Preserving Patterns by The Idea Lab

PRESERVING PATTERNS

THE IDEA LAB

Published by MRS. GEETANJALI HIRAY

PRESERVING PATTERNS

THE IDEA LAB

Published by MRS. GEETANJALI HIRAY

ACKNOWLEDGEMENTS We are grateful to Ar.Swapna Khade (Principal I.C.), Dr. Baliram Hiray College of Architecture, Bandra, Mumbai for encouraging us to pursue the documentation of cultural heritage. We would like to offer our heartfelt gratitude to Mrs. Geetanjali Hiray, for bringing the book to life. We wouldn't be able to complete our research without the valuable inputs of our college faculties, Ar. Shantanu Khandkar Ar. Anagha Kadam-Naik Ar. Abhishek Kadam, Mentor Ar. Samir Naik, Mentor Ar. Tanay Ambavane, Mentor This project was conceived and carried out in its entirety by our college faculties, Ar. Abhishek Kadam, Ar. Samir Naik and Ar. Tanay Ambavane. They remained constantly involved in the progress of the documentation process. Their involvement and enthusiasm motivated the students to work harder towards the vision of the project. We thank the Shree Dev Laxmi Narayanadi Devasthan (under the administrative committee of Western Maharashtraâ&#x20AC;&#x2122;s pilgrimage site, Kolhapur) for being extremely cooperative with our endeavors. Also the Gram Panchayat , Walaval for providing us with relevant information . Mr.Waman Ramchandra Walawalkar, Ex-Collector, Walaval and Mr.Rajesh Prabhu, Sarpanch, Walaval let us interview them and shared their experiences. Weâ&#x20AC;&#x2122;d also thank Smile Please, Photo Studio for their pictures. We would like to express our gratitude towards Shree Dev Laxmi Narayan Bhojnalaya , Walaval for the meals. -The Idea Lab

CONTENTS

ACKNOWLEDGEMENTS

PREFACE

FOREWORD

INTRODUCTION

SITE INTRODUCTION

Location Climatology Village surroundings Site surroundings Demographics

HISTORY

Chronological order of all the surrounding temples Chronological order of Laxminarayan temple

SETTING OUT PLAN

SITE PLAN AND SITE SECTION

SHREE LAXMINARAYAN TEMPLE

SHREE GHADVANSA TEMPLE

GATE

CONCLUSION

GLOSSARY

FIGURE AND ABBREVIATIONS LEXICON

BIBLIOGRAPHY

PREFACE Documenting Shree Laxminarayan Temple, Walawal (Kudal), Sindhudurg in Maharashtra was conceived in conjunction with and is harmonizing to the publication “Preserving Patterns”. This companion volume consists of an example that emphasizes how documentation can contribute to better results in the conservation of cultural heritage places. Illustrated Examples has a more technical focus and is intended to assist layman, students, academicians and amateur architects in selecting recording tools and methodologies and in matching different information requirements and project needs. In order to create a common language between these two components and to make the information as clear as possible to the reader, a number of key terms and definitions have been listed and these terms, with which the reader is advised to be familiar, appears in the glossary. We hope readers will find these publications useful, obtain answers to their questions, learn to appreciate the benefits of documentation, gain enough specific information to assess current methodology and perhaps review some of them, feel more confident in discussing documentation-related issues, and become advocates for the importance of building documentation as an integral part of the conservation of heritage places. The companion volume of this book elaborates on the methods and techniques of documentation which can be used to document the long-standing structures. Documenting comparable structures aid in preserving the patterns of the buildings. The documentation exercise can be utilized to retain the traces of the architecture and the style of the era it was built in. Having developed the understanding of documentation, the companion volume focuses at an illustration carried out by the 4th year students (Academic year 2016-17) of Dr. Baliram Hiray College of Architecture, Mumbai. The Shree Laxminarayan Temple at Walawal, Maharashtra which is documented has a very peculiar characteristic in terms of its construction technique and the style of architecture. It has been constructed in the ‘Hemadpanthi” style of temple construction and has been designed to adapt to the climatic condition of the Konkan Region of Maharashtra, India. The significance of the temple in the religious context as well as the historical associations forms the rationale to document and preserve the temple’s architecture. The enthusiasm of the students made it an incredible experience to document the temple. The following volume comprises a combination of methods to preserve the essence of Shree Laxminarayan Temple through the documentation. We look onward to working on documenting structures with similar significance. We hope that the following volume will give an impression of the structure to its complete value.

Ar. Abhishek Kadam Ar. Samir Naik Ar. Tanay Ambavane

FOREWORD The book "Approach to Documentation-Preserving Patterns" as complied and worked upon by the Dr. Baliram Hiray College of Architecture, Mumbai is a laudable volume of work. Such approach at an undergraduate level is surely a great lending to posterity and contributes to spreading awareness in the mindsets of budding Architects. As an Architect in the niche practice of Conservation of built and natural heritage, I opine that the aspect of understanding historic context and its signiďŹ cance is a component that needs to be included at various levels of undergraduate Architectural studies. The book and its underlying methodology, indeed remains at the forefront of such need.

Ar. Kirtida Unwalla Conservation Architect

INTRODUCTION

India's religious practices have evolved from meditation to idol worship over the past centuries. Embracing a distinctive character as a result of geographical, climatic, ethnic, racial, historical and linguistic diversities, the Temple Architecture of India emerged around 4500 years ago, dating back to the Indus Sarasvati Civilization or the Harappan Civilization. As per archeological references found, it is believed that the Temple Architecture in India developed in around 2500 BC in Banawali, Haryana; housing a large complex of mud brick structures and open structures belonging to the Vedic Fire alter type. In the early historical period, temples formulated as open air shrines near water bodies may have predominated. After the 700BC, the concept of 'house of god' lead to the development of temples as enclosed structures, marking the beginning of the Mahajanpada Period. â&#x20AC;&#x153;Preserving Patternsâ&#x20AC;?, aims at encapsulating a detailed study of the Shree LaxminarayanTemple, Walawal, assisting the reader with an example of a Hemadpanthi style temple, along with a paraphernalia of imagery and analysis.

