VAARI – A CITY CULTURAL CENTER REINTERPRETING THE CONCEPT OF PILGRIMAGE THROUGH ARCHITECTURE STORY OF MY THESIS 1
PILGRIMAGES IN INDIA
2
THE 800 YEAR OLD VARKARI OF MAHARASHTRA..
The practice of pilgrimage in India is so deeply embedded in the cultural psyche and the number of pilgrimage sites is so large that the entire subcontinent may actually be regarded as one grand and continuous sacred space.
TRADITION
ON ASHADI EKADASHI ( 1 1 TH L U N A R D A Y OF JULY MONTH)
IDENTITY OF MAHARASHTRA
COMING TOGETHER ON A PARTICULAR OCASSION
REACHING THE DESTINATION AND RETURNING BACK.
After studying and going through various books and research papers related to the Varkari tradition, I have come to a conclusion that there is a lot of literature and documentation work done, which helps in contributing to this tradition but are not easily available to people, and also there is minimal physical or architectural contribution done which can actually help reinforce this 800 years old tradition. In today’s context people have lost the understanding of the true meaning of Pilgrimage and how important lessons it has to offer in today’s society.
21 DAYS ANNUAL PILGRIMAGE
800 OLD YEARS TRADITION
STARTED AND EVOVLED BY SAINTS
STARTING A JOURNEY BASED ON CERTAIN BELIEFS
REASON FOR TOPIC SELECTION
PEOPLE COME TOGETHER FROM VARIOUS SOCIAL BACKGROUNDS
REACH PANDHARPUR AND RETURNING BACK
PURPOSE OF THESIS TOPIC
OR IS THERE A META- NARRATIVE (DEEPER MEANING) OF THE WHOLE IDEA OF PILGRIMAGE ???
•
The purpose of the thesis is to propose a cultural centre which is a amenity to the city highlighting the Varkari tradition.
•
To reinforce the Varkari tradition and also depicting how Pilgrimage is a universal concept.
UNDERSTANDING THE CONCEPT OF PILGRMAGE Through the centuries, pilgrims have engaged in pilgrimage travel to find what is timeless and eternal in an attempt to renew themselves physically and spiritually. A pilgrimage is a journey, often into an unknown, where a person goes in search of new or expanded meaning about the self, others, nature, or a higher good, through the experience which leads to a personal transformation. PART1
Separation (start of journey)
Providing an cultural amenity which is a pause space and is a dominant tourist attraction for the people.
PART 2
Liminal stage (The journey itself)
RESEARCH QUESTIONS
Re-aggregation (home-coming)
Can a centre be designed which will act as a cultural amenity to the City highlighting the Vaari culture??
•
PART3
Hindu pilgrimage
Jain pilgrimage
COMING TOGETHER AND STARTING A JOURNEY TOWARDS A GOAL
( The enthusiasm of departing ) Buddhist pilgrimage
( Transformation of penance into peace )
PILGRIMAGE IS A MICROCOSM OF LIFE
RETURNING BACK AFTER SELF TRANSFORMATION AND EXPERIENCE
A flourishing center which will be a cultural tourist attraction for the people ??? OBJECTIVES:
( relaxation of arriving )
1
To design a centre which will highlight the varkari tradition and make people aware of it.
2
Understanding and studying the Varkari culture and also depicting the universal concept of Pilgrimage through this culture.
3
Understanding Pilgrimage.
4
Establishing how Pilgrimage is a universal concept.
