Beatles' Musical Experience Ashram - Rishikesh Architectural Thesis by Parag Kashyap

An Architectural Design Thesis project report on

Beatles’ Musical Experience Ashram, Rishikesh

………………………………………………………………………………. Submitted to Savitribai Phule Pune University in partial fulfillment of the requirements for the award of the Graduate degree of Bachelor of Architecture (B.Arch) by

Kashyap Parag Manoj

………………………………………………………………………………. under the guidance of

Name of the Guide: Ar. Ketan Nanal

………………………………………………………………………………. VIT’s P.V.P.College of Architecture, Pune Savitribai Phule Pune University

April 2020

Certificate Vivekanand Institute of Technology’s Padmabhushan Dr. Vasantdada Patil College of Architecture, Pune 274/2, 275/2, 282, Aditya Nisarg At. Pirangut, Tal. Mulshi, Dist. Pune - 412115 Tel: 020 -20291299 Fax 020-26997889 E-mail : vitcoapune@gmail.com, web www.pvpcoapune.com blog: pvpcoapuneblog.blogspot.com

Candidate’s Declaration I hereby certify that the work which is being presented in the Architectural Design Thesis Project titled “Beatles’ Experience Ashram: An experience center celebrating Beatles’ music by space interpretation at the Beatles’ Ashram, Rishikesh“ in partial fulfillment of the requirements for the award of the Bachelor of Architecture degree (B.Arch), submitted in Vivekanand Institute of Technology’s Padmabhushan

Dr.

Vasantdada Patil College

of Architecture, Pune is an

authentic record of my own work carried out during the period from June 2019 to April 2020 under the supervision of Ar. Ketan, Nanal

(Thesis guide).

I declare that the work submitted is my own research and wherever I have incorporated any information, data, maps, graphics, etc. from different sources, it has been duly acknowledged. The matter embodied in this thesis has not been submitted by me for the award of any other degree, by any other Institution. Kashyap, Parag, Manoj

..……………………….

Name of the Candidate

Signature Date: 19/.03/2020

This is to certify that the above statement made by the Candidate is correct to the best of our knowledge.

Ar. Prof. Prasanna Desai Director, PVP COA, Pune. The Candidate has appeared for the viva-voce examination held at the Vivekanand Institute of Technology’s Padmabhushan Dr. Vasantdada Patil College of Architecture, Pune, Savitribai Phule Pune University

……………………………………. Thesis Guide

…………………………………. Prof. Ar. Prasanna Desai , Director , PVPCOA

……………………………………. External Examiner

Acknowledgement

I sincerely thank Dr. Prasanna Desai, Director, Faculty of Architecture, for providing me with the opportunity to present this project. I take this opportunity to express my profound gratitude and deep regards for my guide Ar. Ketan Nanal for her exemplary guidance. If it were not for her constant monitoring and encouragement throughout the course of this thesis, I would not have been able to achieve success in this project. I equally thank all the faculties of PVPCOA for their valuable guidance and encouragement, which enabled me to overcome the obstacles that I faced throughout the endeavor. I also extend my sincere gratitude to all the members of the non-teaching staff, administrative office, library, of the help they extended to me during my course. I am extremely thankful to my parents for their tremendous contributions and support morally towards completion of this project. I also express my gratitude to all my friends and relatives who contributed in one way or the other for accomplishing the project. -Parag Kashyap

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

Beatles’ Musical Experience Ashram, Location .

CONTENTS Abstract Pg.no. 1. Introduction………………………………………………………………………………..

……...

2. Reference Study…………………………………………………………………………...

……..

3. Inferences………………………………………………………………………………......

……..

4. Approach to Design……………………………………………………………………....

……..

5. Site and Site Analysis…………………………………………………………………….

……..

6. Design Program……………………………………………………………………………

……..

7. Design Development………………………………………………………….…………..

……..

8. Design………………………………………………………………………………………

……...

9. List of figures and tables with page numbers ………………………………………

……...

10. Bibliography……………………………………………………………………………….

……...

List of Figures

Chapter No.

Page No.

Content

Source

1.0

Poster

Author

1.0

Brochure 1

Author

1.0

Brochure 2

Author

1.0

Touchstone

Author

1.0

Touchstone reference

Jack B. Coultor

4.0

Sabarmati Ashram

Sabarmatiashram.com

4.0

Thermae Vals

7132.com

4.0

Jewish Museum

Denis Esakov

4.0

Indian Music Experience

4.0

Sanskriti Kendra

Indian Music Experience Sanskritifoundation.org

4.3

Beatles headshots

United Press Int.

4.3

19-20

Bealtes' Album Covers

Apple Records

4.3

Beatles' statue

Ken and Nyatta

4.3

How Beatles' Changed the World

Tim O' Dell

5.0

25-26

Rishikesh Site Studies

5.0

27-31

Beatles' Ashram

CEPT M.Arch LA 201415 Author

6.0

32-35

Program interpretation

Author

7.0/8.0/9.0

36-46

Design Drawings

Author

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

Journey of Thesis

1.0 Abstract 2.0 Introduction 2.1 Wake Up Studio Synthesis 2.1.1 Title

2.1.2 Subtitle 2.1.3 Area of Concern/Interest 2.1.4 Brief Introduction 2.2.0 Possible Research Questions 2.2.1 Site as a context 2.3.1 Poster 2.3.1 Brochure 2.3.2 Touchstone

4.0 Reference Studies 4.1.Building Study 4.1.1 Sabarmati Ashram 4.1.2 VIrasat E Khalsa 4.1.3 Jewish Museum 4.1.4 Thermae Vals 4.1.5 Sanskriti Kendra 4.2 The Beatles 4.2.1 Introduction 4.2.2 Musical Style 4.2.3 Music Development 4.2.4 Influences 4.2.5 Genre 4.2.6 Studio 4.2.7 Legacy 4.3.Cultural Impact of the Beatles 4.3.1 Introduction 4.3.2 Beatlemania 4.3.3 Personality and Fashion 4.3.4 Growth of Musicians, Scenes and Rock Bands 4.3.5 Artistry and Recognition of Pop Music 4.3.6 Social Movements 4.3.7 Artistic Presentation 4.3.8 Music and Recording Aesthetics 4.3.9 Continued Interests and Influences

4.4 Interviews with Relevant People 4.4.1 Stories Behind the Songs 4.4.2 Memoirs of Beatles in India 4.4.3 Interview with INTACH for Conservation Techniques 4.4.4 Architecture with Emotions and Phenomenology in Architecture 5.0 Site and Site Analysis 5.1 Rishikesh Context 5.2 Rishikesh Study 5.3.1 Beatles Ashram 5.3.2 Site Study 5.3.3 Beatles's Stay At Ashram 5.3.4 Development Proposals 5.3.5 Reopening and adoption as Beatles' Ashram 5.4 Site Analysis 5.5 Conclusion 6.0 Design Program 6.1 Quantitative Program 6.2 Conceptual Program 6.3 Progam Mapping 7.0 Approach to Design 7.1 Introduction to Phenomenology 7.2 Emotions in Architecture 7.3 Building a Story in 3D Space 7.4 Architecture Challenging Concept of Reality 7.5 Architecture of the Senses 3.0 Initial Design Conceptualization 3.1 5.2 Rishikesh Study 5.3.1 Beatles Ashram 5.3.2 Site Study 5.3.3 Beatles's Stay At Ashram 5.3.4 Development Proposals

5.3.5 Reopening and adoption as Beatles' Ashram 5.4 Site Analysis 5.5 Conclusion 6.0 Design Program 6.1 Quantitative Program 6.2 Conceptual Program 6.3 Progam Mapping 7.0 Approach to Design 7.1 Introduction to Phenomenology 7.2 Emotions in Architecture 7.3 Building a Story in 3D Space 7.4 Architecture Challenging Concept of Reality 7.5 Architecture of the Senses 8.0 Design Development 8.1 Design Zoning 8.2 Design Development 8.2 Design Considerations 8.3 Design Evolution 9.0 Design 9.1 Architectural Drawings 9.2 Cluster Drawings 9.3 Model 10.0 Conclusion Scenario 11.0 Bibliography