M A H A R A S H T R A Structures with historical signiďŹ cance certainly add to the archive of knowledge pertaining to the style of architecture and the development triggered due to the same. Temple architecture of India is a deeply embedded ďŹ eld with various styles that have developed over the eras and dynasties. Shree Laxminarayan Temple at Walawal grows to be a very traditional example of the Hemadpanthi Style, developed to become the Maratha style of Temple architecture

Ratnagiri

Vaibhavwadi

LOCATION

Devgad Kohlapur

Kankavi

Shree Laxminarayan Temple is located at Walawal, a village panchayat in Sindudurgh district of Maharashtra. Malvan

The temple is a sacred spot that is repeatedly visited by people on the Deccan Odyssey, being 15 kms away

Kudal

from Kudal tehsil and 32.7 kms from Malvan taluka. Sawantvadi

ARABIAN SEA

There is access by road and rail to the village.

Vengurla

Located 11.9 km away from the Kudal Railway Station. 548 km from Mumbai via NH4.

Dodamarg

Goa Arabian sea

Karnataka

CLIMATIC CONDITIONS 30 11

Located in the southern region of Konkan

32 12

36 16

38 20

37 23

32 23

28 22

27 22

29 21

31 18

30 15

29 11

1.9

12.9 12.8

9.1

9.8

6.3

1.5

0.6

Maharashtra, Sindudurgh district faces the tropical

monsoon

type

climate

resembling with other parts of the Konkan

AVG. TEMP.

belt.

Temperature

In Â°C Highest Average Lowest Average

Rainfall

In CM

40 KM

30 KM

VILLAGE SURROUNDINGS

Kasal

To the north of the village is the Karli River. NH4

The river is developed with a waterfront and

20 KM

boating facility.

NH4

NH179

Malvan- Kasal Road

Malvan

4-5 kms away from the temple and also in the

Kud

al-M

alva n Rd.

Tarkali Beach

also available in same premises, Bhakt Nivas managed by the temple trust. 5 KM

Nerur

Karli River

Temples around the site:

Kudaleshwar Temple

Walawal ARABIAN SEA NH4 Bhogve Beach Niviti Beach

NH4

Bhagwati temple, Dhamapur

Kudal

Kudaleshwar temple, Kudal

Road

Devbag

town of Kudal and Malvan. A short term stay is

10 KM

Kudal -Vengura l

NH4

Accommodation for the temple is available

Other tourist attractions comprise of the beaches of southern Konkan: Tarkarli Beach-37.5 km NH179

Bhogve Beach-20.7 km 11

HISTORY Shree Laxminarayan Temple, houses the deity that belongs to the 8th century. As a result of Maratha-Mughal wars in the 14th century, the deity was shifted from Harmal, Goa to Walawal, Maharashtra. Such a measure was taken as a result of the forceful conversion imposed by the Bahamani Sultanate. The temple was later established in the late 14th century, by Chandrabhan Desai and Suryabhan Desai, who were then the administrators of the village. It is said that the entire income of the village was donated to construct the temple. KUDALESHWAR TEMPLE

BHAGWATI TEMPLE

After 300 years, in the 16th century the temple was restored. As per the ''Shree Kshetra Laxminarayan Mandir Walawal'' it is established that the ďŹ rst stone of restoration was placed by Shivaji Maharaj on 13th November, 1668. 08

ROOF REBUILT

WEST GATE BUILT

NORTH GATE BUILT

GHAT+SHREE GHADVANSA TEMPLE

SHREE LAXMINARAYAN TEMPLE + DEEPSTAMBHA ESTABLISHED

MUGHAL VS MARATHA WAR PERIOD

TIMELINE

DEITY SHIFTED FROM GOA TO WALAWAL

CENTURY

Shree

Laxminarayan

Temple,

contributes to the rich culture of Maharashtra's Temple architecture. One of the oldest temples in the Sindudurgh district; has led to the adaption of the Hemadpanthi style in the neighbouring temples as well. 12

APPROACH OF DOCUMENTATION On-ﬁeld documentation is a procedure that requires a lot of precision. With growing technologies, various digitalized techniques have been adapted to carry out documentation. Equipment for setting out vary from simple timber devices to highly technical optical equipment. Although it is essential that all the equipment used in the process of setting out, should be in good condition and accurate in their readings. The range of setting out equipment includes: • Measuring tapes • Spirit levels and straightedge • Optical levels, optical squares and theodolites (for setting out angles) • Laser levels • Builder’s square • Proﬁle boards, ranging lines and pegs • Hammers, nails and saw

SETTING OUT PLAN The International Organisation for Standardisation (ISO) deﬁnes setting out as: Setting out is the establishment of the marks and lines to deﬁne the position and level of the elements for the construction work so that works may proceed with reference to them. This process may be contrasted with the purpose of surveying which is to determine by measurement the position of existing features.

INSTRUMENTS USED: 1. Measure tape – 5m and 50m tape 2. Bamboo 3. Sutli i.e. string 4. Spirit level 5. Chalk for markings 6. Stationery i.e. pen, pencil and tracing paper for proof drawing

TRIANGULATION METHOD: 1. A benchmark is considered. It can be any tree, post, rock, etc . 2. Fit to scale (rough) sketch of the site is made on the tracing paper also called proof drawing. 3. All the points are named on the proof drawing. 4. Considering the benchmark, the ﬁrst point is measured with the help of a measure tape. 5. Each point is measured from atleast two other points for cross checking. An error of10mm is permissible. 6. All measurements are noted in the proof drawing. 7. All the points are established on the proof drawing by the above mentioned method. 8. Proof drawing is referred to and the plan is digitalized. 13

SITE SURROUNDINGS S.T. STOP

The pilgrimage shrine of Sindudurgh district, houses the oldest temple of Walawal; Shree Laxminarayan Temple, ﬁrst constructed in the 14th century. The compound now encompasses

multiple other holy shrines evolved over centuries, Shree Ghadvansa Temple, Shree Hanuman

Temple, Shree Mulpurush Temple, Shree Rawarnath Temple and Shree Vishnu Temple.

