Nitin Mandhan | Undergraduate Thesis by Nitin Mandhan

COGENT CONSERVATION OF BUILT HERITAGE

AN ATTEMPT TO

COAL E S CE THE

ESSENCE AND EXI S TE N C E OF ARCHITECTURAL HERITAGE IN HARYANA

CERTIFICATE

THIS IS TO CERTIFY THAT THE REPORT TITLED

“COGENT CONSERVATION OF BUILT HERITAGE” IS THE BONAFIDE WORK OF NITIN MANDHAN ROLL NO: M.U.1532 EXAM SEAT NO: 5271 SUBMITTED TO THE FACULTY OF

RIZVI COLLEGE OF ARCHITECTURE, MUMBAI FOR DESIGN DISSERTATION SEMESTER X, B. ARCH. OF UNIVERSITY OF MUMBAI DURING THE ACADEMIC YEAR 2019-2020.

PROF. FARHAT KAZI I/C PRINCIPAL RIZVI COLLEGE OF ARCHITECTURE

PROF. SAURABH BARDE GUIDE RIZVI COLLEGE OF ARCHITECTURE

DECLARATIONI hereby declare that the report entitled “Cogent Conservation of Built heritage” submitted by me, for the fulfilment of the Bachelors in Architecture at Rizvi College of Architecture, Mumbai is a record of the Design Dissertation carried out by me under the supervision of Prof. Saurabh Barde. I further declare that this written submission represents my ideas in my own words and where other’s ideas or words have been included, I have adequately cited and referenced the original sources. I affirm that I have adhered to all principles of academic honesty and integrity and have not misrepresented or falsified any idea/data/fact/ source to the best of my knowledge. COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

I understand that any violation of the above will cause for disciplinary action by the Institute and can also evoke penal action from the sources which have not been cited properly.

Place: Mumbai Date: 02/10/2020

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Signature of candidate Nitin Mandhan

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ACKNOWLEDGEMENTThis dissertation wouldn’t have been possible without the continued support of my parents- Mrs. Babita Singh and Mr. Surender Singh, my brother Mohit Mandhan and my sister Mrs. Nancy Hooda Malik. It was for their sincere trust and faith in me that this dissertation was realised.

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This deisgn dissertation is a result of the energies and efforts from not one but many people who aided in some way or the other. I, therefore, acknowledge all these people who made this dissertaton possible.

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The whole process of this design dissertation journey was made memorable with help and constant unmatched support from my friendsTushara Kalathil, Aishwarya Iyer, Tanzeel Iftikhar, Qusai Shehabi, Ruchi Mulay, Zainab Miyasaheb, Kaynat Shaikh, Shifa Shaikh and Aishwariya Khiraiya.

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

I would grab this opportunity to thank the friendly faculties- Prof. Jinisha Lodaya and Prof. Neesha Mewada here at Rizvi College of architecture and former faculty- Ar. Swapnil Raka for guiding me throughout this research time and again. The project would not be the same without the constant discourse, their meaningful inputs and constructive criticism.

TABLE OF CONTENTS

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

DECLARATION

ACKNOWLEDGMENT

ABSTRACT

LIST OF FIGURES

1. BACKGROUND

2. INTRODUCTION

2.1 HYPOTHESIS STATEMENT

2.2 AIM

2.3 OBJECTIVES

2.4 SCOPE OF THESIS & SCOPE OF ACTIONS

2.5 LIMITATIONS

3. RESEARCH METHODOLOGY

4. REVIEW OF LITERATURE

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4.1 BOOKS/E-BOOKS

4.2 BOOK SECTIONS

4.3 RESEARCH ARTICLES

4.4 PAMPHLET

4.5 COMPILATIONS

4.6 NEWSPAPER ARTICLES

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5. STUDY OF CASES

5.1 CASE I - Doria castle, LD+SR

5.2 CASE II - P. Zoranic Square & Š. Budinic Plaza, Kostren-i-Krebel

5.3 CASE III - Kolumba Museum, Peter Zumthor

6. STUDY OF SITE

6.1 CRITERIA FOR SITE SELECTION

6.2 SITE SELECTION

6.3 SITE STUDY AND ANALYSIS

7. PROGRAM

7.1 CRITERIA FOR PROGRAM SELECTION

7.2 BREAK-UP OF PROGRAM

7. DESIGN REFERENCES

WHAT IS NOW Fig.no. 2

WHAT IT CAN BE Fig.no. 3

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KEYWORDS: Culture, sense of belonging, cogent conservation, culturally relevant program, public architecture.

WHAT IT WAS Fig.no. 1

A lost sense of culture (or its component elements), creates certain disorientation and perturbation leading to a misplaced sense of belonging. This paper aims to look into this relation and devise an exemplary prototype to conserve built heritage in Haryana cogently while making sure the architecture is truly public in nature. The design being aided by a culturally relevant program which is capable of invoking sense of belonging in the community. This research uses Saunder’s research onion (2007) as a base to put together an effective methodology to aid further in a successful design dissertation. The research for this project delves into mixed research approach and mixed choice of method. Mixed approach has been adopted as it makes use of both deductive and inductive reasoning to conduct the research. Mixed method makes use of both qualitative and quantitative data collected to be analyzed and equally used in the research study. This helps overcome the limitations in each individual method. The scope of this research expands to the implementation of similar approach conservation projects across the state’s built heritage sites, setting up a positive case for conservation projects across India.

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

ABSTRACT-

LIST OF FIGURES-

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Fig.no. 1 Essence: what it was 04 Fig.no. 2 Existence: what is now 04 Fig.no. 3 Coalescence: what it can be 04 Fig.no. 1.1 Nature of driving forces (Source:author) 11 Fig.no. 1.2 Our world as a result of co-existential driving forces. (Source:author) 11 Fig.no. 1.3 Culture is the binding force between human nature and personal knowledge. (Source:author) 11 Fig.no. 1.4 Location of Haryana. (Recreated:author) 12 Fig.no. 1.5 Haryana archaelogical sites and monuments. (Recreated:author) 13 Fig.no. 2.1 Ruins found at P. Zoranic Square, Croatia (Source:Damir Fabijanic) 17 Fig.no. 2.2 Cultural rejuvenation at P. Zoranic Square & Š. Budinic Plaza creating a multifunctional public space.(Source:Damir Fabijanic) 17 Fig.no. 2.3 Aim of this design dissertation. (Source:Author) 19 Fig.no. 2.4 Scope of actions for conservation of heritage structures (Source of graphic:Author) 20 Fig.no. 3.1 Saunder’s research onion rings, 2007 (Recreated:Author) 23 Fig.no. 3.2 Research approach used. (Source:Author) 24 Fig.no. 3.3 Mixed method balancing quality and quantity. (Source:Author) 24 Fig.no. 3.4 Longitudinal and cross-sectional time horizons. (Source:Author) 24 Fig.no. 3.5 Data collection and analysis. (Source:Author) 24 Fig.no. 4.1.1.1 Book cover page. (Source:exoticindiaart.com) 27 Fig.no. 4.1.1.2 Historical timeline of Haryana. (Source:author) 27 Fig.no. 4.1.1.3 Map of north india showing rivers & canals. (Recreated:author) 28 Fig.no. 4.1.1.4 Map of north india showing mountain ranges and desert. (Recreated:author) 28 Fig.no. 4.1.1.5 Stone age and harappan period in Haryana. (Recreated:author) 28 Fig.no. 4.1.1.6 Major routes in Haryana. (Recreated:author) 28 Fig.no. 4.1.2.1 Book cover page. (Source:amazon.ca) 29 Fig.no. 4.1.2.2 Map showing location of Chandigarh. (Recreated:author) 29 Fig.no. 4.1.2.3 Government museum and art gallery, Chandigarh. (Source:author) 30 Fig.no. 4.1.2.4 Gandhi Bhavan, Chandigarh. (Source:author) 30 Fig.no. 4.1.2.5 Streets of Chandigarh. (Source:author) 30 Fig.no. 4.2.1.1 Four kinds of social behavior patterns (Source:author, based on Triandis, H. C. 1990) 31 Fig.no. 4.2.1.2 Traits and determinants of collectivism and individualism (Source:author, based on Triandis, H. C. 1990) 31 Fig.no. 4.3.1.1 Four factors that help make architecture public. (Source:author, based on Gordon Graham, 2006 Can there be public architectue?) 32 Fig.no. 4.4.1.1 Book cover page. (Source:P.A. press ltd.) 33 Fig.no. 4.4.1.2 Diagram representing hierarchy. (Source:author) 33 Fig.no. 4.4.1.3 Diagram representing heterarchy. (Source:author) 33 Fig.no. 4.4.1.4 Illustrations from war and architecture by Lebbeus Woods. (Source:P.A. press ltd.) 33 Fig.no. 4.4.1.5 Illustrations from war and architecture by Lebbeus Woods. (Source:P.A. press ltd.) 34 Fig.no. 4.5.1.1 Questions of interest for this research. (Source:author) 35 Fig.no. 4.5.1.2 The levels of culture and their interaction. (Source:author, adaptation of Schein 1984: 4) 35 Fig.no. 4.5.1.3 Assumption-based culture (Source:author) 35 Fig.no. 4.5.1.4 Value-based culture (Source:author) 36 Fig.no. 4.5.1.5 Three levels of uniqueness in human mental programming (Source:author, adaptation of Hofstede 1994: 6) 36 Fig.no. 4.5.1.6 The relation between culture, identity and belonging. (Source:author) 36 Fig.no. 5.1 Map showing location of project cases under study. (Recreated:Author) 41 Fig.no. 5.1.1 Map of location. (Source:mapz.com) 43 Fig.no. 5.1.2 Rural built fabric around the castle. 43 Fig.no. 5.1.3 River of the Nervia valley flowing around 43 Fig.no. 5.1.4 Access to castle 43

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Fig.no. 5.1.5 Conservation 43 Fig.no. 5.1.6 Metal walkway additions 43 Fig.no. 5.1.7 Metal support and access staircase. 43 Fig.no. 5.1.8 Metal stanchions supporting the walking deck above. 43 Fig.no. 5.1.9 Staircase 43 Fig.no. 5.1.10 - 44 Fig.no. 5.1.11 - 44 Fig.no. 5.1.12 - 44 Fig.no. 5.1.13 - 44 Fig.no. 5.1.14 - 44 Fig.no. 5.1.15 - 44 Fig.no. 5.1.16 - 44 Fig.no. 5.1.17 - 44 Fig.no. 5.1.18 - 44 Fig.no. 5.1.19 - 44 Fig.no. 5.1.20 - 44 Fig.no. 5.1.21 - 44 Fig.no. 5.1.22 - 44 Fig.no. 5.1.23 - 44 Fig.no. 5.2.1 Map showing location. (Source:mapz.com) 45 Fig.no. 5.2.2 Excavations at the plaza. 45 Fig.no. 5.2.3 The square and plaza during day hours. 45 (Source:archdaily.com) 45 Fig.no. 5.2.4 The square and plaza during evening hours. 45 (Source:archdaily.com) 45 Fig.no. 5.2.5 Ground floor plan (Source:archdaily.com) 46 Fig.no. 5.2.6 Section D-D’ (Source:archdaily.com) 46 Fig.no. 5.2.7 Section C-C’ (Source:archdaily.com) 46 Fig.no. 5.2.8 Details. (Source:archdaily.com) 46 Fig.no. 5.3.1 Map showing location. (Source:mapz.com) 47 Fig.no. 5.3.2 Post-war destruction. (Source:Issuu.com) 47 Fig.no. 5.3.3 Chapel 47 Fig.no. 5.3.4 1943 47 Fig.no. 5.3.5 - 47 Fig.no. 5.3.6 Remains of chapel’ Madonna 47 Fig.no. 5.3.7 Now 47 Fig.no. 5.3.8 - 47 Fig.no. 5.3.9 Ground floor plan 47 Fig.no. 5.3.10 First floor plan 47 Fig.no. 5.3.11 Second floor plan 47 Fig.no. 5.3.12 - 47 Fig.no. 5.3.13 - 47 Fig.no. 5.3.14 - 47 Fig.no. 5.3.15 - 47 Fig.no. 5.3.16 - 47 Fig.no. 5.3.17 - 47 Fig.no. 5.3.18 Conjunction of old & new materials 48 Fig.no. 5.3.19 Quality play of light 48 Fig.no. 5.3.20 Relation of spaces with nature. 48 Fig.no. 5.3.21 Structrural layers revealing choice of use of materials. 48 Fig.no. 6.1.1 Harayana State map. (Recreated:author) 51 Fig.no. 6.2.1 Map of Haryana showing the location of the 177 archaelogical sites and monuments as listed