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

1.0 Abstract

In today's common architectural practice, we have forgotten about the practice of architecture that expresses with the user. We are mere objects to an environment meant to nurture us. This can be seen in the way the modern structures are built and designed. The care is taken to construct details and atmospheres and environments that hold the human soul as the focus is what drives good design. Every well-designed space tells the story of the people using it and their struggles, their lifestyle and what they went through. Architecture tells stories to anybody who would listen and designing to express stories of great and old has been architecture's duty since prehistoric times. In our responsibility to tell stories through our designs, we can use all the tools architecture allows us to use. We can use volumes to create environments that vary our experience with space. These include the humbling feeling of a church, cathedral or concert hall. Textures in the space make us feel truly belonging in the space and we can feel an emotional connection with space. Exposed construction details prove to us that what we're entrusting our life with is a space that is being honest with us. I attempt to take on this task in this thesis project as I take music as an expression of art and the Beatles as the starting point of this story of their music I am trying to tell. I dive in the most impactful music they made in their own Ashram in Rishikesh where they studied Transcendental Meditation under the Maharishi. Out here, they had their most productive songwriting period. Since then this has been the destination where many inspired artists and musicians have come to seek inspiration as their gurus of music found a humble abode and a break from the hustle of the city and the busy life to be one with nature and submit yourself to a greater entity and produce the most direct expression that comes out of you. My architectural intervention is an interpretation of their musical expression throughout the Beatles' most glorious years and tells the story of their music in such an abstract way that architecture allows in the experience and atmosphere built, similarly to music that only allows you to hook yourself to beats, rhythms, lyrics, and themes. Hopefully, the users would find something in the space that they can connect with and find some inspiration of their own in this natural nurturing environment. For the creatively dedicated, a creative retreat is being carefully designed to live the way the Beatles did in the Ashram amongst peace and nature and to find out how creativity be explored in an environment where artistic expression is the way of life. Being surrounded by hundreds of artistic expressions by the painters around the world to pay tribute to the creative voices that inspired the world to sing along with them, hopefully, the retreat participants may also find peace and solace in this abode. And hopefully, the voices of the Beatles echo throughout the hills where they once crafted a legacy that can be heard in the walls of an Ashram now lying in ruin but to is rebuilt by the expression of future generations. -Parag Kashyap

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

2.0 Introduction

Title:

Site Context: Beatles' Musical Experience Ashram

Subtitle: Space exploring themes and ideologies of Beatles' music interpreted using elements of music and the emotions it is trying to convey through architectural elements.

Area of Concern:

Realising music as a form of art that expresses the way one feels using rhythm, order, harmony and poetry to explore the entire range of emotions that humans are made to feel with the help of music. This music can be expressed in a number of ways focusing on the story it is trying to tell. This story in other mediums of art is told through the way it makes you feel, the sensations you feel on listening to a couple of chords This is the story I wish to illustrate for the world to realize how music changed the world and how its effect on our lives has been way more significant than we can imagine.

Introduction: The thesis would vastly focus on telling the story of the Beatles' music that talks about love, suffering, depression, humanity and humility. This would be done through analysis of what makes the music as appealing as it is and some background research for the songs. The songs are then interpreted as guidelines to visualise the space using architectural elements that abstract your perception of the song and tries to make you feel similar emotions as the song and adds on the values for it. b) The user group entails every music enthusiast around the world that travels to the land of Rishikesh in search for answers and finds themself at the Beatles' Ashram where they are drowned in the tranquil landscapes and the abandoned center of lost art and culture. c) The site chosen is that of Rishikesh at the Beatles' Ashram. It is an abandoned meditation facility surrounded by forest cover and adjacent to the bank of the Ganga itself. This facility with its special geographic placement holds a lot of potential scope for the intervention that is focused on creativity, enlightenment and a dive into a journey of self-realization.

The Beatles' Ashram in Rishikesh was a meditation facility located on the Eastern banks of the Ganges river, in the foothills of the Himalayas. During the 1960-70s, it was the training center for students of Maharishi Mahesh Yogi. The ashram gained international attention when the English Rock band 'The Beatles' studied meditation there. It was the band's most productive period as songwriters, where they composed most of the songs for their album. The site was abandoned in the 1990s and reverted to the local forestry department in 2003, after which it became a popular visiting place for fans of the Beatles. Although derelict and overrun by jungle, the site was officially opened to the public in December 2015.

Research Questions: a) Can architecture behold in its true nature the story of music and provide the possibility of new interpretations with its expression? b) How can the emotions be interpreted with elements of architecture to convey the story of music? c) How can a strong connection be created between spaces and the experience that is trying to encapsulate within it? d) How can conservation of a heritage structure work seamlessly with the birth of a new experimental experiential structure effectively? e) How does the user base respond to spaces that they can feel and activate all their senses in rather than just having a passive experience?

Aim+ Objective: Using storytelling as a medium in all of its abstraction and varying interpretations to help people experience music as an art form which is emoting and analyze those emotions and break them to fundamental expressions that can be converted into 3D elements of architecture that will try to evoke a similar expression or emotion.

d) The patrons that would look after, support and maintain the project would be the music and culture preservation organizations such as UNESCO or TIFA, Pune. e) Sponsored by brands that would support music festivals and promote the growth of music and work towards the experiences.

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

1.0 Introduction Poster:

Brochure: Aim + Objective Using storytelling as a medium in all of its abstraction and varying interpretations to help people experience music as an art form which is emoting and analyze those emotions and break them to fundamental expressions that can be converted into 3D elements of architecture that will try to evoke a similar expression or emotion.

䌀愀渀䄀爀挀栀椀琀攀挀琀甀爀攀戀攀栀漀氀搀琀栀攀琀爀甀攀猀琀漀爀礀漀昀洀甀猀椀挀甀猀椀渀最椀琀猀戀愀猀椀挀攀氀攀洀攀渀琀猀愀渀搀瀀爀漀瘀椀搀攀琀栀攀瀀漀猀椀戀椀氀椀琀礀漀昀渀攀眀椀渀琀攀爀瀀爀攀琀愀琀椀漀渀猀㼀

Thesis Proposition Introduction Hypothesis Narrowing the area of study/research

Beatles' Music Experience Center Space exploring themes and ideologies of Beatles' music interpreted using elements of music and the emotions it is trying to convey through architectural elements.

Research Resources: Hussain Doshi Gufa (application of Doshi's landmark into a spatial representation of Hussain's iconic work) Sabarmati Ashram (Gandhi's ideologies relflected in a memorial of his own residence Interactive Music Museum in Malaga

Contextual Analysis Application in Design Reference Study

Jack B Coulter's art (of visualising art derived from the music he listens to)

Literature Study

Moshe Safdie's Virasat-e-Khalsa

Design

Saint Nikolai Church World War II Museum Museum of Military History, Dresden Sam Sangailo - Frasesco Gatti Architects

圀栀愀琀椀猀琀栀攀挀漀渀渀攀挀琀椀漀渀戀攀琀眀攀攀渀猀瀀愀挀攀猀愀渀搀琀栀攀攀砀瀀攀爀椀攀渀挀攀琀爀椀攀搀琀漀攀渀挀愀瀀猀甀氀愀琀攀眀椀琀栀椀渀椀琀㼀

䠀漀眀挀愀渀攀洀漀琀椀漀渀猀戀攀攀砀瀀爀攀猀猀攀搀琀栀爀漀甀最栀琀栀攀瀀漀眀攀爀漀昀愀爀挀栀椀琀攀挀琀甀爀攀㼀

Concern

Site Analysis Design Strategies

Design Evolution Final Design

Area of Concern: Realising music as a form of art that expresses the way one feels using rhythm, order, harmony and poetry to explore the entire range of emotions that humans are made to feel with the help of music. This music can be expressed in a number of ways focusing on the story it is trying to tell. This story in other mediums of art is told through the way it makes you feel, the sensations you feel on listening to a couple of chords This is the story I wish to illustrate for the world to realize how music changed the world and how its effect on our lives has been way more significant than we can imagine.

INTRODUCTION/ BACKGROUND:

SITE CONTEXT:

INTRODUCTION/ BACKGROUND:

a) The thesis would vastly focus on telling the story of the Beatles' music that talks about love, suffering, depression, humanity and humility. This would be done through analysis of what makes the music as appealing as it is and some background research for the songs. The songs are then interpreted as guidelines to visualise the space using architectural elements that abstract your perception of the song and tries to make you feel similar emotions as the song and adds on the values for it.

a) Can architecture behold in its true nature the story of music and provide the possibility of new interpretations with its expression?

b) The user group entails every music enthusiast around the world that travels to the land of Rishikesh in search for answers and finds themself at the Beatles' Ashram where they are drowned in the tranquil landscapes and the abandoned center of lost art and culture. c) The site chosen is that of Rishikesh at the Beatles' Ashram. It is an abandoned meditation facility surrounded by forest cover and adjacent to the bank of the Ganga itself. This facility with its special geographic placement holds a lot of potential scope for the intervention that is focused on creativity, enlightenment and a dive into a journey of self-realization.

b) How can the emotions be interpreted with elements of architecture to convey the story of music? c) How can a strong connection be created between spaces and the experience that is trying to encapsulate within it? d) How can conservation of a heritage structure work seamlessly with the birth of a new experimental experiential structure effectively? e) How does the user base respond to spaces that they can feel and activate all their senses in rather than just having a passive experience?

d) The patrons that would look after, support and maintain the project would be the music and culture preservation organizations such as UNESCO or TIFA, Pune.