The development of the village is concentrated around the site, resulting the fruition of amenities

I D

around it, such as restaurants, shops and school.

A short period accommodation is possible in the Bhakt Nivas, a guest house owned by the temple M

trust. Shree Dev Laxminarayan Bhojnalaya, provides with meals for the tourists on prior intimation at 12.2

an affordable pricing. The Laxminarayan Lake adds to the beauty of the temple making it a tourist spot along with the religious importance it holds. It is said, that on a full moon night the lake is one of the picturesque site because of the illusions created due to reﬂections. The temple has been planned in an additive manner. The site is enclosed in a compound wall with three access gates. The topography of the site has led to a natural slope towards the south-west, creating stairways as a major approach route from the access road. The lake adjoining the temple contributes to the tourist development of the village, inviting a lot of tourists with or without religious signiﬁcance.

School

Ghat (Stepped Bathing Area)

Rawarnath Temple

Shiv Temple

Mulpurush Temple

Shree Ghadvansa Temple

Hanuman Temple

Structure

East Gate

West Gate

Deepstambh

Strucutre

Stage

Store Room

North Gate

Deepstambh

Laxminarayan Temple

Ofﬁce

Shree Vishnu Temple S.T. STOP

CROSS SECTION

ROAD

RAWARNATH T

TEMPLE

L A X M I N A R A Y A N L A K E

2 3 UP

12 UP

GUTTER

UP DN

3M W

IDE RO

25M

MULPURUSH TEMPLE

EAST GATE

DEEPSTAMBHA

SABHAMANDAPA

MUKHASHALA

CHAUK

GARBHAGRIHA

WEST GATE

Shree Ghadvan

3 4

4 East Gate

6 5 View towards the south side of the complex

nsa Temple

2 North Gate

1 Temple complex from the approach road.

6 View of the temple from the lake

SHREE LAXMINARAYAN TEMPLE

HEMADPANTHI STYLE It is an architectural style, named after its founder, Prime Minister Pandit Hemadri, or Hemadpant from the 13th century court of SeunaYadavas of Devgiri , that is Daulatabad near Aurangabad. The form has a sort ofeternal simplicity. Hemadpanthi style is a blend of the Yadava and the Nagara style of architecture with an influence of Jain architecture in some parts of the country. This style magnifies the use of stone and timber. The Chalukyas, the Silharas and yadavas added much more to the existing architectural tradition by adopting Nagara or Bhumji type of architecture. This blended with the local conditions of Maharashtra and developed it into the popular Hemadpanthi style of architecture which came to be known as the Maratha architecture.This style evolvedwhen the North Indian Islamic sultanates were beginning to make inroads in the state of Maharashtra. The Yadavas ruled over a large swathe of Southern India at that time, hence it is also said to have an influence of the architectural styles of the Southern parts of the country.

AXONOMETRIC VIEW 21

FLOOR PLAN The Maratha style of temple architecture has a very simple plan of linking the sanctum sanctorum with a rectangular portico. The façade of the portico has columns with arches or carved capitals. The plan also consists of an assembly hall along with important features of Maratha architecture consisting of spires or pinnacles on the roof and deepstambhas or deepmalas. S

-0.02 M GROUND LEVEL ± 0.00 M LVL

ENTRY

PAKHADI -0.02 M LVL

-0.15 M LVL

SABHAMANDAPA -0.22 M LVL UP

-0.30 M LVL

PLATFORM +0.30 M LVL

B PAKHADI -0.02 M LVL ENTRY

-0

- 0.22 M LVL

DINDI +1.20 M LVL

-0.22 M LVL

M LVL

JHAMADAR KHANA +1.35 M LVL

MUKHASHALA +0.65 M LVL

0.02 M LVL

CHAUK +1.20 M LVL

C D

GARBHAGRIHA

-0.22 M LVL

1.25

3.12

6.25 M

TRANSITION TOWARDS THE CELESTIAL SPACE Architecture of a space often reďŹ&#x201A;ects on the sensorial factors of the user. Transition of spaces, t h e use of elements have a virtual conversation with the user. God reďŹ&#x201A;ects the divine connection with heaven. Temples are often designed to unravel a route towards this heavenly abode. The rising shikharas and the ascending plinths acknowledge this path. Hindu notion of prayer is a rather intimate practice, hence, the development of spaces is done in order to create the warm sacred aura, that acts as a barrier between the materialistic and the celestial world. Increasing degree of closure and decreasing intensity of light scales the initmacy of the space. In case of Shree Laxminarayan temple, the progress of the facade assists in controlling the light and monitoring the vision of the devotees. The sabhamandapa is fringed with large openings allowing direct light and ventialtion into the space, constructed at a noticeably lower plinth. An ascending plinth leads the devotee towards the mukhashala, bringing the devotee closer to the deity. The openings for this space are similar to that of the sabhamandapa but a meagre change in level acts on the vision connectivity and progresses the concentration towards the spirituality. The garbhagriha is placed on the highest plinth, marking the superiority of the deity. This space is devoid of any kind of openings, increasing the intimacy of the space. The spatial transition thus funnels the connection between the deity and the devotee to facilitate a rather private space for prayer.

GARBHAGRIHA DWAAR - ELEVATION

Our ancient temples are treasure troves of history. These shrines were not merely religious sanctums but were pivotal centres for sharing knowledge and research on regional history, sociology, good governance and tradition. Columns of the Mukhashala are ornamented with floral arrangement. Colours of the capital corresponded with the designs and were depicted in green colour. Carvings progressed from floral patterns to figures of god decoding the entrance into the Garbhagriha.

