................................................................................................... 34 1.10 Narasimha Swamy Temple .............................................................................................................................................................................. 35 1.11 Inference ............................................................................................................................................................................................................ 37

2 DESIGN DEVELOPMENT ........................................................... 39-64

2.1 Concept Development ............................................................................................................................................................................................................................... 41 2.2 Analysing & Finalising Concept ............................................................................................................................................................................................................... 49 2.3 Division of Temple Structure .................................................................................................................................................................................................................. 51 2.4 Ideation Sketches ........................................................................................................................................................................................................................................ 52 2.5 Portablity of temples for transportation at Site ..................................................................................................................................................................................... 59 2.6 Exploded view of a temple ....................................................................................................................................................................................................................... 60 2.7 Skeleton of temples ................................................................................................................................................................................................................................... 61 2.8 Joinary of temple structure ....................................................................................................................................................................................................................... 63

3 REFLECTIONS & BIBLIOGRAPHY ........................................... 65-74

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

RESEARCH & REFERENCING

1 01

• • • • • • • • • • •

KETAN SURYAWANSHI / Graduation Project 2021

Regional Variations in Hindu Temples About Sai Baba Sai Baba Temple Reference Panchamukha Ganpati Temple Meenakshi Mataji Temple Panchamukha Shiva Lingam Temple Balaji Temple Karthikay Temple Panchamukha Hanumanji Temple Narasimha Swamy Temple Inference

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.1

Central India

Regional variations in Hindu temples

In the later periods, the temples grew from simple four-pillared structures to a large complex. This means that similar developments were incorporated in the architecture of temples of both the religions. Two such temples that survive are; temple at Udaygiri, which is on the outskirts of Vidisha (it is a part of a large Hindu temple complex), and the temple at Sanchi, a Buddhist site. The early temples were modest-looking shrines, and each has four pillars that support a small mandapa before an equally small room that served as garbhagriha. Some of the oldest surviving structural temples of the Gupta period are in Madhya Pradesh. The ancient temple sins UP, MP and Rajasthan share many traits, and the most visible is that they are made of sandstone.

The Nagara or North Indian Temple Architecture • Nagara is the style of temple architecture that became popular in Northern India. • It is common to build an entire temple on a stone platform with steps leading up to it. • Unlike in south India, it doesn’t usually have elaborate boundary walls or gateways. • The earliest temples had only one shikhara (tower), but in the later periods, multiple shikharas came. • The garbhagriha is always located directly under the tallest tower.

1. DASHAVATARA VISHNU TEMPLE, DEOGARH, UP: Even though the patrons and donors of the temple are unknown, it is believed that this temple was built in the early 6th century CE.This is a classic example of the late Gupta period.

Nagara temples can be subdivided mainly into three – based on the shikhara type. 1. Latina/ Rekha-Prasada: • It is the simple, and most common type of shikhara. • It is square at the base, and the walls curve or slope inwards to a point on top. • Latina types are mainly used for housing the garbhagriha. • Later on, the Latina buildings grew complex. Instead of appearing like a single tower, the temple began to support many small towers clustered together like rising mountain types, with the tallest one being in the center, which was always above the garbhagriha. 2. Phamsana type shikhara: • They are broader and shorter than Latina type. • Their roof is composed of several slabs that gently rise to a single point over the center of the building, unlike the Latina ones, which look like sharply rising towers. • Phamsana roofs do not curve inwards; instead, they slope upward on a straight incline. • In many north Indian temples, the phamsana type is used for mandapas, while the main garbhagriha is housed in a Latina building. 3. Valabhi type shikhara: • These are rectangular buildings with a roof that rises into a vaulted chamber. • The edge of the vaulted chamber is round, like the bamboo or wooden wagons that bullocks would have drawn in ancient times. • The form of this temple is influenced by ancient building forms that were already in existence.

This temple is in the Panchayatana style of architecture. [Panchayatana is an architectural style where the main shrine is built on a rectangular plinth with four smaller subsidiary shrines at the four corners and making it a total of five shrines – i.e., Pancha]. There are three main reliefs of Vishnu on the temple walls. It is not known to whom the four subsidiary shrines were initially dedicated. The temple depicts Vishnu in various forms. It was assumed that the four subsidiary shrines must also house Vishnu’s avatars, and the temple was mistaken for a dashavatara temple. The grand doorway of the west-facing temple (west-facing is less standard) has the sculptures of Ganga on the left and Yamuna on the right side. The shikhara is in Latina/ Prasada style, which clarifies that this is an early example of a classical nagara style of the temple. Sheshayana – on the south (Vishnu reclining on the sheshanaga called Ananta)Nara-Narayana – on the east (discussion between a human soul and the eternal divine)Gajendra moksha – on the west (story of achieving moksha, symbolically communicated by Vishnu’s suppression o an asura who had taken the form of an elephant). The temple is west facing, which is less common, as most temples are east or north facing.

(1)

(2)

https://upload.wikimedia.org/wikipedia/commons/thumb/6/65/Deogarh01.jpg/800px-Deogarh01.jpg

https://www.astrolika.com/temples/dashavatara-temple-deogarh.html

(3) KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2. TEMPLES AT KHAJURAHO, MADHYA PRADESH: The temples at Khajuraho were made in the 10th century, about 400 years after the temple at Deogarh and the complex is a UNESCO World Heritage Site. The temples were patronized by Chandela kings. We can see how dramatically the shape and style of the nagara temple architecture had developed. The temples at Khajuraho are all made of Sandstone. The largest temple at Khajuraho is the Kandariya Mahadeva temple which is attributed to king Ganda. The Lakshmana temple dedicated to Vishnu was built in 954 by Chandela king, Dhanga. The temple's towers or shikhara rise high, upward in a curved pyramidal fashion, emphasizing the temple’s vertical thrust ending in a horizontal fluted disc called an Amalaka topped with a Kalasha or a vase. The crowning elements Kalasha and Amalaka are to be found on all nagara temples of this period.

The Khajuraho temples are also known for their extensive erotic sculptures (about 10% of total sculptures); the erotic expression gives equal importance in the human experience as a spiritual pursuit, and it is seen as a part of the larger cosmic whole. Many Hindu temples, therefore feature Mithuns (embracing couples-erotic sculptures) sculptures, considered auspicious. Khajuraho sculptures are highly stylized with typical features. There are many temples at Khajuraho, most of them dedicated to Hindu gods. There are some Jain temples as well as a Chausanth Yogini temple. Chausanth Yogini is a temple of small square shrines dedicated to esoteric devis or goddesses associated with the rise of Tantric worship after the 7th [Khajuraho dance festival is organized by MP Kalaparishad and is one week long (first week of February) festival of classical dances celebrated annually against the spectacular backdrop of Khajuraho]

Credit: ThinkStock Photos

West India

1. SUN TEMPLE, MODHERA, GUJARAT:

There are too numerous temples in the northwestern parts of India, including Gujarat and Rajasthan, and stylistically extendable, at times, to western Madhya Pradesh. The stones to build temples ranges in color and type. While sandstone is the commonest, a grey to black basalt can be seen in some 10th to 12th-century temple sculptures. The most exuberant and famed is the manipulatable soft white marble, which is also seen in some of the 10th to 12th-century Jain temples in Mount Abu and the 15th-century temple at Ranakpur. Among the important art historical sites in the region is Samlaji in Gujarat. It showed how earlier artistic traditions of the region mixed with a post-Gupta style and gave rise to a distinct type of sculpture. A large number of sculptures made of grey schist have been found in this region.

The temple dated back to the early 11th century and was built by Raja Bhimdev I of the Solanki dynasty. The Solanki was a branch off later Chalukyas. There is a massive rectangular stepped tank called Surya Kund in front of it. The hundred square meters rectangular pond is perhaps the grandest temple tank in India. A hundred and eight miniature shrines are carved in between the steps inside the tank. A substantial ornamental arch-Torana leads one to the sabha mandapa (the assembly hall), which is open on all sides, as was the fashion of the times in western and central India temples.

https://www.gujarattourism.com/north-zone/mehsana/sun-temple-modhera.html

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

East India

BENGAL:

ASSAM:

East Indian temples include those found in the North-East, Bengal, and Odisha, and each of these three areas produces a distinct type of temple. The history of architecture in the northeast and Bengal is hard to study because several ancient buildings in those regions were renovated. What survives now is later brick or concrete temples at those sites. It appears that terracotta was the primary medium of construction. Many sculptures have been found in Assam and Bengal, which shows the development of critical regional schools in those regions.

An old 6th century sculpted door frame from DaParvatia near Tezpur and another few stray sculptures from Rangagora Tea Estate near Tinsukia in Assam bear witness to importing the Gupta idiom in that region. The post-Gupta style continued in the region well in the 10th. However, by the 12th to 14th centuries, a distinct regional style developed in Assam. The style that came with the migration of the Tais from upper Burma mixed with the dominant Pala style of Bengal and led to the creation of what was later known as the Ahom style in and around Guwahati. Kamakhya temple, a Shakti peeth, is dedicated to the goddess Kamakhya and was built in the 17th century.

https://www.revv.co.in/blogs/road-trips-to-pilgrimage-sites-in-northeast/

The style of sculptures during the period between the 9th and 11th centuries in Bengal (including Bangladesh) and Bihar is known as the Pala style, named after the ruling dynasty. That style in the mid 11th and mid 13th centuries is named after the Sena kings. While the Palas are celebrated as patrons of Buddhist monastic sites, the region's temple is known to express the Vanga style. The Siddheswara Mahadeva temple in Burdwan, W.B., built in the 9th century, shows a tall curving shikhara crowned by a large amalaka, an example of early Pala style.

Many of the temples from the 9th to 12th centuries were located at Telkupi in Puruta district, W.B. They were submerged when dams were constructed in the region. The architecture of these temples heavily influenced the earliest Bengal Sultanate buildings at Gaur and Pandya. Many local vernacular building traditions of Bengal also influenced the style of the temple in that region. The most prominent of these was the shape of the sloping or curving side of the bamboo roof of a Bengali hut. This feature was eventually adopted in Mughal buildings and is known across India as the Bangla Roof (word Bungalow derived from this).

http://double-dolphin.blogspot.com/2017/02/stone-temples-of-barakar-begunia.html

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

ODISHA (KALINGA ARCHITECTURE): The main architectural features of Odisha temples are classified in three orders: A. REKHAPIDA/ REKHA DEULA/ RATHAKA DEULA: Rekha means a line, and it is a tall, straight building with a sugar loaf shape. It covers the garbhagriha. B. PIDHADEULA: It is a square building with a pyramid-shaped roof and is mainly found for housing the outer dancing and offering halls.