倀愀爀愀最䬀愀猀栀礀愀瀀㌀㤀

䠀漀眀搀漀甀猀攀爀爀攀猀瀀漀渀搀琀漀猀瀀愀挀攀猀琀栀攀礀挀愀渀愀挀琀椀瘀愀琀攀琀栀攀椀爀猀攀渀猀攀猀椀渀㼀

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

e) Sponsored by brands that would support music festivals and promote the growth of music and work towards the experiences.

Name : Parag Kashyap Roll No : 39

1.0 Introduction

Touchstone: The process of abstraction of a song into an interpretation that is tangible is explored through this touchstone where the emotions the song takes you through is translated to a 2-dimensional uneven plane. This plane is arranged in such a way that explores the idea of crests and troughs and when felt while listening to the song lines up perfectly with the song. The texture is meant to symbolize something resembling the time and the feel of the song. It doesn’t attempt to mimic the song as that wouldn’t add to the song. It interprets it and lets the person experiencing it form their own interpretations while experiencing both the mediums simultaneously. The way this board lets you experience these songs as an experience using your sense of touch and sound together, this makes you activate your senses making you sensitive about your surroundings and the way you percieve it.

Touchstone Reference: Jack B. Coulter is an artist that uses his syneasthesia to produce art from that expresses his emotions from listening to a song and his audience can form their own interpretations from this art.

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.0 References: Sabarmati Ashram

匀愀戀愀爀洀愀琀椀䄀猀栀爀愀洀䴀甀猀攀甀洀䌀栀愀爀氀攀猀䌀漀爀爀攀愀

愀渀搀戀攀愀洀猀琀爀甀挀琀甀爀攀⸀ 䰀漀愀搀戀攀愀爀椀渀最戀爀椀挀欀挀漀氀甀洀渀猀猀甀瀀瀀漀爀琀挀漀渀挀爀攀琀攀挀栀愀渀渀攀氀猀Ⰰ 眀栀椀挀栀愀氀猀漀猀甀瀀瀀漀爀琀琀栀攀眀漀漀搀攀渀爀漀漀昀⸀ 吀栀攀昀漀甀渀搀愀琀椀漀渀椀猀洀愀搀攀漀昀挀漀渀挀爀攀琀攀愀渀搀椀猀爀愀椀猀攀搀愀戀漀甀琀愀昀漀漀琀昀爀漀洀琀栀攀最爀漀甀渀搀⸀

吀栀攀洀甀猀攀甀洀甀猀攀猀愀猀椀洀瀀氀攀戀甀琀搀攀氀椀挀愀琀攀氀礀

猀椀洀瀀氀椀挀椀琀礀漀昀䜀愀渀搀栀椀ᤠ猀氀椀昀攀愀渀搀琀栀攀椀渀挀爀攀洀攀渀琀愀氀渀愀琀甀爀攀漀昀愀氀椀瘀椀渀最椀渀猀琀椀琀甀琀椀漀渀琀栀攀愀爀挀栀椀琀攀挀琀

䤀渀漀爀搀攀爀琀漀爀攀昀氀攀挀琀琀栀攀

甀猀攀搀洀漀搀甀氀愀爀甀渀椀琀猀㘀洀攀琀爀攀猀砀㘀洀攀琀爀攀猀漀昀爀攀椀渀昀漀爀挀攀搀挀攀洀攀渀琀挀漀渀挀爀攀琀攀

挀漀渀渀攀挀琀椀渀最猀瀀愀挀攀猀Ⰰ 戀漀琀栀漀瀀攀渀愀渀搀挀漀瘀攀爀攀搀Ⰰ 愀氀氀漀眀椀渀最昀漀爀攀瘀攀渀琀甀愀氀攀砀瀀愀渀猀椀漀渀⸀ 䌀漀爀爀攀愀ᤠ猀猀甀戀琀氀攀挀栀愀渀最攀猀漀昀琀栀攀攀渀挀氀漀ⴀ

猀甀爀攀愀氀氀漀眀昀漀爀瘀愀爀椀攀琀礀椀渀琀栀攀洀漀搀甀氀攀ᤠ猀氀椀最栀琀椀渀最Ⰰ 琀攀洀瀀攀爀愀琀甀爀攀Ⰰ 愀渀搀瘀椀猀甀愀氀瀀攀爀洀攀愀戀椀氀椀琀礀⸀

吀栀攀洀漀渀甀洀攀渀琀愀氀愀渀搀愀爀挀栀攀琀礀瀀愀氀猀琀爀甀挀琀甀爀攀漀昀琀栀攀洀甀猀攀甀洀爀攀挀愀氀氀猀琀栀攀眀攀氀氀ⴀ欀渀漀眀渀眀漀爀欀漀昀䰀漀甀椀猀䬀愀栀渀Ⰰ 眀栀漀戀攀最愀渀琀眀漀瀀爀漀樀攀挀琀猀椀渀琀栀攀爀攀最椀漀渀猀栀漀爀琀氀礀愀昀琀攀爀䌀漀爀ⴀ 爀攀愀ᤠ猀洀甀猀攀甀洀眀愀猀戀甀椀氀琀⸀ ᰠ吀栀椀猀椀猀琀栀攀爀椀最栀琀瀀氀愀挀攀昀漀爀漀甀爀愀挀琀椀瘀椀琀椀攀猀琀漀挀愀爀爀礀漀渀琀栀攀

吀爀甀琀栀愀渀搀搀攀瘀攀氀漀瀀䘀攀愀爀氀攀猀猀渀攀猀猀 ⸀ᴠ

吀礀瀀漀氀漀最礀㨀䌀甀氀琀甀爀愀氀䄀爀挀栀椀琀攀挀琀甀爀攀⼀䴀甀猀攀甀洀Ⰰ 刀攀猀椀搀攀渀挀攀䰀漀挀愀琀椀漀渀㨀匀愀戀愀爀洀愀琀椀䄀猀栀爀愀洀Ⰰ 猀甀戀甀爀戀漀昀䄀栀洀攀搀愀戀愀搀Ⰰ 䤀渀搀椀愀倀爀漀樀攀挀琀礀攀愀爀㨀㄀㤀㘀㌀䴀愀琀攀爀椀愀氀猀㨀圀漀漀搀攀渀搀漀漀爀猀Ⰰ 猀琀漀渀攀昀氀漀漀爀猀Ⰰ 挀攀爀愀洀椀挀琀椀氀攀爀漀漀昀猀Ⰰ 愀渀搀戀爀椀挀欀挀漀氀甀洀渀猀

ⴀ䴀愀栀愀琀洀愀䜀愀渀搀栀椀

吀栀攀洀漀搀甀氀愀爀猀椀洀瀀氀椀挀椀琀礀漀昀琀栀攀猀琀爀甀挀琀甀爀攀椀猀挀漀渀琀椀渀甀攀搀椀渀琀栀攀甀猀攀漀昀戀愀猀椀挀洀愀琀攀爀椀愀氀猀㨀猀琀漀渀攀昀氀漀漀爀猀Ⰰ 戀爀椀挀欀眀愀氀氀猀Ⰰ 眀漀漀搀攀渀搀漀漀爀猀愀渀搀氀漀甀瘀爀攀搀眀椀渀搀漀眀猀搀攀瘀漀椀搀漀昀最氀愀猀猀Ⰰ 愀渀搀爀椀氀攀搀爀漀漀昀猀⸀ 吀栀攀甀渀椀琀猀愀爀攀最爀漀甀瀀攀搀椀渀愀挀漀渀ⴀ 猀挀椀漀甀猀氀礀愀猀礀洀洀攀琀爀椀挀洀愀渀渀攀爀琀漀戀攀愀渀愀氀漀ⴀ 最漀甀猀琀漀琀栀攀䤀渀搀椀愀渀瘀椀氀氀愀最攀眀椀琀栀椀琀猀瀀愀琀栀眀愀礀猀愀渀搀猀攀攀洀椀渀最氀礀爀愀渀搀漀洀氀礀瀀氀愀挀攀搀戀甀椀氀搀椀渀最猀愀渀搀椀琀猀洀攀攀琀椀渀最瀀漀椀渀琀猀㬀椀渀琀栀椀猀椀渀猀琀愀渀挀攀琀栀攀挀攀渀琀爀愀氀眀愀琀攀爀挀漀甀爀琀⸀

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

猀攀愀爀挀栀昀漀爀

Name : Parag Kashyap Roll No : 39

4.0 References: Sabarmati Ashram

"This is the right place for our activities to carry on the search for Truth and develop Fearlessness- for on one side, are the iron bolts of the foreigners, and on the other, thunderbolts of Mother Nature".This is how Gandhiji described the site of Sabarmati Ashram when he first visited the place for assessing if it was suitable for carrying out his work. The site of 36 acres was a waste land full of snakes, but the order was not to kill them. The Satyagraha Ashram, later renamed as Harijan Ashram, was started in all earnest with a two-fold purpose-one was to carry on the search for Truth, and the other was to create a non-violent group of workers, who would create a non-violent group of workers, who would organize and help to secure freedom for the country.