DETAIL AT A

DETAIL AT B

DETAIL AT C

GARBHAGRIHA GARBHAGRIHATILES TILES AnAn interesting interesting combination combination ofof heritage heritage tiles tiles areare observed observed in in the the garbhagriha garbhagrihaofof the the temple. temple. Cement Cement tiles tiles portraying portraying anan array array ofof natural natural hues hues , are , are individually individually hand-crafted. hand-crafted. The The timeless timeless elegance elegance and and durability durability ofof these these tiles tiles make make them them works worksofofartartand andananinvaluable invaluablepart partofofthe thecountry’s country’s architectural architectural heritage. heritage. Making Making ofof cement cement tiles: tiles: Step Step1: 1:combination combinationofofwhite whiteportland portlandcement, cement,marble marble dust, dust,silica silicasand, sand,calcium calciumcarbonate, carbonate,mineral mineralpigments pigments (iron, (iron, cobalt cobalt and and chromium chromium oxides) oxides) is is used used toto make make the the colour colour layer, layer, the the thickness thickness ofof this this layer layer ranges ranges from from 3mm 3mm toto 5mm. 5mm. Step Step 2: 2: the the mould mould and and the the base base areare then then prepared, prepared, wherein wherein the the colour colour is hand is hand poured. poured. Two Two layers layers ofof cement cement and and sand sand areare poured poured onon top top ofof the the colour colour once once the the colour colour is poured. is poured. Step Step 3: 3: the the tile tile is then is then pressed pressed using using hydraulic hydraulic press press which which applies applies a pressure a pressure ofof 2000 2000 pounds pounds per per sq.inch sq.inch oror 1700 1700 PSI. PSI. Step Step 4: 4: the the tile tile is demoulded. is demoulded. OnOn the the following following day day the the tile tile is soaked is soaked in in water water in in order order toto achieve achieve water water saturation. saturation. This This guarantees guarantees proper proper cement cement hydration. hydration. The The tiles tiles areare left left toto dry dry forfor 1010 days days and and then then hand hand inspected. inspected. Tiles Tiles areare ready ready forfor shipment shipment 2828 days days after after they’ve they’ve been been manufactured. manufactured. AtAt this this stage stage the the cement cement form form the the body body and and the the color color surface surface will will have have obtained obtained 98% 98% ofof itsits resistance. resistance.

2929

GARBHAGRIHA PANEL

These motifs recite a story with historical or mythological references. Snakes

humans with weapons and peacocks in the form of carvings can be observed on the

timber posts, along with the beauty of various ďŹ&#x201A;owers. The signiďŹ cance of the snake on every motif draws light to the cobra being the vahana (vehicle) of Lord Vishnu, synonymous to Lord Laxminarayan.

The column capitals are carved with organic forms that can be derived as characters from the Hindu mythology. The door panel of the Garbhagriha have carvings on both the sides, depicting the guardians of the deity. The simplicity of the temple is enhanced by adding colours to the timber posts, capitals and door panels.

GARBHAGRIHA CEILING

DETAIL ELEVATION OF GARBHAGRIHA PANEL

DETAIL OF COLUMN 31

A combination of intricate craftmanship with the simplicity of timber used for the roof. Architectural hierarchy of the temple is maintained in the roof proďŹ le, through the verticality of the Mukhashala contrasting with the horizontality of the Garbhagriha and Sabhamandapa.

ROOF PLAN The temple followed an intricate pitched roof construction using

The roof of the Mukhashala had a higher gable level, the rafters of

timber. Double joists were supported by a king's post truss for the

this were supported by a tie member at 4.7M from the ﬁnished ﬂoor

roof of the Sabhamandapa and Garbhagriha. The rafters and battens

level. This tie member can be ornamented for ﬁnishing purposes.

were supported by the truss, which were laid on by mangalore tiles;

The rafters of the Garbhagriha were tapered and adjoined on a ridge

395 MMx235 MM The Sabhamandapa and Garbhagriha had a double

piece, size ranging from 40 MM-60 MM at the junction and widening

level roof, adding an outlet for ventilation when the havans are

to 100 MM-150 MM towards the peripheral joist.

performed in the temple.

LEVEL +4.8M 0

1.25

3.12

6.25 M

ROOF PLAN

LEVEL +8.8M 0

1.25

3.12

6.25 M

VISUAL PERCEPTION Architecture of a sturcture creates a dialougue with the human, vision being the primary sense of perception. The visual frames encode and decode interactive processes and facilitate a communication with the building. An intricate facade would create connection with the building and its function, where as a blank facade would bring to an end to the on going conversation, decoding a diversion. III In case of the temple, the spaces have been designed to funnel the connection between the devotee and the deity. A gradual

transition

visual

frames

help

create

concentration of sacred thoughts and an undisturbed

connection with the deity. In the sabhamandapa, simple imagery depicts the space to be the least intimate of the temple. Maintaining the vibe of the temple and the function of the space, that is rather semi formal, the sabhamandapa is used as a gathering space for the devotees. A visual connectivity with the complex is also maintained through the openings. The mukhashala is arranged at a higher plinth, the openings rupture the visual contact with the complex due to the rise in sill level. The columns with motifs that possess mythological references, start conversing with the devotee, justifying the space as a transition towards the deityâ&#x20AC;&#x2122;s prayer area. An enclosed garbhagriha with no marked openings, is adorned with intricate carving on the columns as well as the ceiling. Such a spatial organization allows the intimacy for the devotee. The holy vibe of the space is maintained through the visual frames that channel the thoughts of the devotee in the sacred direction.

III. Garbhagriha

II. Mukhashala

I. Sabhamandapa

DEEPSTAMBHA

SABHAMANDAPA

MUKHASHALA

NORTH SIDE ELEVATION

MUKHASHALA DEEPSTAMBHA

SECTION SX1

STAGE

SABHAMANDAPA

CLIMATE RESPONSIVE The geographical and climatic conditions play an important role in developing any style of architecture in an optimum manner. Temple architecture is usually inďŹ&#x201A;uenced by the local housing style of any region, also justifying the use of locally available material. The temples of the northern regions of the country are known for its enhancing ornamentation and verticality, depicted

through

high

gopurams

and

shikharas

rationalized by the availability of volcanic rock which endures the property to be carved. As the southern parts of the country are approached, pitched roof construction is observed which progresses into a more horizontal manner. Sedimentary stone is in excess in the southern CHAUK

regions,

reasoning

the

decrease

ornamentation.