Most ancient temples are located in ancient Kalinga – modern Puri district, including Bhuvaneswar or ancient Tribhuvaneswar, Puri, and Konark. The temples of Odisha constitute a distinct sub-style within the nagara order. In general, here, the Shikhara called Deul in Odisha is vertical almost until the top when it suddenly curves sharply inwards. Mandapas in Odisha are called Jagamohanas. The ground plan of the main temple is almost always square, which, in the upper reaches of its superstructure, becomes circular in the crowning. The exterior of the temple is lavishly curved, while their interiors are generally quite bare. Odisha temples usually have outer walls.

C. KHAKRADEULA: It is a rectangular building with a truncated pyramid-shaped roof. Temples of the female deities are usually in this form (garbhagriha usually) and will have a resemblance with Dravidian temples of the south.

(A)

https://commons.wikimedia.org/wiki/File:Temple_of_Ichai_Ghosh.jpg

(B)

https://mercomindia.com/odisha-konark-sun-temple-solar-powered/

(C)

https://www.naukrinama.com/stressbuster/some-interesting-facts-about-indian-temples/ vital-deula-temple-pic-by-debasis-sahoo/

KETAN SURYAWANSHI / Graduation Project 2021

1. Sun temple, Konark, Odisha:

2. Jagannatha temple, Puri, Odisha:

It was built around 1240 on the shores of the Bay of Bengal. The temple is set on a high base, its walls covered in extensive, detailed ornamental carving. These include 12 pairs of enormous wheels sculpted with spokes and hubs, representing the chariot wheels of the sun God who, in mythology, rides a chariot driven by eight horses, sculpted here at the entrance staircase. The whole temple thus comes to resemble a colossal processional chariot. On the southern wall is a massive sculpture of Surya carved out of green stones. It is said that there were three such images carved out of a different stone placed on the three temple walls, each facing different directions. The fourth wall had the doorway into the temple from where the actual rays of the sun would enter the garbhagriha.

It is also located on the eastern coast, at Puri, Odisha. The temple is a part of Char Dham (Badrinath, Dwaraka, Puri, Rameswaram) pilgrimages that a Hindu is expected to make in one's lifetime. When most of the deities in the temples of India are made of stone or metal, the idol of Jagannatha is made of wood which is ceremoniously replaced every twelve or nineteen years by using sacred trees. The temple is believed to be constructed in the 12th century by King Anatavarman Chodaganga Deva of the Eastern Ganga Dynasty. The temple is famous for its annual Ratha Yatra or Chariot festival.

(1)

https://en.wikipedia.org/wiki/Jagannath_Temple,_Puri#/media/File:Shri_Jagannatha_Temple.jpg

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

(2)

https://en.wikipedia.org/wiki/Jagannath_Temple,_Puri#/media/File:Shri_Jagannatha_Temple.jpg

The Hills A unique form of architecture developed in the hills of Kumaon, Garhwal, Himachal, and Kashmir. Kashmir's proximity to the Gandhara site (such as Taxila, Peshawar, and northwest frontier) left the region a strong Gandhara influence by the 5th century C.E. This began to mix with the Gupta post-Gupta traditions that brought to it from Sarnath, Mathura, and even centers in Gujarat and Bengal. Both Buddhist and Hindu traditions began to intermingle and spread in the hills.

Pandrethan Temple

https://bhaskarpthakur.wordpress.com/2018/03/14/pandrethan-temple-another-ancient-temple-of-kashmir/

Lakshana Devi Temple

https://en.wikipedia.org/wiki/Lakshana_Devi_Temple,_Bharmour#/media/File:Lakshana_Devi_temple_ (6133565074).jpg

The hills also had their tradition of wooden buildings with pitched roofs and as a result. At the same time, the main garbhagriha and shikhara are made in Latina/Rekha-Prasada type, and the mandapa is an older form of wooden architecture. Sometimes, the temple itself takes on a pagoda shape. The Karkota period of Kashmir is the most significant in terms of architecture. The most important temples of these regions are Pandrethan, Laksna-Devi Mandir, Jageswar near Almora, Champavat near Pithoragarh, etc.

The Dravida or South Indian Temple Architecture Unlike the nagara temple, the Dravida temple is enclosed within a compound wall. The front wall has an entrance gateway in its center, which is known as Gopura/ Gopuram. The shape of the central temple tower is known as Vimana (shikhara in nagara style). The vimana is like a stepped pyramid that rises geometrically rather than the curving shikhara of north India. In south India, Shikhara is used only for the crowning element at the top of the temple, which is usually shaped like a small stupika or an octagonal cupola (this is equivalent to the amalaka or kalasha of north Indian temples). In north Indian temples, we can see Mithunas (erotic) images and the river goddesses, Ganga and Yamuna, guarding the temple. But in the Dravida style of temple architecture, we can see the sculptures of fierce dvarapalas or doorkeepers guarding the temple instead of these sculptures. A large water reservoir or a temple tank enclosed in the complex is general in south Indian temples. Subsidiary shrines are either incorporated within the central temple tower or located as a distinct, separate small shrine beside the main temple.

The north Indian idea of multiple shikhara rising together as a cluster was not famous in Dravida style. At some of the most sacred temples in South India, the main temple in which the garbhagriha is situated has, in fact, one of the smallest towers. This is because it is usually the oldest part of the temple. When the population and the town's size associated with the temple increased, it would have become necessary to make a new boundary wall around the temple (and associated structures). An example of this is the Srirangam temple at Thiruchirapally, which has as many as seven concentric rectangular enclosure walls, each with gopurams. The outermost is the oldest, while the tower right in the center housing the garbhagriha is the oldest. Just as the nagara architecture has subdivisions, Dravida temples also have subdivisions. These are basically of five different shapes: 1. 2. 3. 4. 5.

Kuta or caturasra – square Shala or ayatasra – rectangular Gaja-prishta or vrittayata (elephant backed) –elliptic Vritta – circular Ashtasra – octagonal

Jageshwar Temple

https://www.templepurohit.com/hindu-temple/jageshwar-temple/

Baleshwar Temple

Kailashnath Temple at Kanchi

https://www.apnisanskriti.com/temple/baleshwar-temple-champawat-uttrakhand-3226

KETAN SURYAWANSHI / Graduation Project 2021

https://glimpsesofhistory.com/dravidian-style-of-temple-architecture/

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

PALLAVAS: The Pallavas were one of the ancient south Indian dynasties active in the Andhra region from the 2nd century onwards and moved south to settle in Tamil Nadu. Their history is better documented in the inscriptions in stone and several monuments. Although they mainly were Shaivites, several Vaishnava shrines also survived from the reign, and there is no doubt that they were influenced by the long Buddhist history of the Deccan. The early buildings of Pallavas were rock-cut, while the later ones were structural (structural buildings were well known to them when rock-cut ones being excavated). The early buildings are generally attributed to Mahendravarman I, contemporary of Chalukya king, Pulikeshi II of Karnataka. Narasimhavarman I, who was also known as Mamalla, acceded the throne around 640 CE. He expanded the empire and inaugurated most of the building work at Mahabalipuram, known after Mamallapuram.

THE SHORE TEMPLE AT MAHABALIPURAM, TAMIL NADU It is a structural temple and was built during the reign of Narasimhavarman II, also known as Rajasimha. The temple faces east towards the sea and has three shrines – east and west to Shiva and the middle for Vishnu (Anantashayana). This is unusual because temples generally have a single main shrine and not three areas of worship. This shows that it was probably not conceived initially like this, and different shrines may be added at different times. There is evidence of a water tank in the compound, an early example of a gopuram, and several other images. Sculpture of the bull, Nandi, Shiva's mount, lines the temple walls. The temple has suffered severe disfiguration due to erosion by salt water-laden air over the centuries.

The Pallava temple architecture can be classified into four groups according to the rulers and the features of temples they constructed. a. Mahendravarman Group: • Early temples of the Pallavas belong to King Mahendravarman I (7th century). • They were rock-cut temples (may be influenced by rock-cut architecture). • Eg. Manndagapattu, Mahendravadi, Tircuchirapally, etc. b. Narasimha/Mamalla Group: • It is the second stage of Pallava architecture which started when Narasimhavarman I (Mamalla) came to the throne. • The architecture is represented by Monolithic rocks. • The monolithic rathas and mandapas of Mamallapuram are examples. • The five rathas are popularly known as Panchapandava rathas. c. Rajasimha Group: • The group was under Narasimhavarman II who was also known as Rajasimha. • He introduced the structural temples and Gopura style in Pallava architecture. • The Kailasnath temple at Kanchi and the Shore temple at Mahabalipuram are examples. d. Nandivaram Group: • Architecture mainly under the Pallava king, Nandivaram Pallava. • They also represented structural temples. • The temples were generally small compared to the other groups. • The Vaikundaperumal temple, Tirunelveli and Mukteswara temple are examples.

Shore Temple Mahabalipuram

https://traveltriangle.com/blog/mahabalipuram-in-tamil-nadu/

Mahendravadi Vishnu Temple of Mahendravarman

https://puratattva.in/2010/10/20/mahendravadi-vishnu-temple-of-mahendravarman-34

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Pancha Rathas Temple At Mahabalipuram https://www.themysteriousindia.net/pancha-ratha/

Vaikuntha Perumal Temple

https://sarsonkekhet.in/2019/11/29/kanchipuram-vaikuntha-perumal-temple/

Cholas

The Vesara or the Deccan Temple Architecture

Chalukyas

The best example of Chola temple architecture is the Brihadeswara temple at Tanjore. The temple is also known as Rajarajeswara temple. It was completed around 1009 by Rajaraja Chola and is the largest and tallest of all Indian temples. The temple's pyramidal multi-storeyed Vimana rises a massive seventy meters, topped by a monolithic shikhara. The kalasha on top by itself is about three meters and eight centimeters in height. The temple's main deity is Shiva, who is shown as a huge lingam set in a two-storeyed sanctum. Painted Murals and sculptures decorate the walls surrounding the sanctum.