ASHRAM DARSHAN (A view of the ashram)t While at Sabarmati, Gandhiji lived in a small cottage which is now known as 'Hridaya (Heart) Kunj'. It is a place of great historic value, where even today visitors find some of the things which Gandhiji used- a writing desk, a khadi kurta, a yarn spun by him and some of his letters. Nandini: It is on the right hand side of 'Hridaya Kunj'. It is an old Ashram guest house, where guests from India and abroad are put up. Vinoba Kutir: Named after Acharya Vinoba Bhave who stayed here, and also known as Mira Kutir after Mirabahen, Gandhiji's disciple, daughter of a British Admiral. Upasana Mandir: It is an open-air prayer ground, situated between 'Hridaya Kunj' and 'Magan Kutir' (the hut where Maganlal Gandhi, the ashram manager, used to stay). Here, Gandhiji used to refer to individual questions after prayers and as the head of the family analysed and gave his solutions. Gandhi Sangrahalaya: An important feature of the Ashram is Gandhi Sangrahalaya, a museum inaugurated by Jawaharlal Nehru on May10,1963.It has five units and a library, two photo-galleries and an auditorium. The museum houses eight life-sized colour oil- paintings and an exhibition on Gandhiji's life 'My life is My Message' and 'Gandhiji in Ahmedabad'. An archive has also been set up. It stores 34,066 letters by Gandhiji, manuscripts of his 8,633 articles, negatives of 6,367 photographs, 134 reels of microfilm of his writings, 210 films on Gandhiji and the freedom struggle. The library has over 30,000 books, 155 letters of felicitation received by Gandhiji, besides a miscellaneous memorabilia comprising of coins, postal stamps and the like. The museum measuring 24,000 sq. feet in area has besides 54 blocks of 20' x 20' each, a conference hall and an auditorium for watching films and video. The Sangrahalaya also arranges for publication and sale of Gandhian literature.

Detail at wall

Section through Ashram

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.0 References:Thermae Vals

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.0 References: Thermae Vals

Built entirely of Gneiss Stone (Valser Gneiss Quartzite) -at 5m height -15 Table like units -Which is exposed along light gaps through glass coverings - Grass is grown on top of the slab to blend in with uphill meadow

The space within the spa is organized around two large pools, one outdoor and one indoor, surrounded by high stone walls. The building's main access is via a tunnel from the hotel, serving as a transition that prepares the visitor to experience the architecture imagined by Zumthor. Internally, you can move through the various spaces freely, without a preordained path, with views to the landscape highlighted and blocked masterfully through the building's external openings. The facade, with a striking alternation between solid and void, clearly shows the construction technique. The volume of the building consists of 15 subsidiary volumes, all distinct from each other. These fragments are assembled as a large three-dimensional puzzle, thus the roof coverage is not continuous but broken at each of the connections between these blocks. These subtle gaps of just 8 centimeters allow the entry of a sliver of natural light. Despite its appearance as a massive, monolithic volume, the building is a composition of slightly spaced apart structures that make up the whole. The project addresses these contrasts masterfully; between the straight lines of the architecture and the movement of water, or between the gray of the rocks and the play of light and colors. In each block the architect explores different sense, utilizing colors, the scale of the space or even the water itself, and its temperature, state, smell, and so on. Overnight, the experience is drastically altered, as most of the light in the building emerges from the water itself.

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.0 References: Jewish Museum

Architects: Studio Libeskind Location: Berlin, Germany Area: 15500 m2 Year: 1999

1938 1933

Original Jewish Museum in Berlin was established

For Libeskind, the extension to the Jewish Museum was much more than a competition/commission; it was about establishing and securing an identity within Berlin, which was lost during WWII. Conceptually, Libeskind wanted to express feelings of. absence, emptiness, and invisibility – expressions of disappearance of the Jewish Culture It was the act of using architecture as a means of narrative and emotion providing visitors with an experience of the effects of the Holocaust on both the Jewish culture and the city of Berlin.

Museum closed during Nazi rule

1988

Libeskind was chosen as the winner among everal other internationally renowned architects

Jewish cultural group vowed to reopen the museum attempting to bring a Jewish presence back to Berlin

1975

timeline

1987

Berlin govt. organized anonymous competition for expansion of the Museum

Libeskind’s Jewish Museum is an emotional journey through history. The architecture and the experience are a true testament to Daniel Libeskind’s ability to translate human experience into an architectural composition. his design was the only project that implemented a radical, formal design as a conceptually expressive tool to represent the Jewish lifestyle before, during, and after the Holocaust.

Libeskind’s addition to the Jewish Museum finally opened

“The Jewish Museum is conceived as an emblem in which the Invisible and the Visible are the structural features which have been gathered in this space of Berlin and laid bare in an architecture where the unnamed remains the name which keeps still.” - Daniel Libeskind

2001 1999

Libeskind’s addition to the Jewish Museum completed

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space

For Libeskind, the extension to the Jewish Museum was interpretation at the Beatles’ Ashram in Rishikesh much more than a competition/commission; it was about establishing and securing an identity within Berlin,

Name : Parag Kashyap Roll No : 39

4.0 References: Jewish Museum It is a symbolic gesture by Libeskind for visitors to experience what the Jewish people during WWII felt, such that even in the darkest moments where you feel like you will never escape, a small trace of light restores hope. One of the most emotional and powerful spaces in the building is a 66’ tall void that runs through the entire building.

The interior is composed of reinforced concrete which reinforces the moments of the empty spaces and dead ends where only a sliver of light is entering the space.

Libeskind creates a promenade that follows the “zig-zag” formation of the building for visitors to walk through and experience the spaces within. Libeskind’s formulated promenade leads people through galleries, empty spaces, and dead ends

A significant portion of the extension is void of windows and difference in materiality.

The concrete walls add a cold, overwhelming atmosphere to the space where the only light emanates from a small slit at the top of the space.

The overbearing pillars make one lost and confused, but once looking up to an open sky there is a moment of exaltation.

Libeskind’s extension leads out into the Garden of Exile where once again the visitors feel lost among 49 tall concrete pillars that are covered with plants.

The ground is covered in 10,000 coarse iron faces. A symbol of those lost during the Holocaust; the building is less of a museum but an experience depicting what most cannot understand.

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

The form is established through a process of connecting lines between locations of historical events that provide structure for the building resulting in a literal extrusion of those lines into a “zig-zag” building form.

Even though Libeskind’s extenstion appears as its own separate building, there is no formal exterior entrance to the building. In order to enter the new museum extension one must enter from the original Baroque museum in an underground corridor. The three routes present opportunities to witness the Jewish experience through the continuity with German history, emigration from Germany, and the Holocaust.

Name : Parag Kashyap Roll No : 39

The project begins to take its form from an abstracted Jewish Star of David that is stretched around the site and its context. A visitor must endure the anxiety of hiding and losing the sense of direction before coming to a cross roads of three routes.