GARBHAGRIHA

Hence, a similar temple typology using Hemadpanthi style is followed in the Konkan region of Maharashtra, making it vitally climate responsive.

Adapting the Nagara and Dravadian style of architecture, the level of the mukhashala roof (termed as gopuram in

A K

traditional temple architectural styles), is noticeably higher than that of the sabhamandapa and garbhagriha, creating a sense of the central structure to have the

GARBHAGRIHA

CHAUK

1.5

tallest roof (gopuram).

3.75

7.5 M

MATERIALS

Temples of Konkan region of Maharashtra follow a similar typology that comprises of a stone core and timber expansions. The additive planning of the temple has steered the use of more than one material in its construction. Red laterite stone, nationally known as cheera stone, which is soft in character and is locally available in this region is primarily used in the construction. Cheera stone is used in combination with basalt stone that is imported from Andhra Pradesh for the construction of the Garbhagriha or the sanctum sanctorum.

WEST SIDE ELEVATION

The extension of the Sabhamandapa is done using timber in assortment with terrazzo, marble and kota stone. The Konkan region was not the most prosperous region; hence they used stone to its minimum possibilities with the slightest of ornamentation. Timber

used

the

columns

the

Sabhamandapa and the roof system of the whole structure. Timber framed double pitched roofs were laid with mangalore tiles, making it a climate responsive system.

SECTION SY1 42

1.5

3.75

7.5 M

III

(I, II, III, IV): Transition of spaces maintaining the axis of the temple plan marked from the Deepstambha to the main deity.

View from the approach road, capturing the temple along with the beauty of the lake.

DEEPSTAMBHA A lamp column which is embellished with brackets that assist the climbing on the column to light the lamps (deep) at the higher levels Constructed using locally available basalt stone, it adds to the beauty of the temple, especially on a festive occasion. The central Deepstambha was designed with a total of 32 brackets, arranged alternately in 8 tiers. The shorter Deepstambha around the central, had a total of 36 brackets on each of them, arranged alternately in 5 tiers. On a festive occasion the all 5 columns are lit, making it an inviting sacred environment for the worshippers.

PLAN + 0.95 M

PLAN +1.90 M

0.75

1.87

3.75

The pinnacle of the deepstabha compliments with the horizontality of the temple.

+ 1.90 M

+ 0.95 M

FRONT ELEVATION

Basalt constructed Deepstambha enhances the entrance of the temple, creating a contrast.

SHREE GHADVANSNA TEMPLE

While each part maintains its own special character, taken holistically, the successful juxtaposition and association of buildings on site read as a culturally and religously rich complex. This project has enabled the students to rediscover materials and construction methods of an earlier era, many of which have stood the test of time and nature.

AXONOMETRIC VIEW

Shree Ghadvansa temple is an East facing sub temple in the complex, divided into the Sabhamandapa and E

the Garbhagriha. Constructed using

stone structural system with a timber roof, the temple abides by the UP

SABHAMANDAPA 4.9 M X 5.0 M +0.93 M LVL

Hemadpanthi style likewise to the

GARBHAGRIHA 4.5 M X 4.5 M +0.93 M LVL

Shree Laxminarayan Temple. Devoid of

any

conventional

window

openings in the sabhamandapa, the temple is well lit and ventilated due to the openings formed

between

the stone pillars which support the timber roof.

FLOOR PLAN

ROOF PLAN 52

2.5

NORTH SIDE ELEVATION

The present condition of the temple drives one to the conclusion that, the temple might have collapsed before,

which

seems

reassembled now. The traces of the same are visible in the structural system of the the

temple,

where

stone column parts are

stacked together with a rod passing through to hold them in position.

SABHAMANDAPA

GARBHAGRIHA

Also the lack of joinery between rooďŹ ng

structural members and

columns below proved the same.

SECTION SX2 0

2.5

5M 53

GARBHAGRIHA DWAAR

COLUMNS The

peripheral

stone

pillars

the

sabhamandapa are aesthetically carved using motifs from mythological references like that of the snakes along with appealing ﬂowers. The carvings are noticeably dense near the capitals, resting on a stone seating lined along the walls of the temple. Painted in red and silver, the columns add a ﬁnesse to the temple's rather restored construction.

The entry to the garbhagriha is through an unusual timber door. The frame of the door is highly ornamented through carvings of lotus flowers. As per Hindu religious beliefs, the lotus flower is rendered as a sacred flower as it represents eternity, purity, divinity, and is widely used as a symbol of life, fertility, and ever-renewing youth. It is hence often observed that the holy deities are associated with lotus flower. An impression of lord Ganesha is also carved at the center of frame.

DETAIL AT E

DETAIL AT F 55

The extravagant range of the temple complex is observed in the image, encompassing the cultural combination on the site, noting the Shree Laxminarayan Temple embellished with the Deepstambha and Shree Ghadvansana Temple along with the approach facilitated through West and North Gates.

GATE

L A X M I N A R A Y A N L A K E

ROOF PLAN

2.04

0.55

2.04

3.55

0.66

0.68

4.52

4.89

FIRST FLOOR PLAN LEVEL + 4.18 M

FIRST FLOOR PLAN LEVEL + 4.95 M

WEST GATE

NORTH GATE

+ 4.95 M

+ 4.18 M

+ 1.35 M

SECTION SY3

SECTION SY4 S

GROUND FLOOR PLAN

GROUND FLOOR PLAN LEVEL + 1.35 M

LEVEL + 1.35 M 1.0

2.5

The temple is adorned with the beauty of the Laxminarayan lake, named after the holy deity. Adding recreational value to the complex, the lake is also used for ďŹ shing by locals.