The buildings in the Deccan region are hybridized style, which contains both elements from nagara and Dravida architectural styles and is known in some ancient texts as the Vesara style (not all temples of Deccan are the viscera type). The viscera style became popular after the mid 7th century.

1. Ravan Phadi cave, Aihole, Karnataka:

4. Temples at Pattadakkal, Karnataka:

The Ravan Phadi cave at Aihole is an example of the early Chalukya style known for its distinct sculptural style. One of the essential sculptures at the site is Nataraja, surrounded by a large depiction of saptamatrikas: three to Shiva's left and four to his right.

There are ten temples at Pattadakkal, including a Jain temple and UNESCO World Heritage Site. A fusion of various architectural styles can be seen here. Out of ten temples, four are in Dravida style, four are in nagara style, and one is a Jain temple, while the Papanatha Temple is built in a fusion of both nagara and Dravida styles. Rashtrakutas constructed the Jain temple (Jain Narayana temple) in the 9th century. The Virupaksha temple at Pattadakkal, also known as Sri-LokeswarMaha-Sila-Prasad, was built by Loka Mahadevi, the Queen of the Chalukya king Vikramaditya II (733-44). It was probably built around 740 CE to commemorate her husband's victory over the Pallavas of Kanchipuram. It closely resembles the Kailasnath temple at Kanchipuram on plan and elevation. It represents a fully developed and perfect stage of Dravida architecture.

2. Lad Khan Temple at Aihole, Karnataka: The temple is dedicated to Shiva and is one of the oldest Hindu temples. It was built in the 5th century by the Kings of the Chalukya Dynasty. It seems to be inspired by the hills' wooden–roofed temples, except that it is constructed out of stone. The temple is named after Lad Khan, who turned this temple into his residence for a short period.

3. Durga Temple at Aihole, Karnataka: The temple is built between the 7th and 8th centuries. The architecture of the temple is predominantly Dravida with Nagara style also in certain areas. The temple is considered a unique and magnificent temple of the Chalukya period. The Lad Khan Temple of Aihole is located to its South.

(1) https://www.flickr.com/photos/sivaraj_albums/7348778336

(2) https://www.nativeplanet.com/travel-guide/lad-khan-temple-inaihole-002921.html

(3) https://www.astroved.com/astropedia/assets/images/temples/ Durga-temple.jpg#.YFIPCfkLWXE.link

(4) https://en.wikipedia.org/wiki/Chalukya_dynasty#/media/ File:Mallikarjuna_and_Kasivisvanatha_temples_at_Pattadakal. jpg

Sri Brihadeeswarar Temple in Thanjavur

https://timesofindia.indiatimes.com/travel/destinations/sri-brihadeeswarar-temple-in-thanjavur-to-be-consecrated-on-february-5/as72758094.cms

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Rashtrakutas

Temples at Halebid, Karnataka:

Vijaynagara Empire

• By about 750 CE, the early western Chalukya control of the Deccan was taken by the Rashtrakutas. • Their greatest achievement in architecture is the Kailasnath Temple at Ellora. • The Jain temple at Pattadakkal was also built by Rashtrakutas.

• The temple is also known as Hoyasaleswara temple. • Built in dark schist stone by the Hoyasala king Vishnuvardhan in 1150. • Dedicated to Shiva as Nataraja and contains a large hall for the mandapa to facilitate music and dance. • In the bottom frieze of the temple featuring a continuous procession of hundreds of elephants with their mahouts, no two elephants are in the same position.

The Empire of Vijayanagara (also called the Empire of Karnata and the Kingdom of Bisnegar by the Portuguese) was based on the Deccan Plateau region in southern India. It was founded in 1336 by brothers Harihara I and Bukka Raya I of the Sangama dynasty, members of a community of shepherds who claimed the Yadava lineage. The empire rose to prominence as the culmination of southern attempts to protect against Islamic invasions in the 13th century. By its heyday, it had subjugated almost all the ruling families of south India and the sultans of the Deccan region, thus becoming an extraordinary power. It lasted until 1646, although its influence waned after a significant military defeat at the Battle of Talikota in 1565 by the combined armies of the Deccan Sultanates. After its capital, the empire is named Vijayanagara, whose ruins surround present-day Hampi, now a World Heritage Site in Karnataka, India. The writings of medieval European travelers such as Domingo Paes, Fernão Nunes, and Niccolò Da Conti and literature in local languages provide crucial information about its history.

Hoyasalas • With the waning Chola and Pandya power, the Hoyasalas of Karnataka grew into prominence in south India and became the most important patrons centred at Mysore. • The three main temples of Hoyasala are the temples at Belur, Halebid and Somanathpuram. • The most characteristic feature of these temples is that they grow extremely complex with so many projecting angles emerging from the previously straightforward square temple so that the plan of these temples starts looking like a star. • As the plan looks like a star, it is known as stellate plan. • They are usually made out of soapstone.

Kailasnath Temple at Ellora

https://500px.com/photo/1012396029/Kailasa-temple-Ellora-by-Mukul-Banerjee/

Chennakesava Temple at Belur

The legacy of the empire includes many monuments scattered throughout South India, the best known of which is the Hampi group. The different temple building traditions in southern and central India came together in the Vijayanagara style of architecture. This synthesis inspired architectural innovation in the construction of Hindu temples. Efficient administration and vigorous foreign trade have brought new technologies such as water management systems for irrigation. As Carnatic music evolved into its current form, the empire's patronage took the fine arts and literature to new heights in Kannada, Telugu, Tamil, and Sanskrit. The Vijayanagara Empire created an era in South Indian history that transcended regionalism by promoting Hinduism as a unifying factor.

Vijayanagara Empire

http://www.digitalkaleidoscope.in/2015/03/stone-temples-of-belur-and-halebeedu.html

KETAN SURYAWANSHI / Graduation Project 2021

Archaeological excavations at Vijayanagara have revealed the power and wealth of the empire.

https://www.youandi.com/deepavali-vijayanagara-empire

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

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About Sai Baba Excerpts from this anthology are taken from Shri Sat Charitra. They are part of the chapters in which the author, Shri Govind Raghunath. Dabolkar, aka Hemadpant, refers to Saibaba, his followers, and his vision. Shri Sai Baba is revered as one of the greatest saints ever seen in India, endowed with unprecedented powers, and is worshiped as a god embody. (SAI means Sakshaat Ishwar) - GOD THE ABSOLUTE This mysterious fakir made his first appearance in Shirdi when he was young and remained there all his life. He transformed the lives of those who knew him and did so continually even after his Samadhi in 1918 for those whose hearts are touched by his love and who urgently pray and call on him in life to receive his blessings. Baba declared that his mission is to "give blessings" without discrimination against all and demonstrates it in a thousand ways by healing the sick, saving lives, protecting the vulnerable, preventing accidents, granting the descent, facilitating economic gain, bringing people into harmony within themselves and with one another, and, above all, affecting the spiritual evolution and transformation of those who came to him as a last resort. As one of his contemporary devotees said, "the embodiment of the Supreme Spirit enlightening the path of the sadhana (seekers) with every word and deed." To his devotees, Baba is nothing less than GOD. It was a question of experience and not of imagination. "I look at everyone with the same eye." A remarkable aspect of Sai Baba is that he transcends distinctions of religion, caste, or creed. He embodied all beliefs and preached the the universal religion of love.

No verifiable information is given regarding Sai Baba's real name, place, or time of birth. When asked about his past, he often gave elusive answers. The term "Sai" was given on his arrival in Shirdi by Mahalsapati, a local temple priest. Sai Baba came to the village of Shirdi in the Ahmednagar district of Maharashtra when he was about 16 years old. He led an ascetic life, sitting under a neem tree and meditating while sitting in an asana. The villagers were surprised to see such a young boy practicing harsh penances, no matter how hot or cold; Sai Baba initially stayed in Shirdi for three years, disappeared for a year, and returned for good around 1858. The Ahimsa aspect of Jainism, the renunciation aspect of Buddhism, the dharmic part of Lord Rama, the Nishkama-Karma aspect of Lord Krishna, the universal love aspect of Jesus, the element of the universal brotherhood of Islam mixed with the Sai Nath lifestyle. Millions of followers and devotees of Sai Baba believe that he performed many miracles such as bilocation, levitation, mind-reading, materialization, exorcisms, creation of the Yamuna river, entering a state of Samadhi at will, lighting lamps with water, removing his limbs . or intestines and sticking them back to his body (khanda yoga), healing the incurable sick, looking beaten when another was struck, after death rose on the third day, preventing a mosque from falling on people and miraculously helping his devotees. He also gave Darshan (vision) to people in Rama, Krishna, Vithoba, and many other gods according to the faith of the devotees.

https://www.sai.org.in/

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.3

Sai Baba Temple Ref.

https://www.wordzz.com/shirdi-sai-baba/

https://www.sai.org.in/

The Sai Baba Samadhi Mandir is a visual treat. While the Shree Sai Baba Mandir is built with stone, the samadhi mandir is constructed with white marble. A fence surrounds the Samadhi, also made of white marble and wholly festooned with patterned decorations. There are two pillars made of silver, decked with exquisite designs in the lead of the Samadhi. Behind it is a massive figurine of Sai Baba sitting on a throne. The sculpture is made of Italian marble and was sculpted by the late Shri Balaji Vasant. A silver umbrella is also installed to provide shade to the idol. There is an assembly hall right in front of the Shri Sai Baba temple, which can accommodate 600 people. Inside the hall, there are several belongings showcased, which the great saint once used.

The temple was constructed by a devotee named Gopalrao Booty. The compound has several counters such as the 'prasadalay,' donation counters, 'darshan lane,' and bookstalls. There is a flower garden, Lendi Baug, to the northwest of the samadhi temple. The garden area was once a wasteland until Sai Baba himself turned it into a flower garden. The temple premises of Shri Saibaba is spread in approximately 200 sq. meters. It is situated in the heart of Shirdi village and is a major center of pilgrims from all over the world. On average, daily, 25,000 devotees visit Shirdi village to have the Darshan of Shri Saibaba. In the festival season, more than 1,00,000 devotees visit the temple every day. The Temple premises is renovated in the year 1998-99.