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by the government. (Recreated by author) 53 Fig.no. 6.2.2 Map of North India showing the location of the Grand Trunk road as documented by the British government in the 19th century. (Recreated by author) 53 Fig.no. 6.2.3 Map of India showing the location of national highway 44. (Recreated by author) 53 Fig.no. 6.2.4 Map of Haryana showing the location of the 7 cities along the Grand Trunk road. (Source:author) 54 Fig.no. 6.2.5 Table comparing number and type of heritage sites in the seven cities under consideration. (Source: http://archaeologyharyana.nic.in/sites/default/files/documents/haryana-archaeology-sites.pdf ,created by author) 54 Fig.no. 6.2.6 Map showing the location of the sites in the 7 cities along the Grand Trunk road and the location of the proposed site in Kurukshetra. (Source:author) 55 Fig.no. 6.2.7 Picture of the site showing the mound with an excavated pit and the tomb in the background. (Source:author) 55 Fig.no. 6.2.8 Map of India showing the location of Haryana. (Source:author) 56 Fig.no. 6.2.9 Map of Haryana showing the location of Thanesar. (Source:author) 56 Fig.no. 6.2.10 Map of Kurukshetra showing the location of Thanesar. (Source:author) 56 Fig.no. 6.2.11 Map of Kurukshetra showing the location of the site in red. (Source:author) 56 Fig.no. 6.2.12 Map showing the site and the immediate context. (Source:author) 56 Fig.no. 6.3.1 Map of north india showing rivers, canals, mountain ranges and deserts.(Recreated:author) 57 Fig.no. 6.3.2 Macro-climate of Haryana. (Source:author, based off data from- https://haryana.pscnotes. com/haryana-geography/climate-of-haryana/) 57 Fig.no. 6.3.3 Map of Kurukshetra showing the city municipal limits and the topography (cropland in gray and artificial built surfaces in other colours). (Source:author) 57 Fig.no. 6.3.4 Map of Kurukshetra showing the water bodies in blue and site in red. (Recreated by author) 58 Fig.no. 6.3.5 Graph showing high and low temperature of Thanesar. (Source:www.weatherspark.com) 58 Fig.no. 6.3.6 Graph showing hourly temperature of Thanesar. (Source:www.weatherspark.com) 58 Fig.no. 6.3.7 Diagram showing sunpath (Source:www.suncalc.org) of Thanesar overlapped on site. (Source:author) 58 Fig.no. 6.3.8 Graph showing wind direction of Thanesar. (Source:www.weatherspark.com) 59 Fig.no. 6.3.9 Graph showing wind speed in Thanesar. (Source:www.weatherspark.com) 59 Fig.no. 6.3.10 Wind rose diagram of Thanesar overlapped on site. (Source:www.weatherspark.com) 59 Fig.no. 6.3.11 Graph showing humidity levels in Thanesar. (Source:www.weatherspark.com) 59 Fig.no. 6.3.12 Summary graph of climatic conditions in Thanesar viz. temperature, humidity levels, precipitation and cloudy/clear sky (bottom to top). (Source:https://weatherspark.com/y/108744/AverageWeather-in-Th%C4%81nesar-India-Year-Round#Sections-Summary) 59 Fig.no. 6.3.13 Map showing the tomb, masjid and charbagh adjoining the site. (Source:author) 60 Fig.no. 6.3.14 Front elevation of the tomb and madrassa structure. (Source:author) 60 Fig.no. 6.3.15 Views from top of the tomb looking out at the city and at Raja Harsh ka Tila respectively. (Source:author) 60 Fig.no. 6.3.16 Adaptive re-use of the madrassa space for library, ASI office, exhibition areas respectively. (Source:author) 60 Fig.no. 6.3.17 Built relation between the madrassa and tomb. (Source:author) 60 Fig.no. 6.3.18 Charbagh and its adjoining structures as a part of the serai, showing the conservation work that has already been carried out on this structure. (Source:author) 60 Fig.no. 6.3.19 Map and photographs showing the condition of the excavated ruins on the mound along with the five access points and the main gated entries marked in red. (Source:author) 61 Fig.no. 6.3.20 Map showing elevation of the site and the context within 500 m radius. The arrows show the natural drainage routes of surface run-off, blue marks the two existing water bodies. (Source:author) 62 Fig.no. 6.3.21 Map showing figure ground of the site, showing the dense residential neighbourhood around along with depository water bodies. (Source:author) 62 Fig.no. 6.3.22 Map showing dense residential neighbourhood around along with depository water bodies on the north and south-west and agricultural field land on the north and north-west. (Source:author) 62 Fig.no. 7.2.1 Hierarchical diagram showing break-up of program. Red marks primary program with blue showing the assisting programs under it. Supporting facilities are shown in white.(Source:author) 66

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COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

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BACKGROUND COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

1. BACKGROUND-

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

We live in a complex world, that functions like an organism and derives its motivation from various driving forces, co-existential in nature. Some of these driving forces are universal in essence like that of survival and growth which are visible throughout human world. Whereas some of them can be cultural in character pertaining to specific groups of people such that of propagandas, etc. Fraction of them may be personal which are specific to an individual which may be numerous considering the unique programming of every human mind. All the cultures in the world contain the basic attributes of human nature and form a major part of personal knowledge; culture is the binding force between human nature and personal knowledge. This fact alone makes it the most important driving force in the world of today; culture can truly be called the backbone of human civilization.1

PERSONAL CULTURAL UNIVERSAL

Fig.no. 1.1 Nature of driving forces (Source:author)

Contemporary world simultaneously consists of global cultures, local cultures and personal beliefs too. All three of which have a hierarchial relationship. Local cultures are cultures often pertaining to a geographical region of religious or linguistic homogeneity. There are thousands of local cultures co-existing in the world even as of today. Local cultures and histories today have become extremely obscure due to cultural diffusion, catalyzed by global urbanization, industrialization and numerous other conflicts.

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‘I do not want my house to be walled in on all four sides and my windows to be stuffed. I want the cultures of all lands to be blown about my house as freely as possible. But I refuse to be blown off my feet by any.’- Mahatma Gandhi about modernizing India. He not only inseminated the ideals of tolerance but also that of integrity in this simple statement, something that seems to be missing in the world of today; for him they weren’t mutually exclusive but co-exstential in nature.2

Fig.no. 1.2 Our world as a result of co-existential driving forces. (Source:author)

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A lost sense of culture (or its component elements), creates certain disorientation and perturbation leading to a misplaced sense of belonging. And when this disorientation is felt in a larger unit of people (communities, social groups, etc.), it is reflected in the society and in the fabric of a place too. Therefore, architects have a very important responsibility to cater to in the upcoming future, besides that of just designing and building structures. Its time architects become extensively involved in other fields than that of mere structural and built importance. This may and ideally should involve constant exchange with other fields of study, forming a close-knit network with people from other streams of knowledge, equally involved in architectural decision-making of the future; the possibilities are endless. 1 Hostede 1994; 6 2 India: Modern architecture in history, Peter Scriver and Amit Srivastava

human nature

personality

culture

Fig.no. 1.3 Culture is the binding force between human nature and personal knowledge. (Source:author)

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Global urbanization, industrialization and technological advances had their own blows to the cultural tissue of the land. With the

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Being the battleground for some of the greatest battles through history, villages, towns and cities were constantly exposed to destruction; crumbling scattered structures which were once fit for practical purpose now standing there abandoned. Most of these structures in Haryana were built by invaders and outsiders (viz. islamic sultanates, mughals and britishers) who are long gone now and that maybe the reason why there is this detachment amongst authorities and people in regard to these structures.

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

The case under consideration here is that of Haryana, one of the most prosperous state in India but yet precariously lost in its identity. Haryana served as an aerie for many susequent cultures that came to India. It is the perfect case of a unique culture, pertaining to that of indus valley civilization that lost touch with its roots with other cultures that were introduced over time, with every changing hierarchy ruling the land. The first foreign culture, that of Islam came with Mohammad Gazni in as early as 10th century CE and the last foreign culture being that of Britishers who left India to its new-found independence in 1947. For hundreds of centuries, it was ruled by alien cultures that resulted in lose of strentgh of its own. But the change was inevitable and acceptance was the key.

Fig.no. 1.4 Location of Haryana. (Recreated:author)

Green Revolution sweeping across the primarily agrarian state in 1970’s, the rural population, which constitutes of 2/3rd of the total population today (2011 consensus), lost its connect to the built heritage. The financial prosperity and technological advances that followed introduced the global internet culture to the state, making the indigenous culture diluted with cultural diffusion. There is a disoriented sense of belonging, one that doesn’t adhere its identity either to its tangible or intangible heritage. This is an identity crisis and a forward looking solution is must; solution that not only reanimates the spirit inside built heritage but also redefines the inatngible heritage, culture paving a way for a probable future model that can affect not only Haryana but similar local cultures throughout the world. COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

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Monuments & sites River/drainage Fig.no. 1.5 Haryana archaelogical sites and monuments. (Recreated:author)

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COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

CRISIS

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IDENTITY ?

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INTRODUCTION COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

2. INTRODUCTIONOften built heritage falls prey to purely material incentives of a person or an organization, proving to be of little use to the benefit of the society at large. Most of the built heritage around the country that is currently visited is either a luxury hotel or an exclusive museum, the former being of access to the one’s who can afford its services and the latter often ends up being inaccesible to the common masses pertaining to its seldom high entry charges.

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

Architects have an important learning to take from the current situation, that of true public inclusion in their now jointly-owned heritage. There is a need for more culturally-tailored programs that cater to the needs of the local communities while attentively reanimating the monument with integrity. This approach then basically bridges the gap between heritage structures and public architecture. The new program being public in nature allowing maximized cultural rejuvenation.

Fig.no. 2.1 Ruins found at P. Zoranic Square, Croatia (Source:Damir Fabijanic)

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The research for this project delves into historical and statistical data of the site- the state of Haryana, through archival information also briefly studying all archaeological sites and monuments in the state. The research also looks into the nature of culture and numerous aspects affecting it through carefully chosen readings. It then further evaluates its relation to sense of belonging of an individual or a group. The research then dwells into public architecture, concreting its base through various academic readings to help narrow down the scope of actions for conservation and provide further data for program selection.

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The review of literature intends to explore in detail the objectives of this research through analytical readings of books, chapters, research articles, reports and newspaper articles, etc. The case studies have been chosen carefully to help devise a sensitive design approach inclusive of appropriate conservation strategies and willful program selection.

Fig.no. 2.2 Cultural rejuvenation at P. Zoranic Square & Š. Budinic Plaza creating a multifunctional public space. (Source:Damir Fabijanic)

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BRINGS IN THE SENSE OF

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COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

‘CULTURE

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2.1 HYPOTHESIS STATEMENT-

2.2 AIMTo devise an exemplary prototype to conserve built heritage in Haryana cogently while making sure the architecture is truly public in nature. The design being aided by a culturally relevant program which is capable of invoking sense of belonging in the community.

COGENT CONSERVATION OF LOCALLYTAILORED PROGRAM

BUILT HERITAGE

PUBLIC ARCHITECTURE

HERITAGE STRUCTURES AS THE VESSEL FOR CULTURALLY RELEVANT FACILITIES THAT ARE SECULAR IN NATURE. COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

Fig.no. 2.3 Aim of this design dissertation. (Source:Author)

2.3 OBJECTIVES-

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• To understand what is culture and what are the elements defining culture. • To understand how culture affects our sense of belonging.

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• To study the relation between culture and social behaviour in order to highlight its impact on a society’s sense of belonging to its built heritage.

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• To study the history of the state relevant in terms of the architectural and cultural progression. • To study the aim of modernization and largely focus on its impact on culture of the region. • To investigate the ruling factors that can help heritage architecture be more public upon conservation. • To explore the factors and justify the appropriate course of conservative action to be adopted for a heritage structure in disrepair, keeping in mind the need or it to be public architecture as a pre-cursor.

2.4 SCOPE OF RESEARCHPHASE I

• Implementing similar approach conservation projects across the states built heritage sites.

PRESERVATION REFURBISHMENT

• Can serve as a case for conservation projects across India.