IMPACT The temple is around 600 years old, which dates back to the period when rich cultures of India cultivated and framed most of the present day interpretations. The temple is the only prime structure in the village panchayat, resulting in a deďŹ nite inďŹ&#x201A;uence on the development of the village and its lifestyle. The impact of the temple emphasizes on various aspects that range the alterations from physical to virtual. Holding an inďŹ&#x201A;uential position in the lives of the people of the area, the temple has led to an overall development of the region that can be marked through the growth of the place.

ECOLOGICAL IMPACT

SOCIAL IMPACT

The site gradually descends towards the Laxminarayan Lake, in the south west

Water and religious structures have always been a key factor inďŹ&#x201A;uencing

direction. It can be observed that the ecological background of the site is mostly

civilization around it. The temple is a communal space that can facilitate social

intact, from the difference of level in the ground plain. The regular in-ďŹ&#x201A;ow of

gatherings for the village. The development of traditional and modern housing

crowd could have demanded the addition of metaled approach roads making

is concentrated around the temple complex.

the access more comfortable and safe. As the temple has facilitated most of the settlements around it, other facilities have also developed to meet the needs of the locals staying there like grocery

DEMOGRAPHIC ECONOMY

CENTURY

shops, restaurants and schools.

CULTURAL IMPACT

AESTHETICS AND DISTRESS MAPPING

The population of Walawal is mostly Brahmins that worship the Hindu Gods.

Hemadpanthi style illustrates as a style of simplicity. Temples in Indian

The shift of the deity of Dev Laxminarayan from Goa would have led to the

architecture are usually extravagantly ornamented ediďŹ ces, Hemadpanthi style

migration of people that worship the god, signiďŹ cantly formulating the temple.

being contradictory to this doctrine.

The temple complex also has four other temples that have developed around the Shree Laxminarayan temple that are of different gods, deducing that Hindus

The beauty of this temple lies in its carved columns and capitals of the

have diverse religious beliefs and worship more than one god. The Mulpurush

garbhagriha and the profound use of simple columns in the sabhamandapa. The

and the Rawalnath temple are often found on the Konkan belt as they are

roof is mostly left exposed adding a sense of verticality in a rather horizontal

believed to be guardians by the locals. It can be inferred that the Shree

structure. The terrazzo seating provided on the periphery complements to the

Laxminarayan temple created a viable surrounding to allow the development of

function of the space.

other temples. The temple is a striking arrangement of multiple materials that may have deteriorated over time. The wooden members have observed certain cracks and worn out edges. Since the temple has been renovated, it can be deciphered that it may have been an outcome of a weakened or worn out structure and a need to conserve it.

Enhancing the beauty of the place, the river is also used for boating by locals to commute on a regular basis, connecting the peaceful village of Kudal with the adjoining villages like Dhamapur.

ARTICLES

Walawal village is famous for its scenic beauty and

In Sindhudurg district, this village Walawal enjoys

dense forest. Almost 30% of land of Walawal

best of the natural beauty. This statue and the

situated in proximity is of 'Jambha' stone, 'Kupicha

structure of temple are fantastic exhibits of ancient

Dongar'- which is famous for 'Bolka Pathhar'

temple architecture. The statue dates back to 8th

'Siddhacha Khadak', 'Panyache raan' , 'Wadhyachi

century of Chalukya’s. The statue in Pandharpur

guha' etc. which helps in protecting this village from

Temple is similar in nature and carved in black

winds that ﬂow from across the sea. From this

Sandstone (Ratimay Dagad).

'Kupicha Dongar' , you can see clean beaches,

Shree Laxminarayan Temple is located in scenic

Sindhudurga fort built by Shivaji Maharaj, Dhamapur

There is a ritual of offering a Tulsimala of

surroundings near Walawal. The location of this

lake and Karli Creek.

Laxminarayan to Vithoba at Pandharpur and, the holy

temple is justiﬁed by an interesting story. Once, the

tilak of Vithoba to Laxminarayana. Walawal is also

sibling pair of Mauli and Laxminarayan came to a

-Walawal cha katali Saundarya

recognized as The Pandharpur of south. It is famous as

water hole in Walawal to quench Mauli’s thirst.

Subhash Zhore

a home of many saints. The lake near Laxminarayan

Seeing the scenic beauty around, they decided to

mandir adds to the scenic beauty and also supplies

make Walawal their home.

water for agriculture. -Walawal cha

After a long period of time this temple was

Laxminarayan

constructed. The statues in mandir are of

Subhash Zhore

Portuguese era. The interesting feature of this statue is that, goddess Laxmi is on the right side of god Narayana. The temple celebrates festivals from Chaitra shuddha pratipada till Ram-navami. -Walawalcha Shree Laxminarayan Mandir Adnyaa Desai

Established over a duration of of centuries, thethe temple complex houses oneone of the most influential structures Established over a duration centuries, temple complex houses of the most influential structures of Walawal district. Aboding the celestial home of Shree Laxminarayan in combination with shrines of various of Walawal district. Aboding the celestial home of Shree Laxminarayan in combination with shrines of various other Hindu Gods, thethe picturesque beauty of the sitesite is crowned with a sacred aura. other Hindu Gods, picturesque beauty of the is crowned with a sacred aura. TheThe intricate craftsmanship andand locally available material have propogated thethe useuse of traditional method of of intricate craftsmanship locally available material have propogated of traditional method construction. The age of this temple can help deduce the strength of the traditional construction. Hence, construction. The age of this temple can help deduce the strength of the traditional construction. Hence, modification of such techniques cancan be widely promoted, over thethe useuse of trending construction methods. modification of such techniques be widely promoted, over of trending construction methods. TheThe sequential development of the complex marks thethe engagement of the devotees in maintaining thethe sequential development of the complex marks engagement of the devotees in maintaining enthralling structure. Thus thethe temples constitute thethe principal architectural activity of the period. They enthralling structure. Thus temples constitute principal architectural activity of the period. They survive to remind us of glory andand devastation of the bygone age.age. survive to remind usthe of the glory devastation of the bygone

73 73

DINDI : Secondary entry for the pujari to perform the daily rites and rituals of the temple.