4.0 References: Indian Music Experience

䤀渀搀椀愀渀䴀甀猀椀挀䔀砀瀀攀爀椀攀渀挀攀Ⰰ 䈀愀渀最愀氀漀爀攀

匀漀甀渀搀䜀愀爀搀攀渀䘀漀爀攀砀瀀攀爀椀攀渀挀椀渀最洀甀猀椀挀椀渀渀愀琀甀爀攀愀渀搀挀攀氀攀戀爀愀琀ⴀ 椀渀最琀栀攀攀砀瀀攀爀椀攀渀挀攀漀昀昀椀渀搀椀渀最爀栀礀琀栀洀愀渀搀栀愀爀ⴀ 洀漀渀椀漀甀猀猀漀甀渀搀猀挀漀ⴀ攀砀椀猀琀椀渀最愀爀漀甀渀搀甀猀⸀

䜀愀氀氀攀爀礀漀昀䐀椀瘀攀爀猀椀琀礀漀昀䤀渀搀椀愀渀䴀甀猀椀挀

䄀渀椀渀琀攀爀愀挀琀椀瘀攀洀甀猀甀攀洀戀礀䄀爀挀栀椀琀攀挀琀甀爀攀倀愀爀愀搀椀最洀䘀漀爀攀砀瀀攀爀椀攀渀挀椀渀最䤀渀搀椀愀渀䴀甀猀椀挀椀渀愀渀愀爀挀栀椀琀攀挀琀甀爀愀氀匀瀀愀挀攀愀渀搀氀攀愀爀渀椀渀最愀渀搀攀渀樀漀礀椀渀最洀甀猀椀挀愀猀愀渀愀挀琀椀瘀攀攀砀瀀攀爀椀攀渀挀攀椀渀漀甀爀搀愀椀氀礀氀椀昀攀琀栀爀漀甀最栀漀甀琀琀栀攀栀椀猀琀漀爀礀漀昀䤀渀搀椀愀⸀

䤀渀猀琀爀甀洀攀渀琀䜀愀氀氀攀爀礀

䤀渀昀漀爀洀愀琀椀漀渀吀栀攀愀琀爀攀

䴀甀猀椀挀吀栀爀漀甀最栀琀栀攀䘀爀攀攀搀漀洀匀琀爀甀最最氀攀

䤀渀琀攀爀愀挀琀椀瘀攀䴀甀猀椀挀䔀砀栀椀戀椀琀猀

匀琀漀爀椀攀猀琀栀爀漀甀最栀䴀甀猀椀挀琀栀爀漀甀最栀漀甀琀䤀渀搀椀愀渀䘀椀氀洀䤀渀搀甀猀琀爀礀䔀砀栀椀戀椀琀倀愀爀愀最䬀愀猀栀礀愀瀀㌀㤀䄀爀挀栀椀琀攀挀琀甀爀愀氀吀栀攀猀椀猀刀攀昀攀爀攀渀挀攀匀栀攀攀琀猀

䌀攀氀攀戀爀愀琀椀渀最倀椀漀渀攀攀爀猀椀渀䴀甀猀椀挀

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.1 References: Sanskriti Kendra

The museum complex is spread over a large campus with pretty buildings and lovely lawns. The Sanskriti Kendra rarely sees many footfalls, except perhaps on weekends, exhibitions, or during workshops. Yet it houses three well stocked museums: the Museum of Everyday Art, Museum of Indian Terracotta, and the Museum of Textiles that integrate the modern with the traditional, by preserving and displaying our indigenous culture, art, workmanship, different cultural practices, and their functionalities in our daily lives.

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.2 Data Collection Introduction to the Beatles:

Beatles Through the Years

The Beatles were an English rock band formed in Liverpool in 1960. With a line-up comprising John Lennon, Paul McCartney, George Harrison and Ringo Starr, they are regarded as the most influential band of all time. The group were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock and roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the group revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements.

The Beatles are the best-selling music act of all time, with certified sales of over 183 million units in the US and estimated sales of 600 million units worldwide. They hold the record for most number-one albums on the UK Albums Chart, most number-one hits on the Billboard Hot 100 chart, and most singles sold in the UK. The group were inducted into the Rock and Roll Hall of Fame in 1988, and all four main members were inducted individually between 1994 and 2015. In 2008, the group topped Billboard's list of the all-time most successful artists on the Billboard Hot 100. The band have received seven Grammy Awards, four Brit Awards, an Academy Award (for Best Original Song Score for the 1970 film Let It Be) and fifteen Ivor Novello Awards. Time named them among the 20th century's 100 most important people.

Musical Style: Led by primary songwriters Lennon and McCartney, the Beatles built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act and producer George Martin guided and developed their recordings, greatly expanding their domestic success after their first hit, "Love Me Do", in late 1962. As their popularity grew into the intense fan frenzy dubbed "Beatlemania", the band acquired the nickname "the Fab Four", with Epstein, Martin and other members of the band's entourage sometimes given the informal title of "fifth Beatle". By early 1964, the Beatles were international stars, leading the "British Invasion" of the United States pop market and breaking numerous sales records. They soon made their film debut with A Hard Day's Night (1964). From 1965 onwards, they produced increasingly innovative recordings, including the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967), and enjoyed further commercial success with The Beatles (also known as "the White Album", 1968) and Abbey Road (1969). In 1968, they founded Apple Corps, a multi-armed multimedia corporation that continues to oversee projects related to the band's legacy. After the group's break-up in 1970, all four members enjoyed success as solo artists. Lennon was shot and killed in December 1980, and Harrison died of lung cancer in November 2001. McCartney and Starr remain musically active.

In Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever, Scott Schinder and Andy Schwartz describe the Beatles' musical evolution:

"In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts. Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R&B, the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The band's increasingly sophisticated experimentation encompassed a variety of genres, including folk-rock, country, psychedelia, and baroque pop, without sacrificing the effortless mass appeal of their early work.[369]" In The Beatles as Musicians, Walter Everett describes Lennon and McCartney's contrasting motivations and approaches to composition: "McCartney may be said to have constantly developed – as a means to entertain – a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility."[370] Ian MacDonald describes McCartney as "a natural melodist – a creator of tunes capable of existing apart from their harmony". His melody lines are characterised as primarily "vertical", employing wide, consonant intervals which express his "extrovert energy and optimism". Conversely, Lennon's "sedentary, ironic personality" is reflected in a "horizontal" approach featuring minimal, dissonant intervals and repetitive melodies which rely on their harmonic accompaniment for interest: "Basically a realist, he instinctively kept his melodies close to the rhythms and cadences of speech, colouring his lyrics with bluesy tone and harmony rather than creating tunes that made striking shapes of their own."[371] MacDonald praises Harrison's lead guitar work for the role his "characterful lines and textural colourings" play in supporting Lennon and McCartney's parts, and describes Starr as "the father of modern pop/rock drumming".[372]

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.2 Data Collection Influences: The band's earliest influences include Elvis Presley, Carl Perkins, Little Richard and Chuck Berry.[373] During the Beatles' co-residency with Little Richard at the Star-Club in Hamburg, from April to May 1962, he advised them on the proper technique for performing his songs.[374] Of Presley, Lennon said, "Nothing really affected me until I heard Elvis. If there hadn't been Elvis, there would not have been the Beatles."[375] Other early influences include Buddy Holly, Eddie Cochran, Roy Orbison[376] and the Everly Brothers.[377] The Beatles continued to absorb influences long after their initial success, often finding new musical and lyrical avenues by listening to their contemporaries, including Bob Dylan, the Who, Frank Zappa, the Lovin' Spoonful, the Byrds and the Beach Boys, whose 1966 album Pet Sounds amazed and inspired McCartney.[378][379][380][381] Referring to the Beach Boys' creative leader, Martin later stated: "No one made a greater impact on the Beatles than Brian [Wilson]."[382] Ravi Shankar, with whom Harrison studied for six weeks in India in late 1966, had a significant effect on his musical development during the band's later years.

The band's stylistic range expanded in another direction with their 1966 B-side "Rain", described by Martin Strong as "the first overtly psychedelic Beatles record".[390] Other psychedelic numbers followed, such as "Tomorrow Never Knows" (recorded before "Rain"), "Strawberry Fields Forever", "Lucy in the Sky with Diamonds" and "I Am the Walrus". The influence of Indian classical music was evident in Harrison's "The Inner Light", "Love You To" and "Within You Without You" – Gould describes the latter two as attempts "to replicate the raga form in miniature".[391] Innovation was the most striking feature of their creative evolution, according to music historian and pianist Michael Campbell: "'A Day in the Life' encapsulates the art and achievement of the Beatles as well as any single track can. It highlights key features of their music: the sound imagination, the persistence of tuneful melody, and the close coordination between words and music. It represents a new category of song – more sophisticated than pop ... and uniquely innovative. There literally had never before been a song – classical or vernacular – that had blended so many disparate elements so imaginatively."[392] Philosophy professor Bruce Ellis Benson agrees: "the Beatles ... give us a wonderful example of how such far-ranging influences as Celtic music, rhythm and blues, and country and western could be put together in a new way."[393]

Chuck Barry

Elvis Presley

Author Dominic Pedler describes the way they crossed musical styles: "Far from moving sequentially from one genre to another (as is sometimes conveniently suggested) the group maintained in parallel their mastery of the traditional, catchy chart hit while simultaneously forging rock and dabbling with a wide range of peripheral influences from country to vaudeville. One of these threads was their take on folk music, which would form such essential groundwork for their later collisions with Indian music and philosophy."[394] As the personal relationships between the band members grew increasingly strained, their individual tastes became more apparent. The minimalistic cover artwork for the White Album contrasted with the complexity and diversity of its music, which encompassed Lennon's "Revolution 9" (whose musique concrète approach was influenced by Yoko Ono), Starr's country song "Don't Pass Me By", Harrison's rock ballad "While My Guitar Gently Weeps", and the "proto-metal roar" of McCartney's "Helter Skelter".[395]