5
Converting the universal metaphors of Pilgrimage into spaces
Islam pilgrimage
Examples of some pilgrimages
GOING INTO THE UNKNOWN (JOURNEY TOWARDS INNER TRANSFORMATION)
(The curiosity of exploration)
EXPERIENCING AND ALIGNING YOURSELF WITH THE SACRED
PILGRIMAGE IS A UNIVERSAL CONCEPT THAT SERVED A PURPOSE BEYOND THE RELIGIOUS BELIEFS, HENCE EVERY RELIGION ENDED UP DOING IT. THE PRESENT SCENARIO Every year in the month of July, the well known ‘Vari’ or the ‘Palkhi’ procession starts from these two places and proceeds for 21 days to reach the holy place of 'Pandharpur'. The area transforms into something different, where lakhs of ‘Varkaris’ who are mostly farmers coming of different regions of Maharashtra come together. Currently the overall area of Pune city is getting urbanized at a phenomenal pace due to the largely industrial development. (which is both ‘planned’ due to the Automobile manufacturers and ‘unplanned’ due to the tiny and small scale industries coming around). Thus the identity of these unique centers within the periphery is changing. In today’s context people have lost the understanding and the true meaning of pilgrimage and it has become more of a superficial annual movement based on certain beliefs.
the
meta-narrative
of
A CENTER WHICH WILL BE A CULTURAL AMENITY TO THE CITY….
A CENTER WHICH WILL BE A PAUSE IN THE JOURNEY FOR TRAVELLERS…..
A CENTER WHICH WILL SERVE THE VARKARI PILGRIMS DURING THE ANNUAL PROCESSION….
A CENTER WHICH WILL BE CREATE AWARENESS THIS CULTURE AND BE A TOURIST ATTRACTION……
A
CULTURAL CENTER WHICH WILL DEPICT THE SPIRIT OF PILGRIMAGE THROUGH THE VAARI CULTURE.
ABOUT
a
SITE ANALYSIS AND JUSTIFICATION C] MAPPING
S I T E L O C A T I O N : Pune, Maharashtra Site is situated outside the core Pune city and Saswad city The Site acts as a connecting node between two cities.
N
N
Location of 3 main areas
Dive ghat is situated in between the two places
N
A] SITE SELECTION JUSTIFICATION: 1 As we have established how the concept of pilgrimage is moving outside the area/comfort zone. Hence the Site is outside the main core city area.
Roadways
5km to 10km radius
Hotels and restaurants near site
Site
15km to 20km radius
Tourist points near city
2
Dive ghat is one of the tourist point of the city which attracts people; as a result there are many D ] P A U S E A N A L Y S I S : hawkers, temporary food stalls and hotels are getting developed in the vicinity of the site.
3
Dive ghat is the procession route of Saint Dnyaneshwar Palkhi with a very strong historical context and during the Vaari Procession people take pause near the site location.
4
The site should act as a pause in a journey hence it is in-between the starting point and destination.
5
There is 24 hrs. vehicular movement on the state highway road which is adjacent to the site.
On Normal days
On Vaari Procession days
HENCE THERE IS A STRONG POTENTIAL WHERE A CULTURAL CENTER CAN BE CREATED WHICH WILL BE A TOURIST HUB AND ALSO HELP IN GENERATING ECONOMY FOR NEARBY CONTEXT. SITE PLAN My site is oriented along North South direction with respect to the highway road
A’
SITE AREA48,776 SQ.M
1 2a
2
2 Existing hotel behind the site.
3
4
B
B’
State highway Saswad
5
going
to People largely pause near the view points in Dive ghat and near the temporary food stalls.
6
After the 10km climb on foot people take pause at the end of the ghat and also largely gather to get the palkhi view
Statues are being constructed for theme based commercial purpose. 1
4
Site views
E] FRAMES MAPPING
7
8
F] CROWD DURING PROCESSION
A
Site
5
Hawkers and temporary stalls 6 are near my site as it is a pit stop for travelers
8 Site has a overview of Mastani lake which is one of the tourist attraction point of the city.
1 State highway coming from Pune
B] CLIMATE ANALYSIS Micro analysis
Macro analysis
Windward side
The air flowing up the hill eventually cools as it gets higher due to the presence of water body. Rain is more in this part of the hill. Leeward side
Once the air reaches on top of the hill it warms as it flows downwards on the opposite side. The air is drier on this side of the hill.
• • •
Pune has a hot semi-arid climate. Pune experiences three seasons: summer, monsoon, and winter. Typical summer months are from mid-March to mid-June. The monsoon lasts from June to October, with moderate rainfall.