HERITAGE INFORMATION : The integrated activities of recording, documentation, and information management.

DOCUMENTATION : The already existing stock of

HERITAGE RECORDING : The graphic or photographic

information. As an activity, it stands for the systematic

capturing

collection and archiving of records in order to preserve

conﬁguration, evolution, and condition of a heritage at

them for future reference. It can be said: Today's recording

known points in time. Information management: The

is tomorrow's documentation.

process of ﬁnding, cataloguing, storing, and sharing

information

describing

the

physical

information by making it accessible to potential users now and in the future.

DRAVIDIAN ARCHITECUTRE : developed in 600 A.D. the early Dravadian temple consists of a garbhagriha with mandapas or the open porches. The shrine containing the garbhagriha is crowned with steeply tapering shikhara and the manadapa is provided with a ﬂatter pyramidal covering.

They mainly adopted the trabeated system of construction.

INFORMED MANAGEMENT : to monitor and develop conservation priorities and maintenance mechanisms for informed management to determine and control changes to cultural heritage.

GEOGRAPHICAL SURVEY : Geophysical survey refers to the collection of information associated with subsurface features, such as burials on land or shipwrecks underwater.

JAIN ARCHITECTURE : developed around the 3rd century B.C., Jain temples are typically 4-faced, which necessitates

Archaeologists often use the information they collect to

the entry to the shrine chamber from all 4 sides. Introduced

detect and map subsurface features without having to do

the colonnaded group of small shrines the four sides of the

any destructive or unproductive excavating. The tools used

courtyard in which the main temple stands. Mostly these

to collect subsurface information are sensors. There are

temples are on hilltops.

many types of sensors for use by ground, air, and water, and two types commonly used by archaeologists are ground

JHAMADAR KHANA : Storage space for temple utilities.

penetrating radar and magnetometers. GARBHAGRIHA : It literally means 'womb-house' and is a cave like sanctum. The Garbhagriha is made to house the main deity which is itself the focus of much ritual attention.

MUKHASHALA : The front porch in a temple from where you can see the face (mukha) of the idol.

POLICY AND PLANNING : to facilitate appropriate conservation techniques and interventions within a historic

SABHAMANDAPA : Entrance to the temple, may be a portico or colonnaded hall that incorporates space for a

building, through illustrating information about its physical

large

form, material knowledge, conservation priorities and

entertainments are practiced here. Some temples have

cultural signiﬁcance.

multiple

number

Mandapas

worshippers. in

different

Dances sizes

and

other

named

Ardhamandapa, Mandapa and Mahamandapa. PAKHDI : Seating space in the sabhamandapa, which is often occupied during festivals.

SHRINE : a building or other shelter, often of a stately or sumptuous character, enclosing the remains or relics of a saint or other holy person and forming an object of religious veneration and pilgrimage.

RECORDING : Used in this publication in a broad sense, meaning the acquisition of new information deriving from all activities on a heritage asset, including heritage recording, research and investigation, conservation, use and management, and maintenance and monitoring. RESEARCH AND INVESTIGATION : Used to describe in general a variety of activities aimed at the acquisition of information pertinent to increasing knowledge of a cultural heritage place. While research is related more too off-site surveys (e.g., archival research), investigation relates to the direct acquisition of information from the heritage place as a primary source. Recording is an essential component of research and investigation at each step and at each level of the conservation process.

TERRAZZO : ﬂooring material consisting of chips of marble or granite set in concrete and polished to give a smooth surface.

VEDIC FIRE ALTARS : The first altars of the Aryans were those of the cult of fire. Agni, the fire, was celebrated in the Vedic hymns and kindled upon earth to carry prayers and offerings to the highest heavens. In the world of the Aryans, there were hymns addressed to Agni and other gods but there were no temples nor were there murtis of the gods. In the Vedic age, the gods were imaged only in words. Agni was described as the one with flaming hair and golden jaws, the messenger of the gods, through whom oblations were carried from earth to heaven. Even the most elaborately constructed fire were not permanent, but were constructed in a temporary ritual arena called a yajnashala.

â&#x20AC;&#x153;

When we reject our origins, we become the product of whatever choice that we find ourselves planted; the colours of our leaves change as we consume borrowed nutrients with borrowed roots and, like a tree, we grow.

â&#x20AC;&#x153;

-Mike Norton, Fighting for Redemption

CREDITS CONCEPT Ar. Abhishek Kadam Ar. Samir Naik Ar. Tanay Ambavane

ILLUSTRATED DRAWINGS SITE

GATES

Abhishek Mehta, Aditya Soman, Dhruval Shah

PLAN, SECTIONS, ELEVATIONS

Gitanshu Saboo, Manan Gajjar

Bhaumik Shah, Dhruval Shah, Kaushal Bagdekar,

Manjiri Sane, Nikhil Murkar

Kavina Parikh, Sarvajit Tawde, Suhail Panjwani

SHREE LAXMINARAYAN TEMPLE

3D MAQUETTES

PLAN

Aditya Soman, Mit Sheth

Vishal Udeshi, Kavina Parikh ELEVATIONS

SKETCHES

Gajendra Mandrekar

Gargi Mhatre, Krina Shah, Rhea Pejavar

SECTIONS

Saanchi Parasrampuria

Ayushi Motiwalla, Aditya Soman, Mit Sheth DEEPSTAMBHA

TEXT

Gargi Mhatre, Kaushal Bagdekar, Nikhil Murkar

Ar. Abhishek Kadam, Ar. Tanay Ambavane

DETAILS

Ayushi Motiwalla, Kavina Parikh, Vishal Udeshi

Abhishek Mehta, Dhruval Shah, Kaushal Bagdekar, Kavina Parikh, Nikhil Murkar, Rhea Pejawar,