Genres: Originating as a skiffle group, the Beatles quickly embraced 1950s rock and roll and helped pioneer the Merseybeat genre,[384] and their repertoire ultimately expanded to include a broad variety of pop music.[385] Reflecting the range of styles they explored, Lennon said of Beatles for Sale, "You could call our new one a Beatles country-andwestern LP",[386] while Gould credits Rubber Soul as "the instrument by which legions of folk-music enthusiasts were coaxed into the camp of pop".[387] Two electric guitars, a light brown violin-shaped bass and a darker brown guitar resting against a Vox amplifier A Höfner "violin" bass guitar and Gretsch Country Gentleman guitar, models played by McCartney and Harrison, respectively; the Vox AC30 amplifier behind them is the model the Beatles used during performances in the early 1960s. Although the 1965 song "Yesterday" was not the first pop record to employ orchestral strings, it marked the group's first recorded use of classical music elements. Gould observes: "The more traditional sound of strings allowed for a fresh appreciation of their talent as composers by listeners who were otherwise allergic to the din of drums and electric guitars."[388] They continued to experiment with string arrangements to various effect; Sgt. Pepper's "She's Leaving Home", for instance, is "cast in the mold of a sentimental Victorian ballad", Gould writes, "its words and music filled with the clichés of musical melodrama".[389]

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.2 Data Collection In the studio: Making innovative use of technology while expanding the possibilities of recorded music, the Beatles urged experimentation by Martin and his recording engineers. Seeking ways to put chance occurrences to creative use, accidental guitar feedback, a resonating glass bottle, a tape loaded the wrong way round so that it played backwards – any of these might be incorporated into their music.[404] Their desire to create new sounds on every new recording, combined with Martin's arranging abilities and the studio expertise of EMI staff engineers Norman Smith, Ken Townsend and Geoff Emerick, all contributed significantly to their records from Rubber Soul and, especially, Revolver onwards.[404] Along with innovative studio techniques such as sound effects, unconventional microphone placements, tape loops, double tracking and vari-speed recording, the Beatles augmented their songs with instruments that were unconventional in rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar in "Norwegian Wood" and the swarmandal in "Strawberry Fields Forever".[405] They also used novel electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the "Strawberry Fields Forever" intro,[406] and the clavioline, an electronic keyboard that created the unusual oboe-like sound on "Baby, You're a Rich Man".[407]

Beatles experimenting together in the studio where maximum of their later half of the music was produced

Legacy:

A monument of the English rock band the Beatles in Almaty, Kazakhstan The Beatles Monument in Almaty, Kazakhstan Former Rolling Stone associate editor Robert Greenfield compared the Beatles to Picasso, as "artists who broke through the constraints of their time period to come up with something that was unique and original ... [I]n the form of popular music, no one will ever be more revolutionary, more creative and more distinctive ..."[349] The British poet Philip Larkin described their work as "an enchanting and intoxicating hybrid of Negro rock-and-roll with their own adolescent romanticism", and "the first advance in popular music since the War".[408]

Elvis Presley had shown us how rebellion could be fashioned into eye-opening style; the Beatles were showing us how style could have the impact of cultural revelation – or at least how a pop vision might be forged into an unimpeachable consensus.[98]

Their musical innovations and commercial success inspired musicians worldwide.[410] Many artists have acknowledged the Beatles' influence and enjoyed chart success with covers of their songs.[413] On radio, their arrival marked the beginning of a new era; in 1968 the programme director of New York's WABC radio station forbade his DJs from playing any "pre-Beatles" music, marking the defining line of what would be considered oldies on American radio.[414] They helped to redefine the album as something more than just a few hits padded out with "filler",[415] and they were primary innovators of the modern music video.[416] The Shea Stadium show with which they opened their 1965 North American tour attracted an estimated 55,600 people,[142] then the largest audience in concert history; Spitz describes the event as a "major breakthrough ... a giant step toward reshaping the concert business".[417] Emulation of their clothing and especially their hairstyles, which became a mark of rebellion, had a global impact on fashion.[100] According to Gould, the Beatles changed the way people listened to popular music and experienced its role in their lives. From what began as the Beatlemania fad, the group's popularity grew into what was seen as an embodiment of sociocultural movements of the decade. As icons of the 1960s counterculture, Gould continues, they became a catalyst for bohemianism and activism in various social and political arenas, fuelling movements such as women's liberation, gay liberation and environmentalism.[418] According to Peter Lavezzoli, after the "more popular than Jesus" controversy in 1966, the Beatles felt considerable pressure to say the right things and "began a concerted effort to spread a message of wisdom and higher consciousness".[167] Other commentators such as Mikal Gilmore and Todd Leopold have traced the inception of their socio-cultural impact earlier, interpreting even the Beatlemania period, particularly on their first visit to the United States, as a key moment in the development of generational awareness.[98][419] Referring to their appearance on the Ed Sullivan Show Leopold states: "In many ways, the Sullivan appearance marked the beginning of a cultural revolution ... The Beatles were like aliens dropped into the United States of 1964.

They not only sparked the British Invasion of the United States,[409] they became a globally influential phenomenon as well.[410] From the 1920s, the United States had dominated popular entertainment culture throughout much of the world, via Hollywood films, jazz, the music of Broadway and Tin Pan Alley and, later, the rock and roll that first emerged in Memphis, Tennessee.[334] The Beatles are regarded as British cultural icons, with young adults from abroad naming the band among a group of people that they most associated with UK culture.[411][412] United States, as a key moment in the development of generational awareness.[98][419] Referring to their appearance on the Ed Sullivan Show Leopold states: "In many ways, the Sullivan appearance marked the beginning of a cultural revolution ... The Beatles were like aliens dropped into the United States of 1964."[419] According to Gilmore:

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.2 The Beatles

夀漀甀琀栀挀攀渀琀攀爀攀搀挀漀渀猀甀洀攀爀挀甀氀琀甀爀攀攀洀攀爀最椀渀最椀渀琀栀攀㘀猀椀渀琀栀攀眀漀爀氀搀

嘀漀挀愀氀焀甀愀氀椀琀椀攀猀漀昀最椀爀氀最爀漀甀瀀猀椀渀琀栀攀㔀猀䈀氀甀渀琀刀漀挀欀

䌀漀洀洀攀爀挀椀愀氀䈀甀琀䄀瘀愀渀琀ⴀ最愀爀搀攀愀渀搀攀砀瀀攀爀椀洀攀渀琀愀氀伀瀀攀渀攀搀甀瀀瀀攀漀瀀氀攀ᤠ猀洀椀渀搀猀䴀愀搀攀瀀攀漀瀀氀攀猀瀀攀愀欀甀瀀漀渀椀猀猀甀攀猀漀渀琀栀攀琀椀洀攀䤀渀猀瀀椀爀愀琀椀漀渀愀氀⼀䤀渀昀氀甀攀渀琀椀愀氀椀渀琀栀愀琀眀愀礀倀漀氀椀琀椀挀愀氀琀栀爀攀愀琀夀漀甀渀最瀀攀漀瀀氀攀搀攀琀攀爀洀椀渀椀渀最攀瘀攀爀礀琀栀椀渀最攀洀攀爀最椀渀最䰀攀愀搀攀爀猀漀昀挀漀甀渀琀攀爀挀甀氀琀甀爀攀

䘀爀攀猀栀倀漀猀椀琀椀瘀攀唀瀀氀椀昀琀椀渀最䴀漀搀攀爀渀昀攀攀氀漀昀 ᠠ倀氀攀愀猀攀倀氀攀愀猀攀䴀攀ᤠ

䈀攀愀琀氀攀猀最爀漀眀椀渀最琀椀爀攀搀漀昀愀氀氀琀栀攀昀愀洀攀愀渀搀䈀攀愀琀氀攀洀愀渀椀愀猀攀攀欀椀渀最愀瀀攀愀挀攀昀甀氀氀椀昀攀

一漀漀琀栀攀爀愀爀琀椀猀琀挀漀甀氀搀瀀爀漀瘀椀搀攀猀甀挀栀愀爀攀昀爀攀猀栀椀渀最漀爀椀最椀渀愀氀瘀漀椀挀攀 ⬀ 挀漀洀瀀漀猀椀琀椀漀渀猀

䈀攀愀琀氀攀猀眀椀琀栀琀栀攀礀漀甀渀最倀爀椀洀攀䴀椀渀椀猀琀攀爀猀琀愀爀琀椀渀最漀昀昀愀渀攀眀洀愀渀渀攀爀漀昀攀猀琀愀戀氀椀猀栀洀攀渀琀椀渀䔀渀最氀愀渀搀

䈀爀礀愀渀䔀瀀猀琀攀椀渀ᤠ猀氀漀漀欀昀漀爀愀挀挀攀瀀琀愀渀挀攀戀礀攀瘀攀爀礀戀漀搀礀

倀愀甀氀眀愀猀挀甀氀琀甀爀愀氀氀礀愀眀愀爀攀愀渀搀眀椀猀栀攀搀琀漀攀砀瀀攀爀椀洀攀渀琀眀椀琀栀琀栀攀愀瘀愀渀琀ⴀ最愀爀搀攀愀爀琀椀猀琀猀栀攀洀攀琀吀栀攀漀琀栀攀爀㌀洀漀瘀攀搀琀漀猀甀戀甀爀戀猀愀渀搀眀攀爀攀氀愀椀搀戀愀挀欀