REHABILITATION MAINTENANCE

SCOPE OF ACTIONS-

TRANSFORMATION

CONSOLIDATION

ADAPTIVE RE-USE

RECONSTRUCTION

EXTENSION

Fig.no. 2.4 Scope of actions for conservation of heritage structures (Source of graphic:Author)

2.5 LIMITATIONS• Since, it is a design dissertation meant to be done by a single person, there can only be an in information related exchange with people from other fields of study; aiming only at receiving necessary information required for this dissertation. • Heritage structures that are either archaelogical ruins or mouments often fail to become truly public in nature. They are often only seen as heritage sites, residues of past rather than being looked at as public architecture of cultural importance. ‘‘A building is appropriated by a user when its features are understood by that user to be ‘‘fit for purpose‘‘. Witrhout such appropriation, it remains non-functional. This explains why...ruins...cannot be classed as architecture. They are there merely to be looked at: no one sees them as fit for any practical purpose.’’(Graham 2006)

1 Damla Mısırlısoy,Kagan Günçe (2016) Adaptive reuse strategies for heritage buildings: A holistic approach

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RENOVATION

Various phases of possible actions that can be taken while considering conservation of heritage structures are shown in fig. 2.4. Upon review of relevant literature and careful study of cases, the most apposite phase or a combination of any two or all of them may be considered.1

REMODELING

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RESTORATION

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PHASE III

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PHASE II

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

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RESEARCH METHODOLOGY COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

3. RESEARCH METHODOLOGYThis research uses Saunder’s research onion (2007) as a base to put together an effective methodology to aid further in a succesful design dissertation.

POSITIVISM CRITICAL REALISM EXPERIMENT

DEDUCTIVE SURVEY

MONO COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

INTERPRETIVISM

CASE STUDY

CROSS-SECTIONAL DATA COLLECTION AND DATA ANALYSIS

MIXED

ACTION RESEARCH GROUNDED THEORY

LONGITUDINAL MULTI

OBJECTIVISM

ETHNOGRAPHY

ARCHIVAL RESEARCH

INDUCTIVE

CONSTRUCTIVISM

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PRAGMATISM PARADIGM/PHILOSOPHIES

APPROACHES

CHOICES

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TIME HORIZONS Fig.no. 3.1 Saunder’s research onion rings, 2007 (Recreated:Author)

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3.1 RESEARCH PARADIGMS Positivism as a research paradigm can be used for carefully investigating the statistical data about the state , covering not only demographic and economic components but also health, education, gender and social inclusion etc. through quantitative and qualitative observations. It can also prove helpful in examining the general attributes of culture and its relation to social behaviour, both of which are quasi-intangible in their essence. Realism as a paradigm can be adopted for probing the cultural and public quality of architecture which is predominantly intangible but momentarily delves into the tangible connotations of it too. For the testing of the hypothesis put forth earlier, Interpretivism could play an important role as it incorporates human interest into a research study

STRATEGIES TECHNIQUES & PROCEDURES

and emphasizes the use of qualitative analysis over quantitative or statistical analysis, which will help study non-quantifiable entities like culture and sense of belonging.

OBSERVATION

Pragmatism focuses on evaluating theories based on the success of the practical application, hence bridging the gap between theory and practice. It makes use of both constructivism and objectivism as valid approaches, which may prove handy while evaluating architectural case studies. It can help study the cause and effect relation between the user and the space from both directions.

INFORMATION

PATTERN

3.2 RESEARCH APPROACHES -

Deductive approach Inductive approach Direction Fig.no. 3.2 Research approach used. (Source:Author)

3.3 RESEARCH METHODS Action research, archival research, and case studies will be the most appropriate tools based off of the nature of this research. 3.4 RESEARCH CHOICES -

Fig.no. 3.3 Mixed method balancing quality and quantity. (Source:Author)

Mixed method makes use of both qualitative and quantitative data collected to be analyzed and equally used in the research study. This helps overcome the limitations in each individual method. 3.5 TIME HORIZON -

Fig.no. 3.4 Longitudinal and cross-sectional time horizons. (Source:Author)

DATA

CONCLUSIONS Fig.no. 3.5 Data collection and analysis. (Source:Author)

Both longitudinal and cross-sectional timeframes can be used to study the built heritage in the state; One talking about the history of architecture in a chronological framework and the other can discuss their present-day condition. 3.6 TECHNIQUES AND PROCEDURES Data collection to be done based on all previous layers and then further analyzed to produce valid conclusions.

CONFIRMATION

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THEORY

Case studies can be investigated through a mixed method as it involves evaluating existing information (inductive) and providing personal observations (deductive) too. The quantitative and statistical studies for the region could adopt a deductive approach to help derive some findings from the collected data and further lead to a hypothesis. Whereas, the existing hypothesis can be explored through qualitative observation, analysis and theoretical studies. In our case, the hypothesis derived from deductive approach and the hypothesis tested with inductive approach both coincide.

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HYPOTHESIS

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HYPOTHESIS

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Mixed approach has been adopted for this research as it makes use of both deductive and inductive reasonings to conduct the research.

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

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4. NITIN MANDHAN

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REVIEW OF LITERATURE COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

4.1 BOOKS/E-BOOKS4.1.1 HARYANA: CULTURAL HERITAGE GUIDE EDITED BY SHIKHA JAIN AND BHAWNA DANDONA

Haryana covers a vast alluvial plain that stretches between the Indus and the Yamuna. The fertile soil has made this region conducive for human habitation through the ages. The cultural heritage of the region is preserved predxominantly in its archeological remains, sites monuments and antiques of varied nature. The range of relics of the past from this region is indeed very vast and covers a large span of time.

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The geology of Haryana is mainly composed of pure Cambrian formation interlaced with Aravallis, Shiwaliks and alluvial plains. The Aravallis and Shiwalik range has provided evidence of stone implements made by prehistoric population. Excavation conducted at Arangpur, district Faridabad in the Aravalli range yielded the Achulian tools along the palaeo-channels of Yamuna. Implements ascribed to early Sloan culture associated with middle or upper Palaeolithic period have also been reported from northern Punjab and upper terraces of Guler and Nalagarh in Kangra valley. Further multidisciplinary archeological research is required to understand the chronological sequence of prehistoric culture in the region.

Fig.no. 4.1.1.1 Book cover page. (Source:exoticindiaart.com) STONE AGE STONE AGE

CHALCOLITHIC AGE

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CHALCOLITHIC AGE Although surveys revealed a large number of sites 20 BC- 5CE in the Harappan sites in the region very little is VEDIC AGE 20 BC- 5CE 3 CE - 5 CE known about the Neolithic culture. The excavation VEDIC AGE NANDAS,and MAURAYA, KUSHANAS, GUPTAS 3 CE - 5 CE conducted at Bhirrana, Kunal, Firmana NANDAS, MAURAYA, KUSHANAS, GUPTAS Rakhigarhi show the evidence of pit dwellings and 1 CE other significant finds may be seen as a reflection INDO GREEK AGE 1 CE of links as well as common cultural traditions with INDO GREEK AG 2 CE 4 CE northern Neolithic sites of neighbouring regions. YAUDHEYAS 2 CE - 4 CE It appears that the indigenous culture of the YAUDHEYAS 6 CE - 12 CE region could have played an important role in the GREY WARE CULTURE 6 CE - 12 CE 7 CE development of Harappan elements. GREY WARE CUL PUSHPABHUTI

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The region is watered by river Ghaggar, its tributaries and summer monsoon. A large number of Harappan sites have been discovered all along the river Ghaggar and its tributaries. The main urban settlement in the state so far excavated at Bhirrana, Banawali, Kunal, Mitathai, Farmana, Girawad, Rakhigarhi, Madina and Bhagwanpura provide the material to understand and reconstruct the culture content of the Harappan civilisation. The early Harappan settlements in the region marks many changes in the way of people’s life. They became skilled in using the clay to make pottery and decorating the outer surface of the pots by various natural colours. They began to live in communities as revealed from the excavated remains of Bhirrana, Kunal, Rakhigarhi, Framana etc. As the population kept growing, one finds the emergence of urban centers in the region. Besides the use of stone, clay, wood and various metals

7 CE

PUSHPABHUTI

HARSHAS

9 CE

GURVARA,PRATINARA 9 CE GURVARA,PRATINARA

10 CE - 12 CE GHAZNAVID

10 CE - 12 CE

DELHI SULTANATE

MARATHAS

POST INDEPENDENCE

9 CE- 11 CE RAJPUT

14 CE

TIMURID

14 CE

13 CE - 16 CE 16 CE - 18 CE MUGHAL

19 CE - 20 CE BRITISH

20 CE

16 CE - 18 C MUGHAL

17 CE - 19 CE MARATHAS

20 CE

9 CE- 11 CE

TIMURID DELHI SULTANATE

17 CE - 19 CE

7 CE - 8 CE HARSHAS

RAJPUT

GHAZNAVID

13 CE - 16 CE

7 CE - 8 CE

POST INDEPENDENCE Fig.no. 4.1.1.2 Historical timeline of Haryana. (Source:author)

19 CE - 20 C BRITISH

were used to make tools, seals, containers, art objects and jewellery. People learnt how to make fabric from wool and plant fibre like cotton. The urban centers consisted of composite group of people, some of whom were farmers, some were weavers, potters, some were charge of killings grains, some were artists and some were traders. Here the local trade as well as long-distance trade existed with the neighbouring regions such as Sindh, Punjab and Northern Pakistan in the west and Gangetic belt and Rajasthan in the east. As the population further grew during mature Harappan times, people migrated towards the northeastern and southeastern parts of the state.

Fig.no. 4.1.1.4 Map of north india showing mountain ranges and desert. (Recreated:author)

Fig.no. 4.1.1.6 Major routes in Haryana. (Recreated:author)

Fig.no. 4.1.1.5 Stone age and harappan period in Haryana. (Recreated:author)

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Indus Indira Gandhi water canal Ganga Luni Fig.no. 4.1.1.3 Map of north india showing rivers & canals. (Recreated:author)

4.1.2 INDIA: MODERN ARCHITECTURE IN HISTORY WRITTEN BY PETER SCRIVER AND AMIT SRIVASTAVA

The book is an attempt at an interpretive account than a merely synoptic one. It talks about the essence that modernity represented and how it affected the architectural ideals in India and also buit the cultures of what was now called ‘Modern India’.

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The author talks about the ideologies behind modernizing India, an event that began with Pt. Jawaharlal Nehru’s vision of Chandigarh. He constantly shifts his focus to analyzing its initial agendas and its repurcussions on India’s culture and architectural context later on. He smartly ponts out how the urban middle class and the elite of India as well as foreign tourists have a certain romantic image of India in their heads which is different from that of reality. The imageability of this country is far from global now, that which the author rightly points out is ‘same’ and mundane.

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‘An incomplete project’ is what he calls India while pointing out the existential extremes that it represents. For him the idea of ‘Modern India’ invoked similar contradictions when it was being seen as the symbol of nation’s faith in the future but yet was being spearheaded by a team of nonIndian architects. More paradoxical was the fact that it represented a big gulf between image and reality, where exposed materials and picturesque compositions were the face of Chandigarh while the society was still largely pre-industrial.

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The project of Chandigarh was meant to be a spatial and material framework for the ‘new’ India which was rapidly urbanizing with rationally planned new cities and modernist buildings. The elements of urbanization and industrialization were being referred to as ‘New Temples’ of the politically and ideologically liberated modern India by Pt. Nehru.

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Fig.no. 4.1.2.2 Map showing location of Chandigarh. (Recreated:author)

Fig.no. 4.1.2.1 Book cover page. (Source:amazon.ca)

This confused identity can still be seen and felt in the country today where core values and indigenous local cultures are completely sidelined and global culture is the only prevailing culture. Post-independence India had a chance to pickup where it was obstructed by foreign cultural invasions and re-invent its cultural systems for the greater good but it choose the idea of modernity that further catalyzed its oblivion of the indigenous values. Hence, this establishes the dire need for an affirmative cultural shift, one that maintains and derves its energy from traditional systems and is also flexible to the new world lifestyle of contemporary India.

Gandhi

Bhavan,

Chandigarh.

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Fig.no. 4.1.2.4 (Source:author)

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Fig.no. 4.1.2.3 Government museum and art gallery, Chandigarh. (Source:author)

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Gandhiji had different views on this modernization. He said, ‘I do not want my house to be walled in on all four sides and my windows to be stuffed. I want the cultures of all lands to be blown about my house as freely as possible. But I refuse to be blown off my feet by any.’ He envisaged a modern India with deeper core structures of our indigenous culture that would give value & meaning to this new phase of the country. The core ideologies being that of self-reliance and pride in indigenous cultural and economic production, something India would soon lose track off.

Fig.no. 4.1.2.5 Streets of Chandigarh. (Source:author)

4.2 BOOK SECTIONSCOMMUNITY SHARING

4.2.1 CH. 24 - CULTURE AND SOCIAL BEHAVIOUR WRITTEN BY HARRY C. TRIANDIS

In this chapter, Harry C. Triandis discusses how cultures viz. collectivism and individualism affect and influence social behaviours patterns in a society. This will in turn help understand the impact of culture on a society’s sense of belonging.