TRANSLATION

Saanchi Parasrampuria, Suhail Panjwani , Vishal Udeshi

Manjiri Sane, Nikhil Murkar, Sarvajit Tawde

SHREE GHADVANSA TEMPLE

TITLE CREDITS

PLAN, SECTIONS, ELEVATIONS, DETAILS Aditya Soman, Gargi Mhatre, Krina Shah

BOOK DESIGN THE IDEA LAB

Ar. Abhishek Kadam, Pranay Motta

THE IDEA LAB (from left to right rear row) Rhea Pejavar, Sarvajit Tawade, Gajendra Mandrekar, Kaushal Bagdekar, Mit Sheth, Ar. Tanay Ambavane, Vishal Udeshi, Manan Gajjar, Nikhil Murkar, Ar. Abhishek Kadam, Dhruval Shah, Suhail Panjwani, Bhaumik Shah, Gitanshu Saboo (from left to right front row) Ayushi Motiwalla, Gargi Mhatre, Abhishek Mehta, Manjiri Sane, Krina Shah, Saanchi Parasrampuria, Kavina Parikh, Ar. Samir Naik, Aditya Soman

IMAGE LEXICON APPROACH TO DOCUMENTATION Shree Laxminarayan Temple,

Pg No. 02

Site Plan

Pg No. 14, 15

Site Section

Walawal Photo Credits- Ar. Abhishek Kadam Harsiddhi Temple, Ujjain

Site Sketches

Pg No.16, 17

Axonometric View

Pg No. 21

Pg No.11

Photo Credits- Ar. Abhishek Kadam

Shree Laxminarayan Temple Gwalior Fort, Madhya Pradesh

Pg No. 12 Floor Plan

Photo Credits- Ar. Abhishek Kadam

Pg No. 22, 23

Shree Laxminarayan Temple Sarkhej Roza stepwell, Ahmedabad

Pg No. 13 Transition to the celestial space

Photo Credits- Ar. Abhishek Kadam

Pg No. 24, 25

Shree Laxminarayan Temple Cultural Heritage cycle

Pg No. 14 Garbhagriha Dwaar

Photo Courtesy- Internet

Pg No. 26

Shree Laxminarayan Temple Holkar Palace, Chandwad

Pg No. 17 Mukhashala Columns

Photo Credits- Ar. Abhishek Kadam

Pg No. 27

Shree Laxminarayan Temple Methodology of documentation

Pg No. 20 Garbhagriha Tiles

Pg No. 28

Shree Laxminarayan Temple

PRESERVING PATTERNS Garbhagriha Dwaar Shree Laxminarayan Temple,

Pg No. 02

Pg No. 30

Shree Laxminarayan Temple

Walawal Garbhagriha Ceiling and Columns

Photo Credits- Ar. Abhishek Kadam

Pg No. 31

Shree Laxminarayan Temple Map of Maharashtra

Pg No. 10 Shree Laxminarayan Temple

Map of Sindhudurg

Map of Walawal Climatic Conditions

Pg No. 11

History of Temple History of Walawal Temples

Pg No. 12

Pg No. 32, 33

Photo Credits- Ar. Abhishek Kadam, Dhruval Shah Roof PLan (+4.8M) Shree Laxminarayan Temple

Pg No. 34, 35

Roof PLan (+8.8M)

Pg No. 36, 37

Shree Laxminarayan Temple Visual Perception

Pg No. 55

Shree GhadvansnaTemple Pg No.39

Site Panorama

Photo Credits- Manan Gajjar North Side Elevation

Garbhagriha Columns

Pg No.56, 57

Photo Credits- Ar. Abhishek Kadam Pg No. 40, 41

SX1 Section

Elevations

Pg No. 60

Gate

Shree Laxminarayan Temple West Side Elevation

Pg No. 42

SY1 Section

Ground Floor Plan, Sections

Pg No. 65

Gate

Shree Laxminarayan Temple First Floor PLan Sketches

Pg No. 43

Pg No. 62

Gate

Shree Laxminarayan Temple Roof Floor PLan Shree Laxminarayan Temple

Pg No. 44, 45

Pg No. 64

Gate

Photo Credits- NIkhil Murkar Shree Laxminarayan Temple, Deepstambha Plan

Pg No. 46

Pg No. 66

Photo Credits- Ar. Abhishek Kadam

Photo Credits- Ar. Abhishek Kadam Impact Deepstambha Elevation

Pg No. 47

Pg No. 67, 68, 69

Shree Laxminarayan Temple

Photo Credits- Ar. Abhishek Kadam Karli River Axonometric View

Pg No. 51

Pg No. 70

Photo Credits- Ar. Abhishek Kadam

Shree Ghadvansna Temple Newspaper Articles Floor PLan, Roof Plan

Pg No. 52

Pg No. 71

Photo Courtesy- Internet

Shree Ghadvansna Temple Karli River Elevation, Section SX2

Pg No. 53

Pg No. 72

Photo Credits- Ar. Abhishek Kadam

Shree Ghadvansna Temple Garbhagriha Dwaar

Pg No. 54

The Idea Lab

Pg No. 79

Shree GhadvansnaTemple 81

BIBLIOGRAPHY WEBSITES

konkanarchitecture.blogspot.in www.vaikhari.org www.konkanonline.com www.indiantravels.com timesofindia.indiatimes.com www.ghumakkar.com historyofindia-madhunimkar.blogspot.in www.historyfiles.co.uk www.chitrolekha.com asi.nic.in= en.banglapedia.org www.census2011.co.in www.open.edu www.cultureindevelopment.nl www.lotussculpture.com www.youtube.com www.raanvata.com www.indiatravelogue.com www.archive.india.gov.in www.sarkhejroza.org www.indianmandirs.blogspot.in

BOOKS

Shree Kshetra Laxminarayan Mandir Walawal, Kudal Soak-Mumbai An Estuary Concepts Of Space In Traditional Indian Architecture- Yatin Pandya Temples In India- S P Gupta, S Vijaykumar Documentation- John A. Joseph Identiﬁcation and Documentation of Built Heritage In India- Divay Gupta Rehabilitaion of Nagpur Fort- Laurence Loh Handbook of Conservation of Heritage Buildings-CPWD AIA Magazine, 2009 Norman Foster Key Interiors Since 1900- Graeme Brooker