䈀攀愀琀氀攀猀ᤠ 䘀椀爀猀琀昀甀氀氀氀攀渀最琀栀昀攀愀琀甀爀攀昀椀氀洀眀愀猀甀渀氀椀欀攀愀渀礀琀栀椀渀最琀栀愀琀瀀爀攀挀攀攀搀攀搀椀琀⸀

䄀最攀渀琀猀漀昀䌀栀愀渀最攀䌀漀氀漀甀爀猀猀琀愀爀琀攀搀琀漀攀洀攀爀最攀䘀爀攀猀栀渀攀猀猀琀漀攀瘀攀爀礀琀栀椀渀最刀攀椀渀瘀攀渀琀攀搀昀愀猀栀椀漀渀

倀氀愀礀攀搀琀栀攀洀ⴀ 倀氀猀攀氀瘀攀猀Ⰰ 戀爀攀愀欀椀渀最爀甀氀攀猀Ⰰ 甀渀攀砀瀀攀挀琀攀搀䌀漀洀瀀漀猀椀ⴀ 琀椀漀渀愀氀氀愀戀

䤀渀昀氀甀攀渀挀攀椀渀琀栀攀瀀漀猀琀ⴀ眀愀爀眀漀爀氀搀䐀椀爀⸀ 戀礀刀椀挀栀愀爀搀䰀攀猀琀攀爀

唀猀椀渀最䄀戀戀攀礀刀漀愀搀爀攀挀漀爀搀椀渀最猀琀甀搀椀漀琀漀攀砀瀀攀爀椀洀攀渀琀搀攀攀瀀氀礀

䈀䔀䄀吀䰀䔀䴀䄀一䤀䄀吀䄀䬀䤀一䜀伀嘀䔀刀䤀一㄀㤀㘀匀

吀爀椀攀猀琀漀攀砀瀀氀漀爀攀琀栀攀氀愀猀琀椀渀最椀洀瀀愀挀琀漀昀㐀洀甀猀椀挀椀愀渀猀昀爀漀洀䰀椀瘀攀爀瀀漀漀氀昀爀漀洀挀氀愀猀猀眀愀爀爀椀漀爀猀琀漀挀甀氀琀甀爀愀氀爀攀瘀漀氀甀琀椀漀渀愀爀椀攀猀眀栀椀氀攀瀀爀漀瘀椀搀椀渀最琀栀攀猀漀甀渀搀琀爀愀挀欀昀漀爀愀最攀渀攀爀愀琀椀漀渀⸀

吀爀攀愀琀椀渀最爀攀挀漀爀搀愀氀戀甀洀氀椀欀攀愀眀漀爀欀漀昀愀爀琀琀漀挀爀攀愀琀攀猀漀洀攀琀栀椀渀最眀漀爀琀栀ⴀ 眀栀椀氀攀

吀栀攀椀爀洀甀猀椀挀琀栀愀琀猀瀀漀欀攀琀漀䄀洀攀爀椀挀愀眀愀猀氀椀欀攀瀀愀椀渀琀椀渀最眀椀琀栀戀爀漀愀搀猀琀爀漀欀攀猀䤀渀昀漀爀洀愀氀栀甀洀漀甀爀

匀琀甀搀礀漀昀琀栀攀椀爀䌀甀氀琀甀爀愀氀Ⰰ 猀漀挀椀愀氀Ⰰ 瀀漀氀椀琀椀挀愀氀Ⰰ 栀甀洀愀渀椀琀愀爀椀愀渀椀洀瀀愀挀琀漀渀琀栀攀眀漀爀氀搀

刀攀搀攀昀椀渀椀渀最瀀漀瀀猀漀渀最猀愀猀愀爀琀椀猀琀猀䈀攀愀琀氀攀猀昀愀猀挀椀渀愀琀椀漀渀眀椀琀栀琀栀攀瀀猀礀挀栀攀搀攀氀椀挀攀砀瀀攀爀椀攀渀挀攀最爀攀眀

䌀漀渀昀椀搀攀渀琀Ⰰ 昀甀渀Ⰰ 瀀漀眀攀爀昀甀氀愀渀搀樀甀猀琀昀椀氀氀攀搀眀椀琀栀爀愀眀愀搀漀氀攀猀挀攀渀琀攀渀攀爀最礀

倀愀甀氀䴀挀挀愀爀琀渀攀礀

䐀甀攀琀漀吀椀洀漀琀栀礀䰀攀愀爀礀

匀栀攀攀瀀椀猀栀椀渀渀漀挀攀渀挀攀眀椀琀栀眀栀椀挀栀䨀漀栀渀琀攀愀猀攀搀爀漀礀愀氀琀礀

䴀愀搀攀愀氀氀漀琀栀攀爀昀愀洀漀甀猀戀愀渀搀猀瀀漀猀猀椀戀氀攀倀爀攀猀猀䌀漀瘀攀爀愀最攀

嘀漀椀挀攀漀昀琀栀攀眀漀爀欀椀渀最挀氀愀猀猀

䨀漀栀渀䰀攀渀渀漀渀 ⴀ 吀栀攀䄀渀最爀礀夀漀甀琀栀

䈀攀琀琀攀爀攀搀甀挀愀琀椀漀渀琀栀愀渀瀀愀爀攀渀琀猀

圀攀渀琀琀漀䄀爀琀匀挀栀漀漀氀唀渀挀漀渀瘀攀渀琀椀漀渀愀氀爀攀戀攀氀䔀砀瀀漀猀攀搀琀漀椀渀琀攀氀氀攀挀琀甀愀氀爀愀搀椀挀愀氀椀猀洀䄀最愀椀渀猀琀攀猀琀愀戀氀椀猀栀洀攀渀琀吀栀漀甀最栀琀昀甀氀瘀漀椀挀攀漀昀攀砀ⴀ 瀀爀攀猀猀椀漀渀

㔀猀刀漀挀欀 ☀ 刀漀氀氀㨀愀戀漀甀琀琀栀攀礀漀甀琀栀昀椀渀搀椀渀最琀栀攀椀爀漀眀渀瘀漀椀挀攀愀猀琀栀攀礀攀愀爀渀攀搀愀渀搀猀攀渀猀攀漀昀椀渀搀椀昀昀攀爀攀渀挀攀⸀ 吀栀攀瀀漀猀琀眀愀爀䈀爀椀琀ⴀ 愀椀渀琀栀愀琀琀栀攀䈀攀愀琀氀攀猀漀爀椀最椀渀愀琀攀搀昀爀漀洀猀琀爀甀最最氀攀搀昀爀漀洀爀攀ⴀ 搀攀瘀攀氀漀瀀洀攀渀琀⸀ 䄀搀椀爀攀瀀氀愀挀攀琀漀氀椀瘀攀椀渀⸀

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.3 The Beatles' cultural significance Cultural Significance of the Beatles' Music: hey sparked the "Beatlemania" phenomenon in 1963, gained international stardom in 1964, and remained active until their break-up in 1970. Over the latter half of the decade, they were often viewed as orchestrators of society's developments. Their recognition concerns their effect on the era's youth and counterculture, British identity, popular music's evolution into an art form, and their unprecedented following. Many cultural movements of the 1960s were assisted or inspired by the Beatles. In Britain, their rise to national prominence signalled the youth-driven changes in postwar society, with respect to social mobility, teenagers' commercial influence, and informality. They spearheaded the shift from American artists' global dominance of rock and roll to British acts (known in the US as the British Invasion) and inspired many young people to pursue music careers. From 1964 to 1970, the group had the top-selling US single one out of every six weeks, and the top-selling US album one out of every three weeks. In 1965, they were awarded MBEs, the first time such an honour was bestowed on a British pop act. A year later, Lennon controversially remarked that the band were "more popular than Jesus now". The Beatles often incorporated classical elements, traditional pop forms and unconventional recording techniques in innovative ways, especially with the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967). Many of their advances in production, writing, and artistic presentation were soon widespread. Other cultural changes initiated by the group include the elevation of the album to become the dominant form of record consumption over singles, a wider interest in psychedelic drugs and Eastern spirituality, and several fashion trends. The band also pioneered with their record sleeves and music videos, as well as informed music styles such as jangle, folk rock, power pop, psychedelia, progressive rock and heavy metal. By the end of the decade, the group were seen as an embodiment of the era's sociocultural movements, exemplified by the sentiment of their 1967 song "All You Need Is Love". Over the 1960s as a whole, the Beatles were the dominant youth-centred pop a ct on the sales charts. They broke numerous sales and attendance records, many of which they have or had maintained for decades, and continue to enjoy a canonized status unprecedented for popular musicians. Their songs are among the most recorded in history, with cover versions of "Yesterday" exceeding in the thousands. As of 2009, they were the best-selling band in history, with estimated sales of over 600 million records worldwide.[1][2] Time included them in its list of the twentieth century's 100 most important people.