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Dhavja Stambh at Shirdi Sai Baba Temple

https://in.pinterest.com/pin/465841155198581358/?amp_client_id=CLIENT_ID(_)&mweb_unauth_id=&amp_url=https%3A%2F%2Fin. pinterest.com%2Famp%2Fpin%2F465841155198581358%2F&from_ amp_pin_page=true

Interior of Shirdi Sai Baba Temple https://www.sai.org.in/

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.4

Panchamukha Ganpati Temple Heramba Ganapati is a five-headed iconographic form of the Hindu god Ganesha (Ganapati). This form is prevalent in Nepal. This form is essential in the tantric worship of Ganesha. It is one of the thirty-two most popular forms of Ganesha. It has four heads facing cardinal directions while the fifth at the top is facing upwards. The colors of Heramba's heads are closely related to five aspects of her father Shiva: Ishana, Tatpurusha, Aghora, Vamadeva, and Sadyojata. The five heads symbolize his power. It should be golden yellow. Sometimes he is described as having a fair complexion. Heramba rides his vahana, a mighty lion. The lion represents royalty and the fierce nature of the deity. It is said that the lion is inherited from his mother, Parvati, who rides her often.

Although the lion appears primarily as the vahana from this aspect, Dinka, Ganesha's usual vahana, a rat or mouse, can also be included in the representation. In an illustration of Odisha from the 11th and 13th centuries, the Dinka rat is depicted on a pedestal next to the seated Heramba. At a performance in Bhaktapur, Nepal, Heramba leans on two rats. In Nepal, Heramba is generally depicted with a lion and with Dinka. Heramba has ten arms. According to descriptions in iconographic treatises, he holds a pasha (nose), a tapir (his broken tusk), an akshamala (rosary), a parashu (battle ax), a three-headed mudgara (mallet), and the soft modak. He will hold two other arms in Varadamudra (the gesture of blessing) and Abhayamudra (a gesture indicating the protection of the devotee). Other descriptions add a garland and a fruit to the attributes in his hand. He can represent a sculpture holding an Ankush (an elephant sting) in one of his hands. Sometimes a bride can be depicted sitting on her lap and one of Heramba's arms hugging her.

Heramba Ganpati Temple https://unsplash.com/@mohnishlandge

Heramba Ganapati, folio from the Sritattvanidhi (19th century). Depiction of the Heramba form of Ganesha, on his mount, a lion. Upper area shows a description of the form as a meditation verse written in Kannada script. Reproduction from the Sritattvanidhi ("The Illustrious Treasure of Realities"), an iconographic treatise compiled in the 19th century in Karnataka, India, by order of the then Maharaja of Mysore, Krishnaraja Wodeyar III (b. 1794 - d. 1868).

Lord Ganesha is incomplete without his small vehicle (Vahana) a mouse (Mushak) on which he rides everywhere. It is believed that the mouse is a symbol of all pervasive omniscient Brahman . As it is considered as the creature of the dark underground , he travels all under the ground where nobody can reach . It is a symbol of gnorance that fears light and knowledge . Therefore he teaches us to remain alert and illuminate our inner self . Its swiftness can be considered as a hyperactive quality which is a symbol of our senses . Thus Lord Ganesha sitting on such a vahan signifies that he is the controlling of all the senses .

https://en.wikipedia.org/wiki/Heramba#/media/File:Heramba.JPG

https://www.patrika.com/religion-and-spirituality/why-did-ganesha-choose-mouse-as-his-vehicle-2331614/

KETAN SURYAWANSHI / Graduation Project 2021

Manacha Dusra (2nd Honoured) Ganpati – Tambadi Jogeshwari

Trishund Ganpati Temple https://www.whatshot.in/pune/ganesh-idol-with-3-trunks-and-engraved-stories-trishund-ganpati-temple-is-a-unique-temple-of-pune-c-25616

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.5

Meenakshi Mataji Temple Meenakshi (also known as AngayarKanni, Meenatchi, and Tadadakai) is a Thamizh goddess, and guardian deity of Madurai considered an avatar of Goddess Parvati. She is the divine bride of Sundareswarar, a form of Shiva. She finds mention in literature as the princess or queen of the ancient kingdom of Pandya, who is elevated to the rank of deity. Adi Shankara also exalts the goddess as Shri Vidya. He is worshiped mainly in India, where he has an important temple. They were dedicated to her, known as Meenakshi Temple in Madurai, Tamil Nadu. Meenakshi, Kamakshi, and Visalakshi are considered the 3 Shakti forms of Goddess Parvati, and most Indians visit these three temples regardless of their location in India.

"The goddess Minaksi. She is depicted crowned, two-armed and with a green parrot perching on her right hand. An impression of perspective is provided by a lightly sketched-in foreground. On laid European paper watermarked with an armorial design and the letters 'W T'." https://www.britishmuseum.org/collection/object/A_2007-3005-49

Tamil Text Tiruvilaiyatarpuranam from the 13th century: compiles stories of Lord Shiva dating back to 3000 BC., mentions the king Malayadhwaja Pandya and his wife Kanchanamalai performed a yajña in search of a son for succession. Instead, a girl was born who is already three years old and has three breasts. Shiva steps in and says that the parents should treat her like a son, and when she meets her husband, she will lose the third breast. They follow the advice. The girl grows up, the king crowns her as successor, and when she meets Shiva, her words come true, she takes her proper form of Meenakshi. According to Harman, this may reflect the matrilineal traditions of South India and the regional belief that "the penultimate [spiritual] powers rest with women," the gods listen to their spouses, and that the fate of the realms belongs to women. According to Susan Bayly, reverence for Meenakshi is part of the Hindu goddess tradition, which is integrated into Hindu society where "the woman is the axis of the system" of social relations. His eyes are legendary for bringing the unborn child to life.

Meenakshi Temple

The complex has numerous sculpted pillared halls such as Ayirakkal (1,000 pillar hall), Kilikoondu-mandapam, Golu-mandapam and Pudu-mandapam. Its shrines are dedicated to Hindu deities and Shaivism scholars, with the vimanas above the garbhagrihas (sanctums) of Meenakshi and Sundaresvara gilded with gold.

Though the temple has historical roots dating back to 2000 B.C., most of the present campus structure was rebuilt after the 14th century C.E., further repaired, renovated, and expanded in the 17th century by Tirumala Nayaka. In the early 14th century, the armies of the Delhi Sultanate led by Muslim Commander Malik Kafur plundered the temple, looted it of its valuables, and destroyed the Madurai temple town and many other temple towns of South India. The new temple resulted from rebuilding efforts started by the Vijayanagara Empire rulers, who rebuilt the core and reopened the temple. In the 16th century, the temple complex was further expanded and fortified. The restored complex houses 14 gopurams (gateway towers), each above 45 meters (148 ft) in height.

The temple is a significant pilgrimage destination within the Shaivism tradition, dedicated to Meenakshi Devi and Shiva. However, the temple includes Vishnu in many narratives, sculptures, and rituals as he is considered to be Meenakshi's brother. This has made this temple and Madurai the "southern Mathura," one included in Vaishnava texts. The large temple complex is the most prominent landmark in Madurai and attracts tens of thousands of visitors a day. The temple attracts over a million pilgrims and visitors during the annual 10-day Meenakshi Tirukalyanam festival, celebrated with much festivities and a ratha (chariot) procession during the Tamil month Chittirai (overlaps with April–May in Georgian calendar, Chaitra in North India).

The temple complex Madurai, Tamil Nadu in India, is dedicated to Meenakshi as the primary deity. It is also referred to as Meenakshi Amman or Minakshi-Sundareshwara Temple. Meenakshi's shrine is next to that of her consort Sundareswar, a form of Shiva.

Goddess Madurai Meenakshi Amman

https://divineinfoguru.com/spiritual-astrology-information/god-goddess-wallpapers/goddess-madurai-meenakshi-amman-images-wallpapers/

KETAN SURYAWANSHI / Graduation Project 2021

https://www.oyorooms.com/travel-guide/wp-content/uploads/2019/03/Meenakshi-Temple.jpg

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.6

Panchamukha Shiva Lingam Temple In Hindu iconography, Mukhalinga or Mukhalingam (literally "linga with a face," mukhalinga) is a linga with one or more human faces. The linga is an iconic representation of the Hindu god Shiva. Mukhalinga can be made of stone or consist of a metal sheath covering the normal linga.

Towards the east rises TATPURUSHA, which I am, "Tat Tvam Asi." It is the expression of the supreme soul, of the Atman which increases and which is the life in us, the very presence of Iswara, He is Surya, the rays of energy. He is the prana that I breathe, and he is light; he is air.

Mukhalinga usually has one, four, or five sides. Mukhalinga with four faces is also considered to have an invisible fifth face on top of the linga. The four- and five-sided mukhalingas represent the five aspects of Shiva, which are also related to the classical elements and the cardinal directions.

To the south rises AGHORA, the fire, the flames of life, the raw heat and beauty of Rudra in his fierce presence. It means life; it implies dissolution or reabsorption; it means the end. It means the balance which is beyond birth and death.

Panchamukha Shiva Linga is a powerful symbolism, reflecting a significant reality that encompasses all the supreme deities. This form represents the Universe and its creation, life, and itself as a whole in all. Panchamukha, the ascent of Shiva, pushes in all directions. The root of the ISHANA self is the nucleus that contains all the inner energy. The power of Ishana is to reveal the energy of the self.

To the west rises SADYOJATA, the power to create. It's him the power to multiply beyond oneself. It is the universal power of creation where the miracle of life is visible to us. To the north rises VAMADEVA: the beauty of oneself, the poetry, and the aesthetics that make us. Vamadeva is the personification of love, representing the female form of Shiva, warmth that makes us want to take care of what we create. It means sustenance with life-giving waters.