AUTHORITY RANKING

Four kinds of social behavior patterns have been identified across cultures1EQUALITY MATCHING

• Community sharing: typical behaviours include sharing, intimacy, oneness, cooperation, and selfsacrifice for the family, band , tribe, etc. COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

• Authority ranking: typical behaviours include obedience, admiration, and giving and following orders without questioning. • Equality matching: typical behaviours include taking turns, dividing equally, one person one vote.

MARKET PRICING Fig.no. 4.2.1.1 Four kinds of social behavior patterns (Source:author, based on Triandis, H. C. 1990)

• Market pricing: you pay and get something in return, if a setting or relation is not beneficial then it is looked down on.

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The author goes on to point out that collectivist cultures are characterized by a combination of the first two patterns whereas individualist cultures majorly constitute of the latter two. This is also the contrast between simple, homogenous cultures like in East Asian countries and complex, heterogenous cultures in Western countries.

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The numerous traits and determinants of the two cultures are listed in the diagram provided alongside. The important conclusions to draw from this study are about how our collectivist societies are changing to more individualist ones with the advancement of technology, transportation, mass media and economic stability. Therefore, also implying that the socities sense of self or their sense of belonging is shifting from a group-based collective identity to an autonomous individualistic independent one. The author makes it a point to not look down upon any of the cultures and rather learn from each other. The hypothesis of this research not only holds true based off this study by Harry Triandis but also provide more insights into the nature of the sense of belonging that each type of culture brings about in the context of this study.

1 Fiske, 1990

COLLECTIVISM

INDIVIDUALISM

-SIMPLE

-COMPLEX

-HOMOGENOUS

-HETEROGENOUS

-SINGLE GROUP

-MANY GROUPS

-EXTENDED FAMILY, FRIENDS

-MULTIPLE IN-GROUPS

-COOPERATION IS CRUCIAL AND EXPECTED

-CAN JOIN/LEAVE AS ONE’S WISH

-NECESSARY DEPENDANCE

-INDEPENDENT AFFLUENCE

-CONTEXT IS IMPORTANT

-CONTENT IS IMPORTANT

-SENSE OF SELF IS A COLLECTIVE IDENTITY

-SENSE OF SELF IS AS AN AUTONOMOUS INDIVIDUAL

-HIERARCHY

-HETERARCHY

-DISTINCT NORMS

-FREEDOM OF CHOICE

-CALMNESS IN INGROUP CONFLICTS, ANGER WITH OUTGROUPS

-EXPRESS VIEWS VERY CLEARLY, IRRESPECTIVE OF THE NATURE OF THE GROUP

-WELL-BEING OF GROUP OVER INDIVIDUAL RIGHTS

-INDIVIDUAL RIGHTS ARE OF GREAT VALUE

-PUBLIC GOOD IS IMPORTANT

--PUBLIC GOOD IS NEGLECTED

Fig.no. 4.2.1.2 Traits and determinants of collectivism and individualism (Source:author, based on Triandis, H. C. 1990)

4.3 RESEARCH ARTICLES4.3.1 CAN THERE BE PUBLIC ARCHITECTURE? WRITTEN BY GORDON GRAHAM

This paper by G. Graham explores various aspects of architecture when it aspires to be public in nature. The author begins by taking upon himself the task to define public architecture and addressing why there would be any possible difficulty in its realisation.

FUNCTION

USER APPROPRIATION

UNIVERSAL PURPOSE

PUBLIC ARCHITECTURE

Fig.no. 4.3.1.1 Four factors that help make architecture public. (Source:author, based on Gordon Graham, 2006 Can there be public architectue?)

Another key factor is legitimacy. Where a house, institution, etc. can have users with a legitimating purpose for using those buildings but a public space like a park do not need to have users with a specific purpose for being present there. Certain activities in such spaces might be restricted but there are none that are required for you to be carried out there. Hence, public architecture can be defined as those buildings that must serve and give architectural expression to its functions in a way that the members of that society are able to appropriate it as per need but do not need a specific purpose to enter and use them. The closing paragraph develops a crucial understanding on the need of ‘universality’ as an integral trait for public archtecture as it ensures that anyone and everyone can access and use the space, making it truly public in nature.

FOLLOWS

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FORM

Questioning Le Corbusier and other modernists who believed that form should follow function and be a part of construction just how appearance is, author points out that the functional properties of a building only become functional when a user appropriates the building and declares it fit for purpose. Hence, drawing attention to the simple distinction between a ‘building’ and ‘architecture’. Poor design and construction can both hinder the appropriation of a structure. Cultural differences also play a major role in determining whether appropriation of the structures is actually important for the structures to be of any use or value because the cases might not always be so. Hence, The building must serve and give architectural expression to its functions in a way that the members of that society are able to appropriate it as per need.

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DESIGN

Secondly, as an art, it can be described as public only if it is appropraited by the public as was planned by the architect.

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FUNCTIONAL

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Author discusses Kantian aesthetic and states clearly how it poses a problem for architecture.To be classied as art, it would have had to be viewed independent of practical interest but a building without purpose defies the core practical pupose of architecture. The building must serve and give architectural expression to its functions.

4.4 PAMPHLET4.4.1 WAR AND ARCHITECTURE

WRITTEN BY LEBBEUS WOODS, TRANSLATION BY ALEKSANDRA WAGNER

This pamphlet, amongst many others published between 1977-2007 were meant for criticizing, questioning and exchanging views on architecture. The pamphlet under review talks intricately about society and its relation to war and architecture. The very first argument that the author makes is that of a hierarchial reality versus a heterarchial reality, questioning the causality of both these principles. Once he establishes the two social structures, he further goes on to talk about their relation to war and architecture. COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

A hierarchy deals with institutions of authority that often believe in the static equilibriums of rational determinism. Traditional cultures are often sociologically defined as static, referring to a social life bound by orthodox traditions and are noticeably hierarchical in nature. A religious fundamentalist sees better potential in a hierachy. The architecture of the hierarchical requires to be monumental architecture in order to embody the objective knowledge as per their societal tradition.

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A heterarchy on the other hand, consists of authorities existing in shifting self-determining, self organizing systems that are considered to be fluid and dynamic. The heterarchical exists in the form of individualist urban nuclear cultures where life is bound by subjective knowledge confirmed by experiences rather than that which is already established. An individualist sees chances of exploring human potential in a heterarchy. The heterarchical architecture is often relevant only within the personal sphere and expressed in forms of idiosyncratic private works exisred publicly as works of art.

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The author (in 1993) points out that societies then, already consisted of both these social structures; fixed and fluid, hierarchial and heterarchial,

Fig.no. 4.4.1.1 Book cover page. (Source:P.A. press ltd.)

Fig.no. 4.4.1.2 Diagram representing hierarchy. (Source:author)

Fig.no. 4.4.1.3 Diagram representing heterarchy. (Source:author)

Fig.no. 4.4.1.4 Illustrations from war and architecture by Lebbeus Woods. (Source:P.A. press ltd.)

where when societies can no longer distinctively define themselves under either of the structures. Architecture in such societies should not be monumental, neither should it be idiosyncratic but rather art and life flowing together inseparably.

Fig.no. 4.4.1.5 Illustrations from war and architecture by Lebbeus Woods. (Source:P.A. press ltd.)

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What Lebbeus Woods suggests is that old, damaged buildings shall be left in their damaged state as their form represents a history that can not be erased or denied. He further goes on to suggest how their damaged forms paves opportunities for new ways of dealing with such spaces where one does not symbolize or commemorate but rather acknowledges and exists with strength. He calls this, ‘‘an ethical and moral commitment , and a basis for community.’’

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After explaining the complex relation between societal structures, wars and architecture, the author builds his case against restoration as well as erasure. The essence of such cities and societies can never be replaced or restored back to what it was as the truth lies in the fact that they are no longer the same. Erasing a city completely and then starting over to build an entirely new city has two aspects to consider. Firstly, it would be nearly impossible to create a city as multi-layered as it was before. Secondly, by building a new city to embody the spirit of the new age, one actually gives in to another form of single-layered hierarchy, the one it wanted to erase all trace of.

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Author carefully points out that these both are not equivalent or interchangeable. Infact, wars or violence are often a result of orthodox hierarchies supressing free-thinking heterachies whereas heterarchical has to embrace hierarchical because of necessity. Old cities that are representatives of different hierarchies governing them from time to time are actually heterarchical in nature when you consider their ever increasing multi-layered complexity that comes in as a result of various components, war and time being important ones.

4.5 COMPILATION4.5.1 WHAT IS CULTURE? COMPILED BY HELEN SPENCER-OATEY

This compilations of multiple research papers covers a broad base for understanding ‘culture’ and its constituents. This will help develop a wellinformed understanding of whether or not ‘culture brings in sense of belonging’.

CULTURE?

To understand the nature and constituents of culture, let’s look at this definition-

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‘Culture consists of patterns, explicit and implicit, of and for behaviour acquired and transmitted by symbols, constituting the distinctive achievements of human groups, including their embodiment in artifacts; the essential core of culture consists of traditional (i.e. historically derived and selected) ideas and especially their attached values; culture systems may, on the one hand, be considered as products of action, on the other, as conditional elements of future action.’1

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Hence, it is established that culture is made of explicit and implicit patterns that humans derive from symbols, artifacts, traditional ideas and their attached values. It is thus implied that the choice and selection of a distinctive set of these components directly affects the nature of culture thus formed. Therefore, it is imperative to the strength and growth of a culture, that the components are chosen wisely by the society as they also become conditional elements for future action and growth of every individual who is a part of that culture.

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As per the various studies reported in this compilation, the author jots down some key characteristics of culture that will be further discussed only based on their relevance to this research.

RELATION TO SENSE OF BELONGING?

Fig.no. 4.5.1.1 Questions of interest for this research. (Source:author)

ARTIFACTS -Visible and audible behaviour & patterns

VALUES -Greater level of awareness

-Technology & art -Non-decipherable

ASSUMPTIONS -Relationship to environment, time & space -Nature of reality & humans

Fig.no. 4.5.1.2 The levels of culture and their interaction. (Source:author, adaptation of Schein 1984: 4)

• Culture is manifested at different layers of depth: i. Observable artifacts2- Answering ‘how?’ and ‘what?’ for the artifacts of a culture is easier than answering the underlying logic of that behaviour with ‘why?’. ii. Values- The ‘why?’ or the underlying behaviour of cultural groups is answered by the values that govern their behaviour but these are only the larger framework provided as a part of the culture. iii. Basic underlying assumptions (long accepted , obvious values)- Assumptions or non-debatable ultimate values are the actual underlying reasons which are typically unconscious but determine how each group member perceives, thinks and feels. Hence, assumptions themselves originated as values whuch lead to behaviour which then solved the problem for which the value originated. 1 (Kroeber & Kluckhohn 1952: 181; cited by Adler 1997: 14) 2 Schein 1990: 111

ITS COMPONENTS?

ITS NATURE?

CULTURE

IDENTITY WHERE DO I BELONG?

SENSE OF BELONGING

issues

cultural nuclei

information

Fig.no. 4.5.1.3 Assumption-based culture (Source:author)

Therefore, over time these values became mere unconscious assumptions at the back of the head.3 • Culture affects behaviour and interpretations of behaviour.4 • Culture can be differentiated from both universal human nature and unique individual personality.5 • Culture is associated with social groups6 ranging from a national level to a regional level to gender, generation, role, social class, work, et cetera.7 • Culture is both an individual construct and a social construct.8

Fig.no. 4.5.1.4 Value-based culture (Source:author)

ARTIFACTS -Visible and audible behaviour & patterns

VALUES

PERSONALITY

-Greater level of awareness -Specific to individual

-Technology & art

-Inherited and learned

-Non-decipherable

CULTURE -Specific to group/category -Learned

ASSUMPTIONSHUMAN NATURE -Universal

-Relationship to environment, -Inherited time & space -Nature of reality & humans

Fig.no. 4.5.1.5 Three levels of uniqueness in human mental programming (Source:author, adaptation of Hofstede 1994: 6)

CULTURE

IDENTITY WHERE DO I BELONG?