2
3
4
TOPOGRAPHY
This is the rain shadow region. Leeward side
It is steeply contoured towards the lake side
The sun sets on the direction of the Mastani lake on the West side The wind flow is from the South west side upwards to the hill.
SITE SECTION- BB’
•
It is a contoured site with 40m level difference at the highest point on site from State highway road.
Windward side
Contour level +40.00m
As the site is located on the highest point of dive ghat there is a visual connection for people coming upwards from the highway.
View of site from Mastani lake
Dive ghat during Vaari procession
View of road from highest point on site
Contour level + 28.00m
Contour level +16.00m
Contour level + 4.00m
Contour level - 100m
Road level ± 0.00m
Contour level +24.00m
Contour level +20.00m
Contour level +24.00m
Contour level - 200m
SITE SECTION- AA’
DESIGN OUTCOME
DESIGN CONCEPT THE CYCLIC PHENOMENON The journey of pilgrimage is that of a cyclic nature, hence it is a microcosm of life itself.Time,Life, in Indian context has always been considered as cylic. However although cyclic, it is not static. It is constantly evolving. The process of evolution, involution and devolution go on constantly. What is important is that the progression is not as a linear continuity but as a helical or a spiral with a still centre and a dynamic periphery -Yatin Pandya (concepts of space in traditonal Indian architecture)
The Dashavatar depicting the cyclic notion of time. The Nataraja depicting dynamic balance of creation, destrucution and reconstruction (cyclic circle).
SITE The whole idea was to design in a way which respects the site and its context and not overpower it as the site is situauted on the highest point of Dive Ghat. The contour formation reveal a crude circular form which merges with the context. This process is further explored which brings in the final design.
DESIGN PROCESS
SITE PLAN
Public spaces Semi-public spaces Private spaces
Pathways
PLAN AT +7.5 M 1. SITE ENTRY 2. PARKING SPACE 3. VISITOR’S INFORMATON GALLERY 4. AUDITORIUM 5. ADMIN AREA 6. STAFF DINING AREA 7. STAFF ACCOMODATON AREA 8. KITCHEN AREA 9.CAFETERIA 10. FOOD PLAZA 11. WORKSHOP ROOMS 12. LIBRARIES 13. RAMP TOWARDS STORY CORRIDOR
18
14. RAMP TOWARDS OPEN AMPHI 15. OPEN AMPHITHEATRE 16. FINAL SPACE OF STORY CORRIDOR. 17. OPEN PLAZA 18. SERVICE ENTRY
FINAL SPACE
CENTRAL ELEMENT
STORY CORRIDOR
OPEN AMPHITHEATRE
SECTION B-B’
CENTRAL ELEMENT
STORY CORRIDOR
STAFF ACCOMODATION
SITTING PAVILLION FOR STAFF
LIBRARY
SECTION D-D’
PLAN FROM LEVEL 10M TO 20M 1. SITE ENTRY 2. PARKING SPACE 3. RAMP TOWARDS STORY CORRIDOR 4. CENTRAL ELEMENT 5. RAMP TOWARDS OPEN AMPHI 6. OPEN AMPHITHEATRE 7. ENTRANCE OF STORY CORRIDOR 8. STORY CORRIDOR 9. PATH LEADING TO FINAL SPACE OF CORRIDOR 10. FINAL SPACE
15
11. EXITING RAMP FROM THE CORRIDOR 12. PATHWAY TOWARDS OPEN AMPHI 13. OPEN PLAZA 14. EXIT 15.SERVICE ENTRY
FINAL SPACE
CENTRAL ELEMENT
STORY CORRIDOR
ADMIN OFFICE
SITTING PAVILLION FOR STAFF
STAFF ACCOMODATION
SECTION C-C’
FINAL SPACE
CENTRAL ELEMENT
STORY CORRIDOR
FOOD PLAZA
SITTING PAVILLION FOR STAFF
SITTING PAVILLION FOR STAFF
SECTION A-A’
VISITOR’S GALLERY
STORY CORRIDOR
EXPLODED VIEW Gallery 1 and Gallery 11 The cyclic phenomenon of time in Vaari culture is represented through the phases of the moon.There are 2 important Ekadashi’s (11th lunar day of Bright fortnight) i.e Aashaad(June-July) and Karthiki Ekadashi(Oct-Nov) Story: It is believed that lord Vishnu falls asleep in the Ksheersagar-cosmic ocean of milk i.e during Aashad ekadashi and wakes up after 4 months from his slumber i.e during Karthiki Ekadashi. Interpretation: A ramp leads the visitor to the story corridor through a doorway. The story corridor depicts the 800 years journey of the Vaari through experential galleries. The entrance is marked by a sculpture of Lord vishnu in his sleep which gives a notional idea of time to the visitors, adjacent to it is the sculptures showing the moon phases.