Brihadeshwara Temple, Thanjavur

https://www.jodytravel.com/blog/top-lord-shiva-temples-in-south-india/

Five-faced Mukhalinga, Himachal Pradesh; currently in LACMA India, Himachal Pradesh, 16th century Sculpture Copper alloy Gift of James H. Coburn III (M.85.279.5) South and Southeast Asian Art Currently on public view: Ahmanson Building, floor 4 http://collections.lacma.org/sites/default/files/remote_images/piction/ma-31970697-O3.jpg

Five-headed Mukhalinga embedded in a yoni; Budanilkantha, Nepal https://en.wikipedia.org/wiki/Mukhalinga#/media/File:Five_ Head_Shivalinga_at_Budhanilkantha.JPG

Nandi is the gate-guardian deity of Kailasa, Vahana of Lord Shiva & the home of Lord Shiva in the Hindu religion. He is usually depicted as a bull. The decorated bull gangi reddu is the tradition of ancient South India. https://en.wikipedia.org/wiki/Nandi_(mythology)#/media/File:Nandieshvara.jpg

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.7

Balaji Temple Venkateshwara(Balaji), also known under various other names, is a Hindu god Maha Vishnu. Venkateswara is the presiding deity of Tirumala Venkateswara Temple is located in Tirupati, Andhra Pradesh, India.Venkateswara literally means "Lord of Venkata". The word is a combination of the words Venkata (the name of a hill in Andhra Pradesh) and Isvara ("Lord"). According to the Brahmanda and Bhavishyottara Puranas, the term "Venkata" means "destroyer of sins," deriving from the Sanskrit words vem (sins) and kata (power of immunity). Venkata is also a combination of two words, 'ven' (keeps away) and 'kata' (troubles). Venkata means 'who keeps away troubles' or 'who takes away problems' or any other sentence in a similar context. People may know him by different names, such as Venkateswara, Govindha or Tirupati Timmappa. The Lord turned into a granite stone idol, for he desired to be on the holy Seven Hills for the emancipation of humanity. His two wives, Goddess Lakshmi and Princess Padmavathi also turned into stone idols to express their dedication to their husbands and be with him for eternity. Goddess Lakshmi rests on the left side of his chest while Goddess Padmavati is on his right. When he married Princess Padmavati, the daughter of the King of the Seven Hills, he held a grand and divine wedding to pay the commission to Princess Padmavati's father and the thousands of devotees who visit him each day offer him donations to help pay for it. If the offerings are made with a pure heart, he will fulfill your wishes and pardon you of your sins because it is believed that material desires need to be conquered to attain salvation and surrender to the divine force.

After the decline of the Vijayanagara Empire, rulers of states such as the Kingdom of Mysore and Gadwal Samsthanam worshiped each other as pilgrims and donated ornaments and valuables to the temple. General Maratha Raghoji I Bhonsle (died 1755) visited the temple and established an administration for worship. Between 1320 CE and 1369 CE, the idols of the Ranganatha temple of Srirangapatnam were kept in this temple for safekeeping. The temple has up to 640 inscriptions in Kannada, Sanskrit, Tamil, and Telugu languages. A unique collection of 3,000 copper plaques is inscribed with the Telugu Sankirtanas of Tallapaka Annamacharya and his descendants. This collection is a valuable source of material for a historical Telugu linguist and its importance to musicologists. In 2006 the government of Andhra Pradesh decided to build a church in the sacred hills of Tirumala. It declared that only two of the seven hills of Tirumala are of Hindu worship, and the rest can be used by the state for use. under the government of YS Rajasekhara Reddy., who was a Christian. This sparked strong protests across Andhra Pradesh. Finally, the court said that Tirumala Tirupati Devasthanams should administer the whole area of the seven sacred hills.

https://en.wikipedia.org/wiki/Venkateswara_Temple,_Tirumala#/media/File:Tirumala_090615.jpg

About the Temple Queen Pallava Samavai made the first recorded investiture in 966 CE. She donated numerous gems and two parcels of land (one 10 acres and one 13 acres) and ordered that the income generated from this land be used for large festivals at the temple. The Pallava dynasty (9th century), the Chola dynasty (10th century), and the Vijayanagara pradhans (14th and 15th centuries) were committed devotees of Venkateswara. The temple gained most of its current wealth and size under the Vijayanagara Empire, with the gift of diamonds and gold. In 1517, Emperor Vijayanagara Krishnadevaraya, during one of his many visits to the temple, donated gold and jewels, allowing Ananda Nilayam's (inner shrine) ceiling to be gilded. On January 2, 1517, Krishnadevaraya installed his temple and made various donations to the temple.

Venkateswara (Balaji)

http://ritsin.com/unknown-facts-about-tirupati-balaji.html/

KETAN SURYAWANSHI / Graduation Project 2021

https://www.daiwikhotels.com/home/tirupati-balaji-temple/

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.8

Karthikay Temple Kartikeya also known as Skanda, Kumara, Murugan and Subrahmanya is the Hindu god of war. He is the son of Parvati and Shiva, brother of Ganesha, and a god whose life story has many versions in Hinduism. An important deity in the Indian subcontinent since ancient times, Kartikeya is particularly popular and mainly worshiped in southern India, Sri Lanka, and Malaysia under the name of Murugan. Kartikeya is an ancient god dating back to the Vedic age. Archaeological evidence from the 1st century AD and earlier, where he meets the Hindu god Agni (fire), suggests that he was an important deity in early Hinduism. He is found in many medieval temples throughout India, such as the Ellora Caves and the Elephanta Caves.

1.9 Kartikeya's iconography varies considerably; he is typically depicted as an ever-young man, riding on or near an Indian peacock, clad in arms sometimes with a rooster on the flag he is holding. Most icons show him ahead, but some show him with six heads reflecting his birth legend. He quickly grows up as a warrior-philosopher, destroys evil in the form of the demon Taraka, teaches the pursuit of ethical life and the theology of Shaiva Siddhanta. He inspired many holy poets, like Arunagirinathar. Kartikeya is found as the main deity in temples wherever Tamil communities live across the world.

Panchamukha Hanumanji Temple The origin of Sri Panchamukhi Hanuman can be traced back to a story from the Ramayana. During the war between Lord Rama and Ravana, Ravana received the help of Ahiravana, the king of Pathala. Lord Hanuman, to protect Lord Rama and Lakshmana, formed a fortress with his tail. Ahiravana took the form of Vibhishana, the noble brother of Ravana, and brought Lord Rama and Lakshman to Pathala loka. According to Hanumath Prakaranam to Sri Vidyarnavatantram, Anjaneya has five faces (Pancha Mukha) and ten weapons. Hanuman is a great yogi (mystic) who transcended the five senses (Pancha Indriyas). In Kamba Ramayanam (in Tamil), the meaning of the number five is beautifully recounted as follows: The son of one of the five elements (son of the wind - Pavana Thanaya) has passed through one of the five elements (water - l 'ocean), through one of the five elements (sky), met the daughter of one of the five elements (daughter of the earth - Sita Devi) set fire to Lanka by one of the five elements (fire). Sundara Kanda highlights the heroic deeds of Lord Hanuman in Lanka. • East facing Anjaneya to grant Ishta Siddhi to humanity. • South facing Karala Ugraveera Narasimha to grant Abhista Siddhi to humanity. • West facing Mahaveera Garuda to grant Sakala Sowbhagya to humanity. • North facing Lakshmi Varaha to grant Dhana Prapthi to humanity. • Urdhva Mukha being Hayagriva to grant Sarva Vidya Jaya Prapthi to humanity.

Karthikay statue at the Sri raja rajesweri amman koil Hindu temple in Sumatra, Indonesia

https://www.dreamstime.com/beautiful-view-large-golden-kartikeya-aka-murugan-skanda-kumara-subrahmanya-statue-sri-raja-rajesweri-amman-koil-hindu-image166278684

Thiruthani Murugan temple is a Hindu temple ,hill of Thiruttani, Tiruvallur district, Tamil Nadu, India, dedicated to Lord Muruga. https://twitter.com/losttemple7/status/1264936853133762565

KETAN SURYAWANSHI / Graduation Project 2021

Shri Panchmukhi Hanuman Temple

https://en.wikipedia.org/wiki/Panchamukha#/media/File:Punchamukhi_Hanuman_Temple_1.jpg

From the Bhagavat Gita In the Bhagavat Gita, Lord Krishna tells Arjun, "He who acts for me, who is engrossed in me, who is my devotee, who is free from attachment, he reaches me". We find all these five qualities enshrined in Hanuman. Each of his faces represents these five divine qualifications. Maybe an artist thought this over before making the Vigraham. There is a belief that one of the faces is that of Sri Vinayaka. Half Ganesha and half Hanuman, The idol of Adyanta Maha Prabhu, depicts half Anjaneya and half Vinayaka. At Madya Kailas temple Adyar Madras, the idol is an amalgam of Sri Vigneshwara and Sri Anjaneya in the style of Ardhanareeswara (Siva and Parvati) and Sri Sankaranarayana (a combination of Siva and Narayana). The word Aadiyantha stands for "beginning to end" (Aadi = beginning & Antha = end). There is a Tamil saying, "Begin with Ganesa and end up with Anjaneya." Many people visit the temple to receive a blessing of the "Twins" against the influence of Navagrahas. The importance of the idol is that Sri Vigneswara and Sri Anjaneya are the only two deities free from any influence whatsoever by the Navagrahas. It is believed that the devotees can and do impact the Navagrahas themselves proportionate to the devoutness with which the devotees address themselves to Sri Aadiyanta Prabhu.

Shri Panchmukhi Hanuman

https://in.pinterest.com/pin/526639750160246921/

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Hanuman Temple, Pattadakal

https://www.flickr.com/photos/arawatclicks/8943505659

1.10 Narasimha

Swamy Temple

Narasimha is a fierce avatar of the Hindu god Vishnu, the one who Icaria, both lion, and man destroy evil and end religious persecution and calamities on Earth, thus restoring the Dharma. Narasimha's iconography shows him with a human torso and lower body, with a lion's face and claws, usually with a demon Hiranyakashipu on his lap, which he is defeating. The devil is the powerful brother of evil Hiranyaksha, who had already been defeated by Vishnu, who hated Vishnu for beating his brother. Hiranyakashipu acquires special powers by which he cannot be killed during the day or at night, inside or outside the house, nowhere in the world, that is, neither in heaven nor on Earth, neither in heaven nor in pataala, by man, god, asura or animal. Endowed with new powers, Hiranyakashipu creates chaos, persecuting all Vishnu devotees, including his son.

Sri Lakshmi Narasimha Swamy https://www.manidweepa.org/narasimha/

Vishnu understands the demon's power, then creatively adapts himself to a mixed avatar that is neither human nor animal, and kills the demon in the union of day and night, inside and out. Narasimha is known primarily as the "great protector" who specifically defends and protects the devotees from evil from him. Narasimha's most popular mythology is the legend that protects his devotee Prahlada and creatively destroys Prahlada's father and the demonic tyrant, Hiranyakashipu. Narasimha is one of the principal deities of Vaishnavism. Narasimha legends are revered in Vaikhanasas, Sri Vaishnavism, Sadh Vaishnavism, and various other Vaishnavism traditions of Hinduism. It is celebrated in many regional Hindu temples, texts, performing arts, and festivals such as Holika before the Hindu festival of spring colors called Holi. The oldest representation, dating back to the 4th century A.D., of Narasimha, is from Kondamotu on the Andhra coast. Other older known works of art from Narasimha have been found at various sites in Uttar Pradesh and Andhra Pradesh, such as the archaeological site of Mathura. These have been dated differently between the 2nd and 4th centuries A.D.