SENSE OF BELONGING

Fig.no. 4.5.1.6 The relation between culture, identity and belonging. (Source:author)

• Culture is learned11 from people you interact with when you socialize. • Culture is subject to gradual change. Cultural diffusion has three aspectsi. It is a selective process.Cultures only borrow from each other if the exchange is useful and/or compatible. ii. It is a two-way process. Cultural traits diffuse in both directions. iii. The new ideas are always reinterpreted and reworked, never transferred in their original form. iv. Some cultural traits are easily diffused than others. For example, technological innovations are more likely to be borrowed than social patterns or belief systems.12 • The various parts of a culture are all, to some degree, interrelated.13 All of the derivatives from the study suggest that culture has various strong associations to human nature and behaviour while being connected to various levels of human mental programming. Culture is not the same as identity but it affects our identity prominently. Identity is people’s answer to the question- ‘Where do i belong?’14 or one can say it is their sense of belonging that helps them underestand their identity. In light of all the derivatives above, we can therefore conclude that ‘culture does indeed affect our sense of belonging.’ Hence, proving our hypothesis correct. 3 Schein 1984: 3 4 Hofstede 1991: 8 5 Hofstede 1994: 5–6 6 Ferraro 1998: 16 7 Hofstede 1991: 10 8 Matsumoto 1996: 18 9 Avruch 1998: 18–20 10 Triandis 1994: 20 11 Lustig and Koester 1999: 31–2 12 Ferraro 1998: 25–9 13 Ferraro 1998: 32–5 14 Hofstede 2001: 10

information

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cultural nuclei

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issues

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• Culture has both universal (etic) and distinctive (emic) elements.10

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• Culture is always both socially and psychologically distributed in a group, and so the delineation of a culture’s features will always be fuzzy.9

4.6 NEWSPAPER ARTICLESAs per the public listing of the department of archaeology and museums, which is tasked with the upkeep and maintenance of heritage structures, only 125 historical structures in the state enjoy government protection at the moment. This number is too small when compared with the total number of monuments in the state. “91 monuments in haryana are protected by the archaeological survey of india, 34 monuments are under the protection of the state department, which has a list of 46 unprotected monuments,” said Banani Bhattacharyya, deputy director, department of archaeology and museums.

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FEW REASONS CAUSING NEGLECT• North-south political divide • Poor visitor experience • No incentives to preserve

All these articles have been published over the last two decades by prominent newspapers in the region. There has been a constant effort by the newspapers in bringing attention of the authorities and people to this matter. Yet, these sites & monuments fall to disrepair and nothing substantial is being done to counter the situation. Until heritage is not made truly public in nature and not appropriated fit for purpose by the people, it will continue to fall prey to such neglect.

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5. NITIN MANDHAN

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STUDY OF CASES COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

LOCATION MAP-

KOLUMBA MUSEUM COLOGNE, GERMANY

PETER ZUMTHOR

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PETAR ZORANIC SQUARE AND ŠIME BUDINIC PLAZA ZADAR, CROATIA

KOSTRENCIC-KREBEL

DORIA CASTLE

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DOLCEACQUA, ITALY

LD+SR

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Fig.no. 5.1 Map showing location of project cases under study. (Recreated:Author)

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5.1 CASE STUDY IPROJECT NAME: Doria Castle LOCATION: Dolceacqua, Italy ARCHITECT: LD+SR (L.Dolmetta, S.Rizzo, D.Cupioli, P. Pilotto, A.A.Reza) CLIENT: Municipality of Dolceacqua ORIGINAL CONDITION: Dilapidated, ruinous. DESIGN RESPONSE: Additive, distinct, enhance location. CONSERVATION APPROACH: Phase II-Restoration, consolidation, Phase III-Re-use.

Fig.no. 5.1.1 Map of location. (Source:mapz.com)

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

PROGRAM FACILITIES: Ticket office, exhibit space, public garden, conference room, steel staircases and walkways. MATERIAL SELECTION: Iron, steel, corten steel mesh, lime mortar. PHOTOGRAPHS BY: Andrea Bosio

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COMMENTS: The project could’ve easily slipped into the never ending list of restored monuments which people visit only to look at. By introducing exhibit halls, a conference room and a public garden, the architects saved the project from what could’ve been a meaningless existence.

Fig.no. 5.1.2 Rural built Fig.no. 5.1.3 River of the fabric around the castle. Nervia valley flowing around

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Fig.no. 5.1.4 Access to castle Fig.no. 5.1.5 Conservation

Fig.no. 5.1.6 Metal walkway additions

Fig.no. 5.1.7 Metal support Fig.no. 5.1.8 Metal Fig.no. 5.1.9 Staircase and access staircase. stanchions supporting the walking deck above.

Fig.no. 5.1.12

ZONE 1

Fig.no. 5.1.15

ZONE 2

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Fig.no. 5.1.14

Fig.no. 5.1.13

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Fig.no. 5.1.11

Fig.no. 5.1.10

Fig.no. 5.1.16

Fig.no. 5.1.20

Fig.no. 5.1.17

Fig.no. 5.1.21

Fig.no. 5.1.18

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Fig.no. 5.1.23

ZONE 3

ELEMENTS & DETAILS

5.2 CASE STUDY IIPROJECT NAME: Petar Zoranic Square and Šime Budinic Plaza LOCATION: Zadar, Croatia ARCHITECTS: Kostrencic-Krebel (Alan Kostrencic , Aleksandra Krebel) CLIENT: City Council, Zadar ORIGINAL CONDITION: Roman and medieval archaeological ruins, public space DESIGN RESPONSE: Reduced materiality, minimal intervention, open air museum, free-flowing public space.

Fig.no. 5.2.1 Map showing location. (Source:mapz.com)

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

CONSERVATION APPROACH: Phase I-Preservation, refurbishment, Phase II-Reconstruction. PROGRAM FACILITIES: Open display, public spacce with restaurants. MATERIAL SELECTION: Glass, steel, bush hammered Kanfanar limestone. PHOTOGRAPHS BY: Damir Fabijanic

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COMMENTS: This project highlights the importance of subtle actions and is appropriately justified in its purpose. The important key-point here was the need to maintain the free-flowing continuous public space but not relocate the artefacts away from the square. What resulted can be called a successful amalgamation of past and present.

Fig.no. 5.2.2 Excavations at the plaza.

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‘‘As can be seen on photos, the square has been widely accepted as a place of social events, and is a favourite place for stroll and casual meetings. Also, with that square is defined the main tourist route between the Sea Organ made by architect Nikola Bašic, the Roman Forum and through the old historical city to his south-eastern end.’’ -Project Architects

Fig.no. 5.2.3 The square and Fig.no. 5.2.4 The square and plaza during day hours. plaza during evening hours. (Source:archdaily.com) (Source:archdaily.com)

Fig.no. 5.2.6 Section D-D’ (Source:archdaily.com)

Fig.no. 5.2.7 Section C-C’ (Source:archdaily.com)

Fig.no. 5.2.8 Details. (Source:archdaily.com)

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Fig.no. 5.2.5 Ground floor plan (Source:archdaily.com)

5.3 CASE STUDY IIIPROJECT NAME: Kolumba Museum LOCATION: Cologne, Germany ARCHITECT: Peter Zumthor CLIENT: Art Museum of the Archdiocese of Cologne ORIGINAL CONDITION: pre and post world war archaeological ruins, free-standing walls. DESIGN RESPONSE: Reduced materiality, uncensored memory landscape, colour synchronization, living museum-past/present exchange. COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

CONSERVATION APPROACH: Phase III-Extension, re-use

Fig.no. 5.3.1 Map showing location. (Source:mapz.com)

PROGRAM FACILITIES: Museum, excavation gallery, chapel, secret garden courtyard, exhibit galleries, reading room. MATERIAL SELECTION: Customized hand-pressed light grey bricks (Kolumba bricks), white concrete walls, steel, glass, Hand-sown silk curtains.

PHOTOGRAPHS BY: Yuri Palmin, Marina López Salas, Rasmus Hjortshoj, Jose Fernando Vazquez, Hélène Binet, Guido Erbring, Farbanalyse.

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COMMENTS: The project is a well-known successful example of how sensitive and respectful re-use can help connect past and present together. It can invoke a stronger sense of belonging in people, one that doesn’t look away from the violent past while also serving an appropriate purpose for the present.

Fig.no. 5.3.2 Post-war destruction. (Source:Issuu.com)

Fig.no. 5.3.3 Chapel Fig.no. 5.3.4 1943 Fig.no. 5.3.5

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‘‘Here you feel that the project was started from the inside, from the art and from the place.’’ -Peter Zumthor Fig.no. 5.3.6 Remains Fig.no. 5.3.7 Now Fig.no. 5.3.8 of chapel’ Madonna

Fig.no. 5.3.9 Ground floor plan

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Fig.no. 5.3.10 First floor plan

Fig.no. 5.3.14

Fig. no. 5.3.15

Fig.no. 5.3.11 Second floor plan

Fig.no. 5.3.16

Fig.no. 5.3.17

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Fig.no. 5.3.18 Conjunction of old & new materials Fig.no. 5.3.19 Quality play of light Fig.no. 5.3.20 Relation of spaces with nature.

Fig.no. 5.3.21 Structrural layers revealing choice of use of materials.

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STUDY OF SITE COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

6.1 CRITERIA FOR SITE SELECTION1This design dissertation makes inquiry into the neglected built heritage of the state of Haryana. The primary reasons being the unparalleled socio-cultural importance of the region and the questionable disregardance stretching over a long period of time.

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

There are over 600+ archaelogical sites and monuments within the state boundaries but only about 177 are listed in the governement records and only 125 come under government protection. The nature of conservation work that the government undertakes is mostly phase-I and phase-II type conservation2 work which includes preservation, maintenance, restoration, renovation and reconstuction. Hence, the focus is only on preliminary conservation of the site, with display of the artefact findings in a few selected museums and non-publicized publications that very rarely reach the general masses. At present times, government only leaves these sites of great importance to be left as items of display for the layperson, therefore inviting little attention or opportunity for these elements of culture to become part of people’s identity or sense of belonging. Hence, Haryana needs examples of cogent conservation of built heritage, one that focusses upon successful appropriation by the society at large. A few factors that will help select a site from the varied available options-

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WHAT WAS THE ORIGINAL FUNCTION?

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• Residential? • Commercial? • Industrial? • Cultural? • Religious? • Military? • Governmental? • Educational? • Office? • Health-care? Since this dissertation looks at built heritage, it is important to take into consideration the original use of the structure and whether it is still being used or not. This information about the site will help reveal the region’s historic connection and determine its relevance today in its societal context. WHAT IS THE PHYSICAL CHARACTER? • Location • Style/period • Physical condition • Physical dimensions/scale 1 Damla Mısırlısoy,Kagan Günçe (2016) Adaptive reuse strategies for heritage buildings: A holistic approach 2 Damla Mısırlısoy,Kagan Günçe (2016) Adaptive reuse strategies for heritage buildings: A holistic approach

Fig.no. 6.1.1 Harayana State map. (Recreated:author)

• Structural system? • Construction material? • Spatial organization • Formal characteristics Physical character will not only help us understand the historicity and archaelogical importance of the site and structure but also its present day condition. Hence, providing an opportunity to determine the scope for conservation of the site in order for people to accept and appropriate the structure as a public space of not only historic relevanace but also modern pertinency.

This criteria is also of great influence because not only is this design dissertation of an architectural nature but also significantly socio-cultural in its approach and desired intent. Hence, a thorough understanding is required for an effective site selection. WHAT ARE THE NEEDS OF THE REGION UNDER CONSIDERATION? • Land-use analysis • Socio-cultural analysis • Environmental analysis The factor of regional needs of the user will come into consideration when the study has been boiled down to a region and there are significantly small number of sites under consideration. Immediate site context can prove as a very useful criteria under such circumstances.

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All the derivatives obtained from the factors above are crucial when we consider conservation. But making it public architecture that is truly public in nature, demands that these factors are studied in close pertinent details so as to understand the cause and effect of our selection on the general cultural milieu. As already established through our research, culture brings in sense of belonging and heritage values are one of the most significant and important carriers of culture. Hence, crucial to our undertaking of the issue of cogent conservation.

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• Architectural/aesthetic • Historic • Educational • Socio-eco-cultural • Symbolic • Spiritual • Emotional

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WHAT ARE THE HERITAGE VALUES?

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Location is a valuable factor in today’s time and era as accessibility of the site will help catalyze the usage of the space is a public space. Other factors like physical condition and style act as magnetic driving factors for users to come visit the heritage site.

6.2 SITE SELECTIONThe state of Haryana has a total of 600+ archaelogical sites and monuments, out of which 177 are recognized and listed by the government and others simply fail it to make it to the list of important protected heritage sites and are left to meet the earth. As per the public listing of the department of archaeology and museums, which is tasked with the upkeep and maintenance of heritage structures, only 125 historical structures in the state enjoy government protection at the moment. This number is too small when compared with the total number of monuments in the state.