Moon cycle A small lotus pond is just below the sculptures marking a celebrated arrival of the visitors. Gallery1 depicts the first 15 days of the moon cycle that is the start of the journey and Gallery 11 shows the last 15 days of the cycle marking the end of the journey which then further leads to the final space.
Gallery 3 : Saint Dnyaneshwar Story: Born in Paithan, Maharashtra , Saint Dnyaneshwar
Gallery 4 : Saint Savta Maali Savta Maali who was Story:
Gallery 9: Saint Tukaram Also known as ‘Tukoba’ was born in Dehu,Maharashtra. Story: He is known for his devotional poetry called “Abhangas”. He belonged to a family of farmer.His life was full of hardships and turmoil. At a young age he had lost his family which was during a famine in 1639 where he was crestfallen and the events had thrown him in a bottomless pit of grief after which he took onto the spiritual path. He had written around 4000 abhangas but due to
a gardener belonging to a poor background.He attained spirituality by staying dedicated and pure to his work.
Spacial Interpretation:
The start of the gallery is sculpted with his story which leads the visitor to an open space consisting of 2 phases. The first phase has a bed of dead plants and flowers indicating his life of hardships. but the second phase consists of fully flourished plants and flowers indicating the transition of his life towards the absolute truth by remaning pure to his work.
Gallery 8 : Saint Namdev Story: Belonging to a tailor family and known for his teachings in the north-
discrimination of the caste system he was ordered to sink Spacial Interpretation: his life’s work in the Indrayani river, he was broken. After The flooring of the gal13 days of constant fasting by spiritual intervention the lery is cracked and of books reappeared on the river surface as it was before. a rough material which represents the agony and pain in his life during the famine phase. As one moves futher the verses of his abhangas are engraved on the floor which continuos towards and inside the small water body. Only when the water is still one can acknowledge the meaning of his writings and through the refelction of oneself on the water a feeling of -
en part of India also called Chhimpa(tailor) in northen India. He had a life full of struggles but later transformed walking the path of spirituality.
Spacial Interpretation:
The walls of the gallery are sculpted with his stories and a row of clothes are displayed vertically hanging from the roof where initially the clothes are torn representing the struggles, as one moves along the clothes are beautifully engraved with his poems and teachings which represent the latter life of the saint.
Gallery 5 and Gallery 7
Gallery 9 (continued ) self realization is created that true knowledge is within oneself.
Both the galleries consist of 6 pillars each of the same height but different materials and design.
is considered to be one of the founder of the Vaari tradition.He lived a short life of 21 years of constant struggle and hardships.He wrote the ‘Dnyaneshwari’ at the age of 16. It is regarded as the the most fundamental text in this culture.
Spacial Interpretation:
Each column represents some of the important saints of the Vaari culture.Each of the saints belonged to different social backgrounds : Narhari sonar (goldsmith), Gora Kumbhar (potter) Saint Muktabai,Saint Nivrutthinath, Saint Janabai Gallery 10 Saint Sopan, Saint Chokamela, Saint Bhanudas Saint Ramdas, Saint Damajipant,Sant Kanhopatra and Saint Nilobaray. The columns are of different materials but in this culture there is no discrimination and all are given equal respect and honor irrespective of their backgrounds which is shown by the equal heights of the 12 columns.