Ahobilam Temple http://indiainoneplace.com/listings/ahobilam-temple/

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

1.11 Inference

• A temple is a building reserved for religious or spiritual rituals and activities such as prayer and sacrifice. The term is typically used for such buildings belonging to all faiths where a more specific time such as a church, mosque, or synagogue is not generally used in English. These include Hinduism, Buddhism, Sikhism, and Jainism, among religions with many modern followers and other ancient religions such as Ancient Egyptian religion. • The form and function of temples are thus very variable, though believers often consider them to be in some sense the "house" of one or more deities. Typically offerings of some sort are made to the deity, other rituals are enacted, and a special group of clergy maintains and operates the temple. The degree to which the whole population of believers can access the building varies significantly; often, parts or even the entire main building can only be accessed by the clergy. • Hindu temples are known by many different names, varying in region and language, including Alayam, Mandir, Mandira, Ambalam, Gudi, Kavu, Koil, Kovil, Déul, Raul, Devasthana, Degul, Deva Mandiraya, and Devalaya. • A Hindu temple is a symbolic house, the seat, and dwelling of Hindu gods. It is a structure designed to bring human beings and gods together according to the Hindu faith. Inside its Garbhagriha innermost sanctum, a Hindu temple contains a Murti or Hindu God's image. Hindu temples are large and magnificent, with a rich history. There is evidence of the use of the sacred ground as far back as the Bronze Age and later during the Indus Valley Civilization. • Outside of the Indian subcontinent (India, Bangladesh and Nepal), Hindu temples have been built in various countries around the world. Either following the historic diffusion of Hinduism across Asia (e.g. ancient stone temples of Cambodia and Indonesia), or following the migration of the Indian Hindus' diaspora; to Western Europe (esp. Great Britain), North America (the United States and Canada), as well as Australia, Malaysia and Singapore, Mauritius and South Africa. • The floor plan of the temple is a very crucial and important part of the temple. It is designed according to the Vastu Purusha mandala in and around the sanctum or shrine. Manduka mandala is the most common and sacred Hindu temple format set on an 8X8 grid pattern. the floor plan is commonly used by large temples. But their are few exceptions of square grid format examples are the Teli ka Mandir in Gwalior, built in the 8th century CE is not a square but is a rectangle consisting of stacked squares.

• The Hindu temples can be differentiated by their style of architecture like Mountain temples such as Masrur, Cave temples such as Chandrabhaga, Chalukya and Ellora, Stepwell temple compounds such as the Mata Bhavani, Ankol Mata, and Huccimallugudi, Forest temples such as Kasaun and Kusama & Riverbank and seashore temples such as Somnath. • It was a gradual evolution starting from the rock cut- cave temples to monolithic rathas which finally culminated in structural temples. The basic form of a Hindu structural temple consists of the following. 1. Garbhagriha: • It literally means ‘womb-house’ and is a cave like a sanctum. • In the earliest temples, it was a small cubical structure with a single entrance. • Later it grew into a larger complex. • The Garbhagriha is made to house the main icon (main deity) which is itself the focus of much ritual attention. 2. Mandapa: • It is the entrance to the temple. • It may be a portico or colonnaded (series of columns placed at regular intervals) hall that incorporates space for a large number of worshippers. • Dances and such other entertainments are practiced here. • Some temples have multiple mandapas in different sizes named as Ardhamandapa, Mandapa, and Mahamandapa. 3. Shikhara or Vimana: • They are mountain like the spire of a free-standing temple. • Shikhara is found in North Indian temples and Vimana is found in South Indian temples. • Shikhara has a curving shape while vimana has a pyramidal-like structure. 4. Amalaka: • It is a stone disc like structure at the top of the temple and they are common in North Indian temples.

7. Jagati: • It is a raised platform for sitting and praying and is common in North Indian temples. 8. Vahana: • It is the mount or vehicle of the temple’s main deity along with a standard pillar or Dhvaj which is placed axially before the sanctum. • Classification of Indian Temples Indian temples can be classified into two broad orders as 1. Nagara (in North India) 2. Dravida (in South India) At times, the Vesara style of temples as an independent style created through the mixing of Nagara and Dravida orders. • The research also extends to specific gods & goddesses mentioned in our design brief and their respective temples found in India. • Shri Sai Baba temple is an iconic creation of the baba's devotee Shri Gopalrao Booty. the temple is a visual treat for all the visitors. The delicate and decedent golden wall facade on the backside of Baba is an identity by itself that cannot be found anywhere else. Likewise, the conical dome, the interior pillars, marble railings, lendi baug (garden), the tree under which baba usually use to sit and address his devotees & dhavja stambh are the elements that are specific to the temple which can be used as a base for the concept generation. • The Ganpati, Shiva, Mataji & Balaji temples should be designed in a similar way using their unique identities of deities and their temples. For example, the Ganpati temple can have elements like Mushak(vahana), Hibiscus flowers, Modaka, etc. The Kartikay, Hanuman Ji & Narsimha Swamy temples having relatively smaller plinths have to be open pillars & canopy structures or Makaharas which can be further conceptualized. • Also, the specialty of idols placed inside each garbhgraha is from the respective places of their origin. For example, Mataji (Goddess Meenakshi) is from Madhurai TN, Shri Sai Baba Idol is from Shirdi, Shri Vankatashwara (Balaji) is from Tirumala AP, etc. Those are the inferences and findings which has used to generate concepts and designs.

5. Kalasha: • It is the topmost point of the temple and commonly seen in North Indian temples. 6. Antarala (vestibule): • Antarala is a transition area between the Garbhagriha and the temple’s main hall (mandapa). KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

DESIGN DEVELOPMENT

2 39

• • • • • • • •

KETAN SURYAWANSHI / Graduation Project 2021

Idea Development Analysing & Finalising Concept Division of Temple Structure Ideation Sketches Portablity of temples for transportation at Site Exploded view of a temple Skeleton of temples Joinary of temple structure

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2.1

Concept Sketches on Idea-1

Idea Development IDEA-1 This idea is all about Shree Sai Baba. As the trust is named Sai Datta Peetam, the concept is to create a Sai Baba temple replica located in Shirdi. Making of the main Sai Baba Samadhi temple with the iconic golden back wall (Shown in Image (5)) and neem tree where Baba used to sit located in lendi baug (Shown in Image (1)). Baba's Idol can be made in marble, and also the railing around him can be achieved to make it look like in the original temple. The golden dome can also be used as an element inside or outside because its design is unique and recognized by people worldwide. And the rest of the temple of deities in similar design language. The exterior front facade can be made like one of Baba's Samadhi temple walls located in Shirdi (Shown in Image (2)). Elements like the neem tree & Stambh can be used to hide the two primary columns located inside the site zone.

(1)Gurusthan Shirdi

https://timesofindia.indiatimes.com/travel/destinations/gurusthan/as59218246.cms

Exterior facade inspired by Shri Saibaba samadhi temple in shirdi

(2)https://www.sai.org.in/

(4)www.indiatvnews.com

(3)www.tripsavvy.com

Interior inspired by Shri Saibaba samadhi temple in shirdi

(5)https://timesofindia.indiatimes.com/city/nashik/indefinite-bandh-in-shirdi-from-sunday/articleshow/73339845.cms?from=mdr

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

IDEA-2

Concept Sketches on Idea-2

The second idea revolves around the northern temple architecture, also known as Nagara architecture. This concept portrays the grandeur of Indian temple architecture. With lots of detailed & stone-carved designs, tall Shikhara, beautiful Garbhagriha, Shrines of other gods, and lavish gardens. Just like the concept of Swargalok. Here there are two possibilities, and we can make a complete temple structure with shikhara and compound walls, but the structures will look more miniaturistic than realistic.

Another thing we can workout beautiful interior of mandapa, ardhamandapa & garbhagriha with decorative nagara-style pillars, walls, cornice, and ceilings depict the original nagara-style temple interiors. If the ideas are executed, they will look exceptionally interesting and decorative temples of the locality, attracting more devotees to the trust. Cons are that the site's height is restricted to 19 ft. This is not enough for the tall shikhara, and there is not enough space to appreciate the grandeur of the structures.

Exterior facade inspired by Dilwara temple in Rajasthan and Khajuraho temple in MP.

QT Luong / trragalleria.com

https://planetabled.com/destinations/khajuraho/

https://www.westend61.de/

iStock.com

KETAN SURYAWANSHI / Graduation Project 2021

Interior inspired by Dilwara temple in Rajasthan and Khajuraho temple in MP.

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

IDEA-3

Concept Sketches on Idea-3

One of the ideas generated was considering the types of temple architecture. According to the given brief by the client, the idea of Dravidian chariots in temples were developed. The allied research was done, and we found out about Kanchi Kailasanathar Temple, the oldest Kanchipuram structure. Located in Tamil Nadu, India, it is a Hindu temple in the Tamil architectural style. Looking at the site plan, the Kanchi Kailasanathar Temple shrine looks & feels appropriate as a different concept to be established in N.J. In addition to that, the structure has a prominent historical background. And the height and width work similarly to what we have at the site in N.J. So the exact look & feel can be obtained. As we take a closer look at the structures at Kailasanathar Temple, we can have the main temple of Saibaba and then allied shrines to be for Ganpati, Shiva, Mataji, etc. gods. And the exteriors to be a short gopuram in front of the temple. The support pillars can be converted to Stambh for getting an overall temple with a similar architectural style.

https://neuronerdz.com/kailasanathar-temple-kanchipuram/

Exterior facade inspired by Kanchi Kailasanathar temple temple in Tamil Nadu.

www.CasualWalker.com

https://www.goibibo.com/destinations/kanchipuram/places-to-visit-in-kanchipuram/kailasanathar-temple-120382211459477945/

www.indiTales.com

Interior inspired by Kanchi Kailasanathar temple temple in Tamil Nadu.