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

“91 monuments in haryana are protected by the archaeological survey of india, 34 monuments are under the protection of the state department, which has a list of 46 unprotected monuments,” said Banani Bhattacharyya, deputy director, department of archaeology and museums. ELIGIBLE REGIONS-

Monuments & sites River/drainage Fig.no. 6.2.1 Map of Haryana showing the location of the 177 archaelogical sites and monuments as listed by the government. (Recreated by author)

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These sites include structural findings ranging from indus valley civilization to those done under the british rule. Keeping in mind the important site selection criteria discussed earlier, factors like heritage value, location and socio-cultural significance are going to be the driving factors here to help narrow down on a plausible site amongst the 177 others marked in the map of the state provided alongside.

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As noticeable in fig. 6.2.1, a large number of sites can be seen being present along a linear corridor stretching almost parallely along the river Yamuna and passing through the national capital city of Delhi. This corridor is the Grant Trunk Road which has had its own socio-eco-cultural and military importance throughout its long history. Even today, part of G.T. road in north Inida forms a part of the longest national highway (NH 44), being an important transportational corridor.

Fig.no. 6.2.2 Map of North India showing the location of the Grand Trunk road as documented by the British government in the 19th century. (Recreated by author)

The G.T. road also known as Uttarpath during the Mauryan period (4th-2nd century BCE), Sadake-Azam during Sur dynasty (1540-1556 CE), Badshahi sadak during the mughal period (16th19th century CE) and as Grant Trunk road during the British colonial rule (19th-20th cemtury CE). The long expanse of the road was maintained by various rulers with trees planted on either sides and structures associated with travel and rest were built alongside. As per a detailed report submitted by permanent delegation of India to UNESCO, this route has outstanding universal value because of the exceptional characteristic features mentioned below1• It is the only important route that has survived 1 https://whc.unesco.org/en/tentativelists/6056/

Fig.no. 6.2.3 Map of India showing the location of national highway 44. (Recreated by author)

over a very long period of history. It is and has been fully functional since the ancient times till date.

REGION LEVEL ANALYSISTo zero down on a plausible site appropriate for this dissertation, a comparative study of the list of archaelogical sites and monuments in the seven cities was done based on the list2 prepared by the Directorate of Archaelogy and museums, Haryana. As learned from the comparative table provided below, 51 out of 93 sites along the route are Kos 2 http://archaeologyharyana.nic.in/sites/default/files/documents/ haryana-archaeology-sites.pdf

Sr. no.

Name of City

Ancient sites

Medieval sites

Modern sites

Total sites

Ambala

Kurukshetra

9*,2’,1

Karnal

10*,4’,1

Panipat

6*,5’

Sonepat

9*,3’

Faridabad

4*,1’,1

Palwal

12*

Grand total =

* = Kos minar

‘ = Islamic site

^ = British colonial site

Fig.no. 6.2.5 Table comparing number and type of heritage sites in the seven cities under consideration. (Source: http:// archaeologyharyana.nic.in/sites/default/files/documents/haryana-archaeology-sites.pdf ,created by author)

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Hence, the route has not only acted as a significant conduit for cross-border exchange of all natures but also stood the test of time and still acts as an extremely prominent transit route through Haryana. Even today, major north-western urban hubs in the state lie along the G.T. road. Hence, keeping in mind the heritage value (socio-cultural significance), location and accessibility, prominent site clusters, the research can be narrowed down to the seven cities in Haryana that lie along the G.T. road viz. Palwal, Faridabad, Sonepat, Panipat, Kurukshetra and Ambala (south to north).

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Monuments & sites River/drainage Fig.no. 6.2.4 Map of Haryana showing the location of the 7 cities along the Grand Trunk road. (Source:author)

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• Unlike most of the routes, this route was not used for single purpose such as pilgrimage, trade or slavery. However, it was used for multiple purposes like extending political influence, pilgrimage, exchange of culture, religion, trade, etc.

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

• It is a unique road that on one end it connects to a sea route of immense significance and the other end it connects to an extremely significant land route (Silk Route). This road thereby enabled trade and cultural transmission between civilizations. The eastern end of the road meets the sea at the Bay of Bengal and on the western end it terminates in Afghanistan at Kabul. This link is significant for determining the character of the road as it has been instrumental in the inward and outward movement of people, thoughts and material.

minars3 which present limited scope for cogent conservation and public architecture. Hence, Palwal is out of question to be considered as a plausible site for this dissertation. Other cities like Ambala, Karnal, Panipat, Sonepat and Faridabad either have well protected Colonial or islamic sites or sites like bridges and dams which also leave little scope for a design intervention. The city of Kurukshetra is the most promising not only in the terms of quantity (highest number of sites) but also quality (ancient sites, islamic sites, religious sites and modern sites as well). The city geographically spans horizontally across the ancient Indus valley civilization on the west to the urban center in the middle and Yamuna river on the east. PROPOSED SITECOGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

After carefully studying all the sites in Kurukshetra, it was found that three sites of varied heritage value lie in the same premises and can prove to be appropriate for the design undertaking. The sites lie in the old city of Thanesar, that lies within the municipal limits of the city and are easily accessible. The sites are as follows• Sheikh Chilli (sufi saint) ka Maqbara (tomb) • Patthar Masjid (stone mosque) • Raja Harsh ka tila (ancient mound)

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The tomb and the masjid lie at the edge of the mound, which is present at the current northwestern edge of the city. Site visits revealed that the Islamic era monuments , the tomb and the mosque have been very well conserved by the Archaelogical survey of India and are also under use. Multiple excavations have been carried out on the mound in the last few decades but due to the lack of proper architectural solutions, the archaelogical ruins have been left exposed. Exposure of such brick ruins to the harsh continental climate slowly destroys the heritage site. Therefore, Raja Harsh ka tila has been proposed as the site for this design dissertation as it requires immediate architectural intervention. 3 Milestones constructed along the route at intervals of kos. A kos is approximately equal to 2.25 miles or 3.62 kms.

Monuments & sites River/drainage Fig.no. 6.2.6 Map showing the location of the sites in the 7 cities along the Grand Trunk road and the location of the proposed site in Kurukshetra. (Source:author)

Fig.no. 6.2.7 Picture of the site showing the mound with an excavated pit and the tomb in the background. (Source:author)

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Fig.no. 6.2.9 Map of Haryana showing the location of Thanesar. (Source:author)

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

Fig.no. 6.2.8 Map of India showing the location of Haryana. (Source:author)

Fig.no. 6.2.10 Map of Kurukshetra showing the location of Thanesar. (Source:author)

Fig.no. 6.2.11 Map of Kurukshetra showing the location of the site in red. (Source:author)

Fig.no. 6.2.12 Map showing the site and the immediate context. (Source:author)

6.3 SITE DATA AND ANALYSISTHANESAR, KURUKSHETRA, HARYANA 29.9695° N, 76.8783° E

GEOGRAPHICAL FEATURES OF HARYANA-

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

As already discussed under literature review of ‘Haryana: cultural heritage guide’, Haryana covers a vast alluvial plain that stretches between the Indus and the Yamuna. The fertile soil has made this region conducive for human habitation through the ages. The state only hosts a small portion of the foothill of the Shivalik ranges in the north-west and the starting tip of the Aravali ranges in the south. The mountain ranges towards the north and the Thar desert on the south-west periphery governs the wind movement and rainfall pattern of the region. As the state is primarily flat cropland, the winds from the desert (hot during day and cold during night) flow freely northwards across the state.

Indus Indira Gandhi water canal Ganga Luni Fig.no. 6.3.1 Map of north india showing rivers, canals, mountain ranges and deserts. (Recreated:author)

MACRO-CLIMATE OF HARYANA-

LOCAL STEPPE -SEMI-ARID TO SUBHUMID

SUB-TROPICAL

-NOT MUCH RAINFALL (300-1000 MM)

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-HOT SUMMERS -COLD, DRY WINTERS

MACROCLIMATE OF THE HARYANA

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CONTINENTAL -RELATIVELY DRY -VERY HOT SUMMERS

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-VERY COLD WINTERS

Fig.no. 6.3.2 Macro-climate of Haryana. (Source:author, based off data from- https://haryana.pscnotes.com/haryana-geography/ climate-of-haryana/)

TOPOGRAPHY OF THANESAR1Area within 3 kms of Thanesar is essentially flat and covered by 71% cropland and 23% artificial built surfaces (fig 6.3.3). The region has a maximum elevation change of 22 meters and an average elevation above sea level of 255 meters. The area within 80 kilometers of Thanesar is 96% cropland. The water bodies in the area- tributary of river Ghaggar running across the north edge of the city, Satluj Yamuna Link canal running north-south 1 http://www.fao.org/land-water/land/land-governance/landresources-planning-toolbox/category/details/en/c/1036355/

Fig.no. 6.3.3 Map of Kurukshetra showing the city municipal limits and the topography (cropland in gray and artificial built surfaces in other colours). (Source:author)

a bit far off the western city limits and landscaped religious water body called the Bhramasarovar. MACRO-CLIMATE OF THANESAR2• TEMPERATURE-

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

Fig.no. 6.3.6 Graph showing hourly temperature of Thanesar. (Source:www.weatherspark.com)

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Fig.no. 6.3.5 Graph showing high and low temperature of Thanesar. (Source:www.weatherspark.com)

2 https://gmao.gsfc.nasa.gov/reanalysis/MERRA-2/

Fig.no. 6.3.4 Map of Kurukshetra showing the water bodies in blue and site in red. (Recreated by author)

Over the course of the year, the temperature typically varies from 8-19° C between the months of December to mid February which is the duration of the winter season, to 27-40° C between the months of mid April up until July which constitutes the long summer season. The temperature in Thanesar is rarely below 5°C or above 44° C. Due to the continental climate of the region the city experiences very few days of comfortable temperature. The sun direction for the region is East to West via South at all times.

Fig.no. 6.3.7 Diagram showing sunpath (Source:www.suncalc.org) of Thanesar overlapped on site. (Source:author)

• PRECIPITATIONIn Thanesar, the wet season is sweltering and oppressive. The dry season is warm, and it is mostly clear year round. The wetter season lasts 3 months, from mid June to mid September. The rest of the year comprises of the drier season. The rainy period of the year lasts for 10 months, from December end to October mid. The most rain falls during the 31 days centred around July, with an average total accumulation of 204 mm. The rainless period of the year lasts for 2 months, from mid October - December end.

Fig.no. 6.3.8 Graph showing wind direction of Thanesar. (Source:www.weatherspark.com)

• WIND-

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

This section discusses the wide-area hourly average wind vector (speed and direction) at 10 meters above the ground. The wind experienced at any given location is highly dependent on local topography and other factors, and instantaneous wind speed and direction vary more widely than hourly averages.

Fig.no. 6.3.9 Graph showing wind speed in Thanesar. (Source:www.weatherspark.com)

The average hourly wind speed in Thanesar experiences significant seasonal variation over the course of the year.The windier part of the year lasts for 6.2 months, from December 31 to July 6, with average wind speeds of more than 10.6 kilometers per hour. The calmer time of year lasts for 5.8 months, from July 6 to December 31.

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• HUMIDITY-

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Unlike temperature, which typically varies significantly between night and day, dew point tends to change more slowly, so while the temperature may drop at night, a muggy day is typically followed by a muggy night.

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Thanesar experiences extreme seasonal variation in the perceived humidity. The muggier period of the year lasts for 4.4 months, from May 31 to October 13, during which time the comfort level is muggy, oppressive, or miserable at least 25% of the time. The months of December and January are completely dry with average 0% humidity levels.3

3 https://weatherspark.com/y/108744/Average-Weather-inTh%C4%81nesar-India-Year-Round Fig.no. 6.3.12 Summary graph of climatic conditions in Thanesar viz. temperature, humidity levels, precipitation and cloudy/clear sky (bottom to top). (Source:https:// w e a t h e r s p a r k . c o m / y / 1 0 8 7 4 4 / Av e ra g e - W e a t h e r - i n Th%C4%81nesar-India-YearRound#Sections-Summary)

Fig.no. 6.3.10 Wind rose diagram of Thanesar overlapped on site. (Source:www.weatherspark.com)

Fig.no. 6.3.11 Graph showing humidity levels in Thanesar. (Source:www.weatherspark.com)

SERAI

CHARBAGH

TOMB

Fig.no. 6.3.14 Front elevation of the tomb and madrassa structure. (Source:author)

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Fig.no. 6.3.15 Views from top of the tomb looking out at the city and at Raja Harsh ka Tila respectively. (Source:author)

Fig.no. 6.3.13 Map showing the tomb, masjid and charbagh adjoining the site. (Source:author)

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MADRASSA

Fig.no. 6.3.16 Adaptive re-use of the madrassa space for library, ASI office, exhibition areas respectively. (Source:author)

Fig.no. 6.3.17 Built relation between the madrassa and tomb. (Source:author)

Fig.no. 6.3.18 Charbagh and its adjoining structures as a part of the serai, showing the conservation work that has already been carried out on this structure. (Source:author)

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Fig.no. 6.3.19 Map and photographs showing the condition of the excavated ruins on the mound along with the five access points and the main gated entries marked in red. (Source:author)

SITE AREA1,87,487 sqm. total area within boundaries with 1,59,815 sqm. excluding the tomb, masjid and charbagh. SITE ELEVATION AND MICRO CLIMATE22 mts. (highest point in the city) from the lowest point which are the natural water bodies nearby. 12 mts. higher than the main access road. Due to the high elevation, not only does the site offer spectacular views of the entire city and even the farmlands but also gets unhindered sun and wind supply. It presence of natural water bodies near the mound also provide for easy surface run-off in case of heavy rainfall.