Spacial Interpretation:
The walls of the gallery are sculpted with his life’s stories and as one moves along - The flooring has a rough texture to create a feeling of discomfort. - Also the walls narrow down to an extent where only a single person can pass through a small opening which represents how he alone faced took the initiative to strengthen the culture. - As one exits through the opening the side walls are engraved with the verses of ‘Dnyaneshwari’ through which the sunlight enters the interior of the corridor and lights up the space.
Gallery 2 : Saint Pundalik
Gallery 5
Gallery 7 Gallery 6 : Saint Eknath ( The bridge )
Story: Pundalik is also perceived to be the histor-
ical founder of the Varkari sect, which is centered on the worship of Lord Vithoba.The holy town of Pandharpur is named after him. Pundalik was arrogant and disrespectful to his parents forgetting about their pain and sacrifices.Later after a spiritual encounter he completely transformed and devouted his life in service of his parents.
Spacial Interpretation:
As the visitor moves along the space the focus goes on the trees on either sides of the corridor. The trees are the metaphors of our parents,where the top part represents the giving part but we often forget about Tree as a metaphor for our parents
the roots i.e the depth of sacrifices it goes through in order to flourish on the top. the visitor’s focus goes on the roots while entering this space giving him a sense of realization. the walls are sculpted with the life story of saint Pundalik.
Spacial Interpretation: This gallery show how the Vaari movemnt has evolved in all these years. The walls are sculpted depicting the palkhi procession. to enhance the spatial experience tulsi pots,dhol and pathakas are overhung from the ceiling which creates a sense of participation of oneself in the Vaari a culture of joy and delight in togetherness.
To the final space
Story:
Born in Paithan,Maharashtra he was a scholar and a religious poet. During his time there was chaos in the society due to invasions, he revived and strengthened the culture by his wrtings and philosophy. He has rewritten the ‘ Dnyaneshwari’ as it got corrupted over the years. He is considered to be a strong pillar for transferring the authentic knowledge of the ‘Dnyaneshwari’ to the modern era. He is seen as Spacial a bridge between his predecessors Saint DnyaneInterpretation: shwar and later Saint Tukaram and Saint Ramdas. The life of Saint Eknath is depicted by a bridge which is the center of the story corridor which acts as a connecting node between the two parts of the corridor. the bridge opens up towards the central element which becomes a pause point, a reorientation spot from where the journey resumes after a break.
As one exits from gallery 11 which shows the last 15 days of the moon cycle marking the end of an journey, a staircase leads the visitor towards the final space of the corridor.
Gallery 1
Gallery 3 (Saint Dnyaneshwar)
Gallery 9 (Saint Tukaram)
Gallery 2 (Saint Pundalik)
Gallery 8 (Saint Namdev)
Gallery 10 ( Vaari)
The central element which created a sense of curiosity throughout the journey because of its misaligned formation finally reveals its true form by aligning itself in the final space.
The central element is an indirect symbolization of ‘ Vitthal and Rukmai’ who are considered to be the central and most important figures of the Vaari culture it is depicted through randomly placed slabs of varying heights which reveals its form through light and shadow.
CENTRAL ELEMENT
FINAL SPACE
VISITOR’S GALLERY
OPEN PLAZA
SECTION E-E’ PLAY OF LIGHT AND SHADOWS TAKES PLACE IN THE FINAL SPACE WHERE THEY ARE ALIGNED COMPLETELY DURING THE AASHADI PERIOD (JUNE/JULY) WHICH IS THE MOST SIGNIFICANT MONTH IN THE VAARI CULTURE.
ONE EXITS THE FINAL SPACE ALIGNING WITH THE CENTRAL ELEMENT, MARKING THE END OF AN JOURNEY.
RETURNING....
THANK YOU
manishh509@gmail.com
+91 9762900925