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

IDEA-4

Concept Sketches on Idea-4

The Vijaynagar Empire is the biggest and the unique empire of the 7th century. Virupaksha Temple is one of the beautiful temples created in a mixed North Nagara and Dravidian style of architecture. Raghu Ji coming from south India and is deeply connected with temples. The concept was to develop a Sai Empire with miracles happening at every path in the temple, like the sound pillars, Elephants, tall gopuram in the Virupaksha temple. A temple of Saibaba with magic.

Exterior facade inspired by Virupaksha Temple, Hampi.

source: Maharajas’ Express

https://www.flickr.com/photos/mukulb/4471839142

https://aastik.in/

https://ballari.nic.in/

Interior inspired by Virupaksha Temple, Hampi.

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Saibaba back wall Hanumanji Temple

2.2

Analysing & Finalzing Concept The discussions were happening simultaneously while working on the designs with the client to get more precise ideas on how the temple should look according to them. The concept was finalized as a mix of all four ideas mentioned above. This consists of temples' overall look and style in Dravidian architecture and the Shri Saibaba Samadhi temple in Shirdi. Despite making the single temple interior housing all the gods, the concept was to create different temples depicting different gods and goddesses.

Saibaba Samadhi plinth Narsimha Swamy Temple

For example, the Ganpati shrine from Andhra Pradesh, Brihadishvara temple of Thanjavur (Shiva), Viankateshwar temple of Tirupathi, Tirumala, and Hanumanji and Narasimha Swamy shrines inspired from chariots temples from Mahabalipuram. All the big temples included the Vahanas of the God and goddesses as design elements that a layman can classify. Apart from the Vahanas, the temple domes were inspired by the specific south Indian temples to the gods and goddesses.

Karthikay Temple

Balaji Temple Stambha

The Saibaba temple interior wall and Samadhi were an idea to be recreated. The Saibaba samadhi temple is the main temple of Saibaba located in Shirdi. The golden back wall at the Samadhisthal in the temple is iconic and unique in design and recognized worldwide. Also, there were two hiding pillars inside the site area, one of which was conceptualized to look like Dhwaja Stambha located in the Shirdi temple.

Plan

The second pillar was conceptualized to look like the neem tree located in lendi baug of the Shirdi, where Shri Saibaba himself use to sit and reach out to the ordinary people and solve their issues.

Mataji Temple

Ganpati Temple

The exterior front facade was visualized as the exterior of Kanchi Kailasanathar Temple with a central gopuram and stone wall.

Shiva Temple

Saibaba Neem tree

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2.3

Division of Temple Structure

2.4

Ideation Sketches

Img. ekashmirtourism

Img. RailYatri Blog

Diagram from the CA&A photo archives pairing an elevation of a Hindu temple with associated architectural terms. Courtesy of the Center for Art and Archaeology, American Institute of Indian Studies

Basic Structural Elements of the temple to be fabricated. As discussed in the meetings with team members

The base structure of Temples starting from the bottom are the plinth, bottom cornice & skirtings, walls, pillars, top cornice (Chajja), Beam (1,2,3) & Dome. The basic structural elements are an output of all the desk research, field visits, and group discussions held in India & the USA. The information on base structure elements was conveyed to me by Nitin, sir.

KETAN SURYAWANSHI / Graduation Project 2021

Img. pinterest

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Sai Baba Back wall & Samadhi sthal

While designing the temples, one thing kept in mind was establishing the design silhouette of existing temples from India. Ganpati temples inspire the Ganpati temple from Maharashtra, the Khajuraho temple of M.P. inspires shiva temple, the Meenakshi temple of Madurai inspires Mataji temple, Balaji temple is inspired by Venkateshwara temple of Tirupati. Moreover, making the same designs similar to that of temples mentioned above would increase the budget of manufacturing and the time taken to manufacture. Narsimha Swamy Temple

To overcome that, the design elements will most be kept familiar, tweaking a bit to create the desired silhouette of the temples while making the domes very similar to that of the named ones. Sai Baba, Hanumanji & Narsimha Swamy Temples

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Basic frame work and design of temples

Completely designed and decorated temples

Completely designed and decorated temples KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

According to the requirements, the 2D representation and the 3D model will be made for easy visualization to clients and other team members. Also, the search for the required designs has to start simultaneously from the studio's archival. The friezes, pillars, cornice, Domes, and other parts have to be found out, and new things have to be designed to start the manufacturing process.

Chennakeshava temple of Belur- Exteriors friezes pinterest.com 57

Nitin Sir mostly drove the Ideation part of the project himself and I have got the basic skeleton of the temple to work on for designing and deciding on different design patterns on the temples. The sketching was done for a week to finalize on design. The designs mainly were completed on the reference images that have been fetched from the internet and different books at the studio library. I make all of the sketches drawn in the previous pages after office hours as an additional add-on for the project.

Details of columns of an ancient temple in Chandravati near Jhalrapatan(RJ) twitter.com KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2.5

Portablity of Temples for Transportation at Site One of the significant parts of the project "SHIPPING" the temples to the USA. The team has decided that the temples created will be shipped by cargo to New Jersey, USA. This decision demands lots of technical fine-tunings while designing & producing the temples. There has to be a study entirely done on how cargo shipment of the things abroad is made.

2.6

Exploded view of a Temple

Once the inspection is done, it will be kept open on the port's container grounds until the next shipment call, and sometimes it is denied from shipping to the desired destination, which is a significant loss to the firm/ company sending the parcel.

12 11

The containers for cargo shipment are available in many universal sizes like 10, 20, 40, 45, 48 & 53 ft. in length. The weight of the materials filled in containers also plays a role in the ship without any issues in customs inspections. Also, the cubic area is considered of the order. If the package doesn't fulfill the ideal requirements, the shipment will be held at the port. And the taxes and fines will be applicable for the order. Those are few technicalities that have to be considered while shipping by cargo. To avoid any complications during the shipment process, the team at NDAW has decided to restrict the heights of the parts to 8 ft. high & the length can vary. This is to fit in the shipping vessel/ container. So all the temples will have 8ft. tall walls only. The remaining parts are divided according to the principle of minimum parting lines/ division lines. This will help in reducing finishing work at the site. The ceiling/ beam of the temples also has to be designed so that it's under 8 ft. width, height. If the size exceeds, which is possible in this part, then the beam must be divided into two parts for inserting inside the container. The smaller pieces of the temple have to be packed inside a box to avoid any material loss during any processing & scanning at the port. If the customs officer finds any doubt inside the packed container, he will open the container's seal & check each & everything inside.

http://shipsbusiness.com/container-sizes.html

8 ft. 1

7 Basic Structure of the temples The components consists of bottom cornice, pillars, walls, two beam's, dome with kalasha & fittings for all 8 temples.

3 6

The exploded parts of temples were made to explain how the temples will be made in detail to the client and materials transporter. The model was helpful for the team at NDAW for explanation to the N.J. team and Transporter. The illustration is an actual 3D model made in Fusion 360 and exported in 2D. 40 ft. Standard Container Dimensions Approximate interior dimensions: 39' X 7'8" X 7'9". Payload: 60,350 lbs. Tare weight: 8,377 lbs. Cubic capicity: 2,376 cu.ft.

The possible parts of the temple are as follows: 1. Metal base plate, 2. Temple walls, 3. Door with the door frame, 4. Relief plate, 5. Window, 6. Corner pillar, 7. Corner chajja cornice, 8. Corner sculptures, 9. Ceiling & beam-1, 10. Beam-2, 11. Beam-3 & 12. Dome with Kalash.

20 ft. Standard Container Dimensions Approximate interior dimensions: 19' X 7'6" X 7'10.8". Tare weight: 4,880 lbs. https://ritareviews.net/what-you-need-to-know-about-a-20-shipping-container/

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

2.7

Skeleton of Temples The skeleton, i.e., central metal structural support for the temple. The base structure of the walls of temples is designed according to the essential elements which the framework will support. The main load on the walls is the beams & Dome. Secondary support is for windows, doors, pillars, cornice & chhajja of the temple. The design is made with Galvanized Iron hollow rectangular profile pipes to support all the load directly in contact with the mainframe. G.I. material is least affected by any external weatherings elements like water, chemicals, moisture, gases, etc.

90 7.17

The dimensions of the G.I. pipe used for the base framework of walls is 3" X 1" thickness 0.083" and 1" X 1" Square pipe for interior beams, pillars, cornices, dome & chhajja. 1.5" X 1.5" Square pipe for exterior beams, pillars, cornices, dummy walls, dome & chhajja.

22.5

9 28.07

24 24

1.5

22.5

34.5 96 29.46

All the designs are made under the supervision of Nitin Sir and Shrikant Ji who have experience of more than 33 years of working in the industry on such projects.

96 84

22.53

22.46

34.5

28.2 21.04

19.49

.47

Side Elevation

Front Elevation PROJECT

Sai Datta Peetam, Temple Project TITLE

USA Mandir details APPROVED CHECKED DRAWN

SIZE

CODE

DWG NO

REV

B Ketan suryawanshi 20/03/2021 SCALE

1:20

WEIGHT

SHEET

1/1

12 16.5

.31

25.5

.31

6 16

.71

Front Elevation

Side Elevation

Basic metal framework for 8' X 8' temple designed on fusion 360

Basic metal framework for 4' X 4' temple designed on fusion 360

PROJECT

Sai Datta Peetam Temple Project TITLE

karthakya temple Metal Framework 3 Plan

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

APPROVED CHECKED DRAWN

SIZE

CODE

DWG NO

REV

B Ketan suryawanshi 22/03/2021 SCALE

1:20

WEIGHT

SHEET

1/1

2.8

Joinary of Temple Structure The joinery of the structures is an essential aspect of the project. The main joint of the structures is a metal plate to the metal frame/walls of the temple structure. To join the temple wall structure to the concrete plinth, anchor bolts or chemical anchor bolts are suggested to ensure that the structures are stable and harmless for the visitors. Also should be strong to hold the weight of the structures. Anchor bolts of 1 foot & 6 inches will be used according to the metal plate on the wall or ground position. Pillars to walls joinery is suggested to be done using metal-metal welding technique. Joinery of the walls, Beams & ceiling is mainly. Metal-Metal frame joints can be achieved in two ways welding/ Nut Bolt joint. To cover the metal frame structure with industrial marine ply, the process is to screw the ply directly to the metal frame using csk Phillips self-drilling screws. Lastly, the joinery of decorative fiber plates to ply also has to be done using csk Phillips self-drilling screws.