Fig.no. 6.3.21 Map showing figure ground of the site, showing the dense residential neighbourhood around along with depository water bodies. (Source:author)

SITE ACCESSThe premises is generally open all week except Friday from 10 a.m. to 6 p.m. The madrassa and the tomb have ticketed entries whereas the mound is a free to enter open space. Even though, the mound does not get as much footfall as the tomb complex, there being two major reasons for the same. First, the mound does not have a direct access from the charbagh or the tomb. There is one doorway from the madrassa which the officials keep closed for crowd control and ticketing purposes. Hence, visitors find the navigation to the mound quite difficult provided the lack of connected access and proper signages. Visitors are forced to take the outer access to the mound which is about 500 mts. away from the main access and parking area. Secondly, first-time visitors often do not even realise that there is anything on the mound. The excavated ruins are simply not quite visible and the mound merely looks like a green piece of land, offering no exciting proposition for the visitors to visit the mound. VISITORS AND ACTIVITIESThere are majorly three demographics that visit the monument- the most common ones are school and college students, scholars studying the monument or the archaelogical ruins, local residents and a few foreigners. The activities on site are majorly that of a leisurable nature ranging from mere monument visiting and picnics to students studying in solitude or in groups. But the unguarded site also invites certain activties of mischievious nature. PEAK TIMING-

Fig.no. 6.3.22 Map showing dense residential neighbourhood around along with depository water bodies on the north and south-west and agricultural field land on the north and north-west. (Source:author)

Since our chief demographic is that of families and students visiting for leisure, the peak months are holiday months of May-June and DecemberJanuary. Weekends generally experience heavier footfall.

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22 20

Fig.no. 6.3.20 Map showing elevation of the site and the context within 500 m radius. The arrows show the natural drainage routes of surface run-off, blue marks the two existing water bodies. (Source:author)

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7. NITIN MANDHAN

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RIZVI COLLEGE OF ARCHITECTURE

NITIN MANDHAN

M.U.1532

PROGRAM COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

7.1 CRITERIA SELECTION1-

FOR

PROGRAM

WHAT WAS THE ORIGINAL FUNCTION? • Residential? • Commercial? • Industrial? • Cultural? • Religious? • Military? • Governmental? • Educational? • Office? • Health-care?

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

As discussed before in literature review section, it is important for a building to cater to a practical purpose, for it to be successfully accepSted and appropriated by the targeted users. It may also prove to be a crucial input in determining the program for the proposed site. In order to provide the required design solution for the site to be public, the use of the structure plays a very key role as it should be a rather universal one. Universality of the project will ensure that it becomes truly public in nature. WHO IS THE USER?

65 RIZVI COLLEGE OF ARCHITECTURE

• Local communities • Rural/urban population • City-state-geographical region • Nation-global • Organization

NITIN MANDHAN M.U.1532

Users are non-arguably the most important component in a decision making process. Users appropriate a space, declare it fit for use and eventually attach a sense of belonging to that space and structure, hence converting a ‘space to place’ and ‘structure to architecture’. Program selection can become a intense process if there are more than one user party involved. The program has to be selected in a way that it caters to the multi-layered nature of the user demands. WHAT IS THE CONTEXT? • Historic • Socio-eco-cultural • Architectural • Geographical Since this design dissertation aims at public architecture not iconic architecture, the program and therefore the design needs to respond positively to the context of the site in a multifaceted manner. 1 Damla Mısırlısoy,Kagan Günçe (2016) Adaptive reuse strategies for heritage buildings: A holistic approach

7.2 BREAK-UP OF PROGRAMThe selected program for the site caters to the A.S.I. by providing protection for the ruins and multipurpose spaces to accomodate for various events and gatherings. Public open space contributes to the cities open spaces, hence catering to the local residents. The program is largely of a educational and leisurly nature (and commercial, to support financially), so was the original function of the site. ENTRANCE PORTICO

ENTRANCE AREA CAR PARKING 50 Vehicles

RECEPTION

CLOAK ROOM ENTRANCE FOYER WAITING AREA

VISITOR’S CENTER

MEETING ROOM COMMERCIAL BLOCK CAFÉ

PROGRAM

EXCAVATION GALLERIES

TOILET BLOCK

SOUVENIR/BOOK SHOP

SERVER ROOM

STORAGE

MULTI-PURPOSE HALL

LOUNGE AREA

-CONFERENCE HALL -ADDITIONAL EXHIBITION AREA -CHILDREN ACTIVITY CENTER

STORAGE

-ANNUAL HERITAGE EVENTS - FOLK MUSIC/DANCE EVENTS

PANTRY

EXHIBITION HALL

STORAGE/ ARCHIVE ROOM

EXISTING DARGAH

PUBLIC OPEN SPACE Fig.no. 7.2.1 Hierarchical diagram showing break-up of program. Red marks primary program with blue showing the further assisting programs under it. Supporting facilities are shown in white. (Source:author)

STAFF OFFICE AUDIO-VISUAL HALL

M.U.1532

MANAGER’S OFFICE

NITIN MANDHAN

ADMINISTRATIVE BLOCK

RIZVI COLLEGE OF ARCHITECTURE

RECEPTION

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

CHECK-IN BOOTHS

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

RIZVI COLLEGE OF ARCHITECTURE

8. NITIN MANDHAN

M.U.1532

RIZVI COLLEGE OF ARCHITECTURE

NITIN MANDHAN

M.U.1532

DESIGN COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

ROOF PLAN OF SITE WITH CONTEXT @ 1:4000

08 10

11 09

15 12

14 13

06 05

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

03 01

LEGEND01 MAIN ENTRANCE 02 CAR PARKING 03 ENTRANCE PORTICO 04 VISITOR’S CENTER 05 GALLERY 1 06 MULTI-PURPOSE HALL 07 GALLERY 2 08 EXHIBITION HALL 09 GALLERY 3 10 GALLERY 4

11 GALLERY 5 12 DARGAH 13 PATHAR MASJID 14 MADARSA 15 SHEIKH CHILLI’S TOMB 16 CHAR BAGH 17 ALTERNATE ENTRANCE

69 RIZVI COLLEGE OF ARCHITECTURE

MASTER PLAN OF SITE WITH CONTEXT @ 1:4000

NITIN MANDHAN M.U.1532

08 10

11 09

15 12

14 13

06 05 04

03 02

LEGEND01 MAIN ENTRANCE 02 CAR PARKING 03 ENTRANCE PORTICO 04 VISITOR’S CENTER 05 GALLERY 1 06 MULTI-PURPOSE HALL 07 GALLERY 2 08 EXHIBITION HALL 09 GALLERY 3 10 GALLERY 4

11 GALLERY 5 12 DARGAH 13 PATHAR MASJID 14 MADARSA 15 SHEIKH CHILLI’S TOMB 16 CHAR BAGH 17 ALTERNATE ENTRANCE 0 10

100 M

PRODUCED BY AN AUTODESK STUDENT VERSION

Use of golden ratio for the form-derivation process

Carefully carving out spaces from the golden ratio grid

PRODUCED BY AN AUTODESK STUDENT VERSION

SK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

70 M.U.1532 NITIN MANDHAN

PRODUCED BY AN AUTODESK STUDENT VERSION

RIZVI COLLEGE OF ARCHITECTURE

PRODUCED BY AN AUTODESK STUDENT VERSION

Provision of water bodies throughout the site

PRODUCED BY AN AUTODESK STUDENT VERSION

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

PRODUCED BY AN AUTODESK STUDENT VERSION

Overlapping structural elements on the derived form to receive final form

PRODUCED BY AN AU

PLAN SHOWING ENTRANCE ZONE AND VISITOR’S CENTER @ 1:500

A’ 27

17 18

23 22

PRODUCED BY AN AUTODESK STUDENT VERSION

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

PRODUCED BY AN AUTODESK STUDENT VERSION

14 09

12 10

05 11

07 06 25

LEGEND01 VEHICULAR ENTRY 02 CAR PARKING 03 PEDESTRIAN ENTRY 04 ENTRANCE PORTICO 05 RECEPTION LOBBY 06 RECEPTION DESK 07 CLOAK ROOM 08 WAITING AREA 09 CHECK-IN BOOTHS 10 MANAGER’S OFFICE

11 STAFF OFFICE 12 DISCUSSION ROOM 13 STORAGE ROOM 14 SERVER ROOM 15 AUDIO-VISUAL HALL 16 MEN’S TOILET 17 WOMEN’S TOILET 18 CAFE 19 KITCHEN 20 PANTRY

21 CAFE SEATING 22 SOUVENIR/ BOOK SHOP 23 SHOP BACK STORAGE 24 OPEN TO SKY COURT 25 OPEN TO SKY COURT 26 OPEN TO SKY COURT 27 OPEN TO SKY COURT

71 PRODUCED BY AN AUTODESK STUDENT VERSION

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CENTRAL VIEW FROM THE ENTRANCE LOBBY OF THE VISITOR’S CENTER.

NITIN MANDHAN

THE ENTRANCE PORTICO AS SEEN FROM THE ENTRANCE GATE. OBSTRUCTED VIEW OF THE WATERBODY TO ENSURE PRIVACY IN THE WASHROOM LOUNGE.

M.U.1532

THE ENTRANCE PORTICO AS SEEN FROM THE PARKING AREA. INTEGRATION OF NATURAL ELEMENTS- SUN AND WATER (AND OPEN COURTS AND GREEN ROOF WITH VEGETATION) IN THE DESIGN.

SECTION A-A’ SHOWING VISITOR’S CENTER ALONG WITH THE CIRCULATORY WALKWAYS @ 1:500

WAFFLE (HOLEDECK) SLAB AND GREEN ROOF DETAILS @ 1:20 PRODUCED BY AN AUTODESK STUDENT VERSION

WAFFLE (HOLEDECK) SLAB CONSTRUCTION PROCESS

350

200

795

PRODUCED BY AN AUTODESK STUDENT VERSION

KEY PLAN @ 1:20

WAFFLE (HOLEDECK) SLAB CONSTRUCTION FRAMEWORK

RCC RIBS 200 X 550 mm RCC RIBS (200 X 550 mm) VOID FOR SERVICE VOID FOR PIPES SERVICE PIPES

795

KEY-PLAN FOR WAFFLE SLAB DETAIL

SECTION A @ 1:20

PRODUCED BY AN AUTODESK STUDENT VERSION

A’

PRODUCED BY AN AUTODESK STUDENT VERSION

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

SECTION- B

PRODUCED BY AN AUTODESK STUDENT VERSION

PLAN SHOWING EXCAVATION GALLERY 1 AND MULTI-PURPOSE HALL @ 1:500

RIBS BOTTOM R.F. BARS Ø16mm

06 03

05 04 01

LEGEND01 ENTRY SPILLOVER 02 EXCAVATION GALLERY 03 MULTI-PURPOSE HALL 04 LOUNGE 05 STORAGE 06 EXIT SPILLOVER

SECTION A-A’ SHOWING EXCAVATION GALLERY 1 AND MULTI-PURPOSE HALL @ 1:500

M.U.1532

SECTION- A

WAFFLE SLAB VOIDS STEEL BARS Ø8mm

NITIN MANDHAN

38mm Ø PIN @1000mm C/C 10 NOS. STEEL RF Ø16mm STIRRUPS Ø8mm DIAPHRAGM BEAM

3mm SEPARATION FABRIC 50mm GRANULAR DRAINAGE 6mm PROTECTION MAT 100mm RCC WAFFLE SLAB RIBS TOP R.F. BARS Ø16mm

RIZVI COLLEGE OF ARCHITECTURE

RIBS BOTTOM R.F. BARS Ø16mm

SEDUM HERB LAYER 50mm EXTENSIVE SOIL MIX

100

LOWER REINFORCEMENT Ø16mm

SECTION B @ 1:20

450

270

VOID FOR SERVICE PIPES

PRODUCED BY AN AUTODESK STUDENT VERSION

150

SLAB REINFORCEMENT MESH Ø8mm @100mm C/C BOTHWAYS

130

100 900

450

260

SEDUM HERB LAYER 50mm EXTENSIVE SOIL MIX 6mm PROTECTION MAT

PRODUCED BY AN AUTODESK STUDENT VERSION

DAMP PROOF COURSE BRICK BUND WALL 230mm THK

PRODUCED BY AN AUTODESK STUDENT VERSION

RCC COPING

CONSTRUCTION TECHNOLOGY FOR EXCAVATION GALLERIES

STEEL COLUMN AND MICROPILE FOUNDATION DETAIL @ 1:30 SEDUM HERB LAYER 50mm EXTENSIVE SOIL MIX 3mm SEPARATION FABRIC 50mm GRANULAR DRAINAGE 6mm PROTECTION MAT RCC SLAB 100mm THK

PLATE 350 X 350 X 30 mm 298.5 X 30mm THK STEEL COLUMN FIRE PROTECTION PLATE 420 X 420 X 60 mm ANCHOR BOLT PAGEL-SEALING MORTAR

ANCHOR PLATE

350

700

LOCK NUT

TIE NUT COMPACTED FILLING IMPROVED SUB-GRADE PLASTIC RIBBED TUBE SPACER

PRODUCED BY AN AUTODESK STUDENT VERSION BORE Ø 220MM GEWI- PILE Ø 63.5 MM WITH DOUBLE CORROSION PROTECTION

73 PRODUCED BY AN AUTODESK STUDENT VERSION

NITIN MANDHAN

SECTION A-A’ @ 1:500

A’

M.U.1532

PRODUCED BY AN AUTODESK STUDENT VERSION

RIZVI COLLEGE OF ARCHITECTURE

STEPWELL PAVILION AS PAUSE POINT

PRODUCED BY AN AUTODESK STUDENT VERSION

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

PRODUCED BY AN AUTODESK STUDENT VERSION

M10 HIGH STRENGTH BOLT

PRODUCED BY AN AUTODESK STUDENT VERSION

PLAN SHOWING EXCAVATION GALLERY 2 AND EXHIBITION HALL @ 1:500

04 05

A’

MULTIPLE POSSIBLE PLANNING ARRANGEMENTS IN EXHIBITION HALL @ 1:2000

M.U.1532

01 EXCAVATION GALLERY 02 EXHIBITION HALL 03 OPEN TO SKY COURT 04 PANTRY 05 STORAGE/ARCHIVE ROOM

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

LEGEND-

B’

PRODUCED BY AN AUTODESK STUDENT VERSION

RIZVI COLLEGE OF ARCHITECTURE

NITIN MANDHAN

SECTION A-A’ CUTTING THROUGH EXCAVATION GALLERY 2 @ 1:500

SECTION B-B’ CUTTING THROUGH EXCAVATION GALLERY 2, OPEN COURT AND EXHIBITION HALL @ 1:500

NATURAL LIGHT PROVIDED BY THE SKYLIGHTS AND THE ONLY WINDOWS STRATEGICALLY PLACED TO FRAME VIEWS OF THE OPEN COURT AND THE AGRICULTURAL FIELDS.

VIEW OF THE EXHIBITION HALL, ALSO SHOWING THE WAY TO THE OPEN COURT.

PLAN SHOWING EXCAVATION GALLERY 3,4 AND 5 @ 1:500

PRODUCED BY AN AUTODESK STUDENT VERSION

A 04

B’ 05

01 03

LEGEND01 STEPPED WATERBODY 02 EXCAVATION GALLERY 03 OPEN TO SKY COURT 04 EXCAVATION GALLERY 05 OPEN TO SKY COURT 06 EXCAVATION GALLERY 07 OPEN TO SKY COURT

A’ C’ PRODUCED BY AN AUTODESK STUDENT VERSION

75 RIZVI COLLEGE OF ARCHITECTURE

SECTION A-A’ SHOWING EXCAVATION GALLERY 3 AND STEPPED WATERBODY @ 1:500

NITIN MANDHAN M.U.1532

SECTION B-B’ SHOWING EXCAVATION GALLERY 4,5 AND OPEN COURT @ 1:500

SECTION C-C’ SHOWING EXCAVATION GALLERY 5 AND OPEN COURT @ 1:500

PRODUCED BY AN AUTODESK STUDENT VERSION

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

PRODUCED BY AN AUTODESK STUDENT VERSION

AERIAL VIEWS OF THE THREE GALLERIES SHOWING THE INNER ARRANGEMENT AND ROOF HIERARCHY

VIEW SHOWING GALLERY 3

VIEWS SHOWING GALLERY 4 AND THE OPEN COURT

VIEWS SHOWING OPEN COURT ADJOINING GALLERY 5

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

VIEWS SHOWING THE TRANSITION SPACE BETWEEN GALLERY 4 AND 5

PRODUCED BY AN AUTODESK STUDENT VERSION

GLASS FLOOR DETAIL @ 1:10 20mm FLOOR FINISH

KEY PLAN @ 1:50 1767.0

1767.0

PRODUCED BY AN AUTODESK STUDENT VERSION

2650.0 2650.0

RCC SLAB 100mm THK

1767.0

1cm THK CEMENT ADHESIVE

STEEL COLUMN 298.5 X 30mm

PRODUCED BY AN AUTODESK STUDENT VERSION

350.0

10mm SCREED

ANGLE SECTION 40 X 40 X 6 mm

PRODUCED BY AN AUTODESK STUDENT VERSION

6mm THK UNEQUAL ANGLE SECTION

RCC BEAM 350 X 150mm

3 NO.S TEMPERED GLASS 10mm THK WITH TOP LAYER OF ANTI-SLIP GLASS M10 HIGH STRENGTH BOLT

GLASS PANEL 10MM THK

TOP PLATE 350 X 350 X 30 mm

PRODUCED BY AN AUTODESK STUDENT VERSION

CABLE TENSIONING ELEMENT Ø12mm SUSPENSION CABLE Ø12mm

PRODUCED BY AN AUTODESK STUDENT VERSION

FIRE PROTECTION

RIZVI COLLEGE OF ARCHITECTURE

TYPICAL GLASS FLOOR DETAIL

NITIN MANDHAN

M.U.1532

PRODUCED BY AN AUTODESK STUDENT VERSION

298.5 X 30mm THK STEEL COLUMN

20mm FLOOR FINISH 10mm SCREED

GLASS ANGLE SECTION 40 X 40 XFLOOR 6 mm

DETAIL @ 1:10

6mm THK UNEQUAL ANGLE SECTION 3 NO.S TEMPERED GLASS 10mm THK WITH TOP LAYER OF ANTI-SLIP GLASS M10 HIGH STRENGTH BOLT

SCHEMATIC SECTION B @ 1:50

TOP PLATE 350 X 350 X 30 mm CABLE TENSIONING ELEMENT Ø12mm SUSPENSION CABLE Ø12mm

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

3 NO.S TEMPERED GLASS 10mm THK WITH TOP LAYER OF ANTI-SLIP GLASS ANGLE SECTION 40 X 40 X 6 mm 6mm THK T-SECTION

CONNECTING ELEMENT CABLE TENSIONING ELEMENT Ø12mm SUSPENSION CABLE Ø12mm

FIRE PROTECTION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

RCC SLAB 100mm THK 1cm THK CEMENT ADHESIVE

298.5 X 30mm THK STEEL COLUMN

PRODUCED BY AN AUTODESK STUDENT VERSION

SCHEMATIC SECTION A @ 1:50

PRODUCED BY AN AUTODESK STUDENT VERSION

BEFORE

AFTER

PLAN SHOWING REDESIGNED PLINTH FOR THE EXISTING DARGAH @ 1:500 LEGEND-

PRODUCED BY AN AUTODESK STUDENT VERSION

01 DARGAH 02 CIRCUMABULATORY SPACE 03 SHADED COLONNADE

01 02

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

SCHEMATIC SECTION @ 1:500

PRODUCED BY AN AUTODESK STUDENT VERSION

77 RIZVI COLLEGE OF ARCHITECTURE

MISCELLANEOUS DETAILS BRICK JALI TO ALLOW NATURAL VENTILATION

NITIN MANDHAN M.U.1532

BRICK JALI AS A SEMI-PERMEABLE VISUAL BARRIER

PERMEABLE PAVING FOR PARKING AREA

RAIN GARDEN/ BIOSWALE SCHEMATIC DETAIL

REFERENCESONLINE NEWSPAPER ARTICLE LINKS•https://m.hindustantimes.com/gurgaon/gurugram-s-heritage-structures-fall-into-disrepair-courtesy-official-apathy/story-rtufIfziIoYQy3iW6n2RpO_amp.html •https://m.hindustantimes.com/gurgaon/few-monuments-in-delhi-ncr-are-protected-by-governmentfall-to-disrepair/story-RqJguNWLlfdUw7OLztKHWO_amp.html •https://www.tribuneindia.com/news/weekly-pullouts/haryana-tribune/historical-monuments-in-mahendragarh-neglected/733644.html •https://www.tribuneindia.com/news/editorials/missing-monument/760340.html •https://www.hindustantimes.com/gurugram/a-walk-through-centuries/story-FI4MUSYfyk3wARtdH7eoII.html

•https://archello.com/project/restoration-castello-doria •http://www.ldpiusr.it/progetti/esistente/restoration-cdc/ •https://www.archdaily.com/478606/petar-zoranic-square-and-sime-budinic-plaza-kostrencic-krebel •http://www.oris.hr/files/pdf/svijet_osiguranja/85/Alan%20Kostrencic_Trg%20Zadari.pdf •http://www.oris.hr/en/oris-magazine/overview-of-articles/[85]just-one-of-the-growth-rings-intime,1219.html# •Cite: Karen Cilento. “Kolumba Museum / Peter Zumthor” 06 Aug 2010. ArchDaily. Accessed 18 Sep 2019. <https://www.archdaily.com/72192/kolumba-musuem-peter-zumthor/>; ISSN 0719-8884 •http://anoukahlborn.com/subproject0703.html •https://issuu.com/gabrieleborettiarchitettura/docs/zumthor/27 •https://www.archute.com/kolumba-museum-peter-zumthor/ •https://www.designboom.com/architecture/peter-zumthor-kolumba-museum-cologne-germany-rasmus-hjortshoj-07-26-2017/ •https://divisare.com/projects/349228-peter-zumthor-rasmus-hjortshoj-kolumba-museum Reduced materiality, uncensored memory landscape, colour sync •https://www.kolumba.de/?language=eng&cat_select=1&category=14&artikle=61&preview= “a museum of contemplation in which there is an ongoing dialogue between past and present” (Sarah McFadden, Art in America) •https://www.google.com/amp/s/architizer.com/blog/inspiration/collections/perfect-imperfections-kolumba-bricks/amp/ •http://www.designatlarge.it/peter-zumthor-architecture/?lang=en •https://arcspace.com/feature/kolumba-museum/ •https://www.archdaily.com/791885/beyazit-state-library-tabanlioglu-architects

•https://divisare.com/projects/322872-ld-sr-andrea-bosio-restoration-of-doria-castle-in-dolceacqua?epik=dj0yJnU9OEhzRXRWMDNySF9zaG9ZSjd2SnhqemxidjFvcWlfd04mbj1BZ3pZa3lFSFF0MkQ2ckk3NUhPd1ZRJm09MyZ0PUFBQUFBRjJDcGNR

M.U.1532

•http://archaeologyharyana.nic.in/sites-and-monuments

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WEBSITE LINKS-

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•https://indianexpress.com/article/cities/chandigarh/haryana-govt-stops-restoration-of-heritagebuilding-says-no-approval-was-obtained-5214990/lite/

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN

•https://www.hindustantimes.com/gurgaon/gurgaon-activists-vow-campaign-to-save-badshahpur-stepwell/story-qYNqNHcPkNDt5OdNFa5s3H.html

COGENT CONSERVATION OF BUILT HERITAGE IN HARYANA

RIZVI COLLEGE OF ARCHITECTURE

NITIN MANDHAN

M.U.1532

RIZVI COLLEGE OF ARCHITECTURE

NITIN MANDHAN

M.U.1532

COGENT CONSERVATION OF BUILT HERITAGE IN HARYAN