Boult Washer Nut

https://www.indiamart.com/proddetail/bolt-nut-washer-4929629973.html

Metal - Metal wall Joinary using Nut Bolt & Washer

Metal Plate - Metal wall Joinary using Anchor Bolts

Metal - Metal Beam Joinary using Nut Bolt & Washer

Metal Plate - Metal Pillar frame Joinary using Anchor Bolts

There is also an allied task of hiding the joints with so many joints to get a seamless output with so many joints. This is taken care of at the last stage during finishing both in India & the USA. Fiber joint finishing is done using the same raisin used for casting & also using auto putty in some areas. The main joints of metal plates to the concrete are hidden by tiling over it.

Zinc Plated (Bolt Anchors)- Wedge Type -Fully Threaded Design -Heavy Duty Expansion Anchor Bolts

https://www.amazon.in/Plated-Anchors-Threaded-Expansion-Variable/dp/B07BXHFRZQ

csk phillips self drilling screw

Metal Welding

https://www.uti.edu/programs/welding

https://www.amazon.in/4-2mm-32mm-Drilling-Screws-Phillips/ dp/B07HD9GSB7

KETAN SURYAWANSHI / Graduation Project 2021

All the below illustrations of joinery have made using fusion 360 for an understanding of the team both in India & NJ. The illustrations have helped the teams to visualize and work accordingly. Likewise, the assembly video has been created for all the structures to help the team at New Jersey for the ease of installation at the site. Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

3 65

REFLECTIONS & BIBLIOGRAPHY

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

www.furthermore.equinox.com

REFLECTIONS

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

My liking for spaces has started very early in age because of my family background, specifically my mom's B.G. She is a great Interior Designer and self-made woman. Later, when I got a chance to study at NID, I have grown my design thinking skills with my batchmates. While everyone was inclined to product design & UI/UX design, I found my interest in the field of design. The search for it came to a pause when I was lucky to realize that I like to work with spaces, and my visualization skills for space have guided me to take my Degree project in the field of Space Design and Art Direction. During my last few days at college, I thought of how I would get an opportunity to work with the best space designers in our country. I was fortunate enough to get in touch with India's well-known Art Director and Production Designer Shri Nitin Chandrakant Desai who is working in the film industry for more than 33 years of his life for movies, events, and spaces. I struggled to get his contact so much that my mother saw me struggling to get an excellent opportunity to work in the industry one day. This was when she helped me to find N.D. Studio's Email address. I would not be able to put forth my skills without this opportunity to work with Nitin, sir, and it was possible because of my beloved mother. I can't thank her enough for her help in finding the email. I still remember the first day when I was dressed up and went for the interview at the office in Karjat, Maharashtra. I was tense while talking with Nitin, sir. He gave me the opportunity to work on my very first project of Lalbaug cha Raja decore of 2020 with an Underwater theme. After two days, he again called me to his cabin for a discussion on the progress of the work. When I completed my part of the discussion with him, he asked Shailesh sir to explain the Sai Baba New Jersey project and told me that I will be working on it from now onwards. Till this point in time, I haven't submitted my G.P. registration form to the institute. After looking into the project, I have finalized my G.P. to work on in the coming months.

Apart from all the desk work, I also had a chance to experience hands-on work in metal fabrication of massive structures and FRP molding work. I have seen the complete transformation process from a sketch to a final product manufactured in front of me. This has helped me to gain first-hand experience of all times. I completely handled the color-coding system for different temple parts and assembly of the structures, and it gave me an authority of execution of it. With control comes the responsibility of providing a good and easy outcome possible and understandable result. The international shipping process was an exciting and technical task to carry out, which went well. Now I can make any shipment abroad without much hesitation as I know the complete process of how it is done. One of the hard times which took the best from me was the COVID-19 outbreak worldwide. The coronavirus situation has delayed the execution process and all other strategies aligned with it. Due to this situation, it was impossible to ship the components to the USA. We waited for almost six months to get a shipping order to the states. Also, no one from our team at NDAW visited the site for the installation process, which created another milestone for us to cross successfully. In this situation, the color-coding and assembly videos made by me have helped the team in N.J. to perform the installation task hassle-free. This was one of my significant achievements in the project if asked me. The installation and finishing are about to finish Sai Datta Peetam management has announced the inauguration and opening date from 2nd to May 8, 2021.

On February 2, 2020, I got into the studio for an interview and had started working on that day itself. On February 4, 2020, I begun working on Sai Datta Peetam, NJ project. My decision to select this project for G.P. has given me a chance to get information about Indian Temples and Indian mythologies. The project introduced me to many new things. It had forced me to get into the basics of architecture, structures, and drafting & architectural norms both of India and the USA. Also, my Autocad skills were polished like a pro as the project demands many detailed drawings of the structures. Ar. Rajesh Khaire has helped me a lot in making the proper drawings according to the rules & norms. 69

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

www.photos.com

BIBLIOGRAPHY

KETAN SURYAWANSHI / Graduation Project 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

Webography:• • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • •

https://en.wikipedia.org/wiki/Temple https://www.clearias.com/temple-architecture-sculpture/ https://books.google.co.in/ https://www.history.com/topics/religion/hinduism#section_11 https://www.britannica.com/topic/Hinduism/Early-Hinduism-2nd-century-bce-4th-century-ce https://en.wikipedia.org/wiki/Hinduism#Institutions http://saidattanj.org/index.aspx https://www.bbc.com/news/world-asia-india-35650616 https://www.prospectmagazine.co.uk/magazine/how-does-indias-caste-systemwork https://www.prospectmagazine.co.uk/magazine/how-does-indias-caste-systemwork https://en.wikipedia.org/wiki/Ayyappan https://www.amarujala.com/photo-gallery/chandigarh/womens-do-not-enterthe-kartikeya-temple-of-pehova-in-haryana?pageId=2 https://en.wikipedia.org/wiki/Hinduism https://www.clearias.com/temple-architecture-sculpture/ https://en.wikipedia.org/wiki/Hindu_temple_architecture https://en.wikipedia.org/wiki/Hindu_temple https://en.wikipedia.org/wiki/Kirtimukha https://www.yatrablog.com/architectural-beauty-of-shirdi#:~:text=Being%20 one%20of%20the%20holiest,pure%20simplicity%20at%20its%20best.&text=While%20the%20Shree%20Sai%20Baba,is%20constructed%20with%20 white%20marble. https://www.sai.org.in/ https://www.dham-yatra.com/blog/2019/03/27/shirdi-where-devotion-meets-simplicity/ https://timesofindia.indiatimes.com/travel/destinations/gurusthan/ as59218246.cms https://en.wikipedia.org/wiki/Stambha https://en.wikipedia.org/wiki/Deep_Jyoti_Stambh https://en.wikipedia.org/wiki/Heramba https://vedicvaani.com/ganesh-vehicle-mushak https://en.wikipedia.org/wiki/Mukhalinga https://en.wikipedia.org/wiki/Venkateswara https://www.tirumala.org/ https://en.wikipedia.org/wiki/Venkateswara_Temple,_Tirumala https://formfluent.com/blog/lord-balaji-the-lord-of-manifestation https://en.wikipedia.org/wiki/Kartikeya https://en.wikipedia.org/wiki/Panchamukha https://en.wikipedia.org/wiki/Narasimha https://en.wikipedia.org/wiki/Meenakshi#:~:text=Meenakshi%20 (also%20known%20as%20AngayarKanni,Sundareswarar%2C%20a%20 form%20of%20Shiva.

• https://en.wikipedia.org/wiki/Frieze • https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/ Frieze • https://www.plasterceilingroses.com/blogs/news/what-is-a-cornice • http://www.cmswillowbrook.com/constructorknowledge/2015/1/7/architectural-terms-architrave • https://en.wikipedia.org/wiki/Hoysaleswara_Temple • https://en.wikipedia.org/wiki/Palmette • https://en.wikipedia.org/wiki/Rosette_(design) • http://blogs.getty.edu/iris/indian-architecture-next-frontier-for-cona-our-soonto-launch-research-tool/ • https://en.wikipedia.org/wiki/Projection_mapping • https://en.wikipedia.org/wiki/Expanded_polyethylene • https://en.wikipedia.org/wiki/Bubble_wrap • https://en.wikipedia.org/wiki/Plastic_wrap • www.shippingsolutions.com • https://www.syspex.com/en/products/product-securing-damage-prevention/ container-securing/strapping-systems/531-polyester-woven-belts

Books & E-books:• • • • • • •

Elements of Indian Art by S.P. Gupta A History of Fine Arts in India and West by Edith Tomory History of Indian Art by Sandhya Ketkar Temples of South India by Kuthur Ramakrishnan Srinivasan http://magazines.odisha.gov.in/Srimandir/srimandirenglish/Epdf/Ech7.pdf https://ncert.nic.in/textbook/pdf/kefa106.pdf https://upload.wikimedia.org/wikipedia/commons/4/47/Elements_of_Hindu_Iconography_Vol._2_Part_1.pdf • https://archive.org/details/encyclopaediaofh07achauoft/page/n9/ mode/2up?view=theater

Documents:• • • • •

https://issuu.com/swarnikanimje/docs/volume_1 https://issuu.com/shushantverma/docs/final_20degree_20project https://issuu.com/mriduladasari/docs/degree_project_document_ https://issuu.com/sushanyumkhaibam/docs/degree_project_sushan_spreads https://issuu.com/burhan.khateeb/docs/final_edit_for_upload_

Type:• • • • • • • •

KETAN SURYAWANSHI / Graduation Project 2021

Main Headings- Futura Bk BT Book Sub-Headings- Minion Pro Bold Text Body- Garamond Regular Text Body Headings- Garamond Bold Links and Image Headings- Garamond Italic Futura Lt BT Light Futura MdCn BT Medium Bovino Trial Black

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.

National Institute of Design, AP

Namburu - 522510, Guntur - Vijayawada Highway, Andhra Pradesh. www.nid.ac.in

End of Volume 1.2 Please continue with Volume 2

THANK YOU

Designed & Edited By:

Ketan Suryawanshi ketan0252@gmail.com

KETAN SURYAWANSHI / Graduation Project / 2021

Industrial Design / B.Des / National Institute of Design, Andra Pradesh.