Beatlemania: In late 1963, the British press coined the term "Beatlemania" to describe the phenomenal and increasingly hysterical interest in the Beatles.[83] The word was first widely used following the band's 13 October appearance on Sunday Night at the London Palladium; amid reports of wild crowd scenes outside the venue, and after 15 million viewers watched the broadcast, Britain was said to be "in the grip of Beatlemania".[84] The "yeah, yeah, yeah!" refrain of "She Loves You" was a signature hook for their European audiences. Its falsetto "ooh!"s elicited further fan delirium when accompanied by McCartney and Harrison's exaggerated shaking of their moptop hair. [85] Once it became an international phenomenon in 1964, Beatlemania surpassed in its intensity and reach any previous examples of fan worship, including those afforded Presley and Frank Sinatra.[86] Displays of mania were repeated wherever the band played.[87] When the group toured Australia in June 1964, the population afforded the visit the status of a national event.[88] A crowd of 300,000 – the largest recorded gathering of Australians in one place – welcomed the Beatles to Adelaide.[89] Sid Bernstein, the US promoter who arranged the band's Shea Stadium concerts, said that only Adolf Hitler had had such power over the masses. [nb 4] Bernstein was sure that the group "could sway a presidential election if they wanted to".[91] Around 4000 fans gathered outside Buckingham Palace in central London when the Beatles received their MBEs from the Queen.[92] As the crowd chanted "God save the Beatles"[67] and "Yeah, yeah, yeah!", some fans jostled with police officers and scaled the palace gates.[92] Referring to this spectacle, journalist Robert Sandall later commented that "Never had a ruling monarch been so thoroughly upstaged by a group of her subjects as was Elizabeth II on [26 October 1965]."[67] The Beatles became bored with all aspects of touring – including fans offering themselves sexually to the band, and the high-pitched screaming that rendered their performances inaudible.[93] Beatlemania continued on a reduced scale after the band retired from touring, and after the members became solo artists.[94] In their book Encyclopedia of Classic Rock, David Luhrssen and Michael Larson write that while boy bands such as One Direction have continued to attract audiences of screaming girls, no act has "moved pop culture forward or achieved the breadth and depth of the Beatles' fandom".[95]

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

4.4 Interviews + Questionnaire

Interviews taken for studying impact of Beatles: In his biographical article on the Beatles for AllMusic, Richie Unterberger states, "Their supremacy as rock icons remains unchallenged to this day, decades after their breakup in 1970."[5] Writing in 2009, Gary Burns commented that the Beatles continue to "enjoy a canonized status" unprecedented for popular musicians and that they are "canonical figures" in each of the three categories within the rock canon: sociological, literary and musicological.[606] He identifies them as a key influence in the foundation of hundreds of organisations and publications dedicated to serious appreciation of rock music, including the Rock and Roll Hall of Fame, Cambridge University Press's journal Popular Music, the International Association for the Study of Popular Music, and the University of Liverpool's Institute of Popular Music.[607][nb 32] Hundreds of books have been written about the Beatles' career. Jonathan Gould says that the band "represent a bibliographical phenomenon as well as a musical one", with the group's history having become a folk tale that "has been put to many different uses by its many different narrators".[610] He comments that the range and variety of literature is "all the more remarkable considering that, prior to the Beatles, not a single significant book had been written on the subject of rock 'n' roll".[611] Burns states that the quality and preponderance of "scholarly, quasi-scholarly, journalistic, and fan attention" given to the band far surpasses that given to Bob Dylan, the Rolling Stones and the Beach Boys.[612] In her book The Rock Canon, Carys Wyn Jones affords them an elevated status akin to Shakespeare's position of eminence in Harold Bloom's canon of Western literature.[613] Since the early 2000s, historian Mark Lewisohn has been writing The Beatles: All These Years, a three-part set of Beatles biographies whose first volume exceeds 1,700 pages. The impetus for the project was his disappointment that none of the group's biographies had approached a depth or breadth comparable to Robert A. Caro's The Years of Lyndon Johnson.[614] Relevant scholarly studies range from discussions of the band's history and cultural impact to musicological work on such subjects as chord progressions, melody and automated analysis. In 2014, Thomson Reuters analyst and ScienceWatch editor Christopher King investigated 12,000 journals and books and found that 500 mentioned the Beatles in their topics or titles.[615][nb 33] A 2017 study of AllMusic's catalogue indicated the band as the most frequently cited artist influence in its database. Out of the 2000 artists selected for the study, 1230 were stated to be influenced by the Beatles, ahead of Dylan, with 669.[617] In 2019, a scientific study involving over 80,000 different chord progressions and conducted by the Max Planck Institute in Germany indicated "Ob-La-Di, Ob-La-Da" as "the perfect pop song" based on how enjoyable recipients found its chord changes.[618][nb 34]

21st century relevance:

Fans recreating the cover of Abbey Road, one of the most famous and imitated album covers in history[619] The Beatles continue to be viewed as representing the ideals of the 1960s.[620] In Inglis's description, "their voices and faces were the most recognized symbols of the 'swinging sixties' and they became – and remain – the iconic images of the decade."[78] In 2009, Global Beatles Day was founded as an international celebration of the band's music and social message.[621] The event takes place on 25 June each year in memory of the Our World performance of "All You Need Is Love".[621][622] In the 2000s, Presley was the only other defunct musical act to generate as much continued news and interest as the Beatles.[623] His mass appeal curtailed significantly by the end of the 2010s, while the Beatles' popularity has endured with younger generations.[624] The amount of Google searches for "Beatles" spiked by 48.59% in 2019, relative to the previous four years. That same year, the Beatles' music was streamed on Spotify 1.7 billion times; 30% of listeners were between the ages of 18 and 24, followed by 25- to 29-year-olds, at 17%. In other words, almost half of listeners were aged under 30.[624] Writing in The New York Times Magazine in 2016, cultural commentator Chuck Klosterman said that the group were "only slightly less popular now" than they were in the 1960s. He wrote that the group were "arguably" responsible for everything related to rock music, "including the very notion of a band's breaking up", and noted that no other rock group had faced unrelated assassination attempts against half its members. Klosterman concluded that, "In any reasonable world, the Beatles are the answer to the question "Who will be the Sousa of rock?"[625] As of June 2019, "Yesterday" remained one of the most covered songs in the history of recorded music, with over 2,200 versions. According to figures published by Broadcast Music Incorporated (BMI), the song was played over 7 million times on American radio during the 20th century.[626][nb 35] In 2004, the band were the most-represented act in Rolling Stone's list of the 500 Greatest Songs of All Time, with seven out of 23 Beatles songs making the top 30.[628]

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

5.0 Site Study Rishikesh

Rishikesh, also known as Hrishikesh, is a city governed by Rishikesh Municipal Corporation (since October 2017),[1] and a tehsil in Dehradun district of the Indian state Uttarakhand. Located in the foothills of the Himalayas in northern India, it is known as the "Gateway to the Garhwal Himalayas" and "Yoga Capital of the World".[2][3][4] It lies approximately 25 km (16 mi) north of the city Haridwar and 43 km (27 mi) southeast of the state capital Dehradun. According to Census of India, 2011 Rishikesh had a population of 102,138 making it the seventh most populated city in the state of Uttarakhand. It is known as the pilgrimage town and regarded as one of the holiest places to Hindus.[3] Hindu sages and saints have visited Rishikesh since ancient times to meditate in search of higher knowledge.[5] In September 2015, the Union tourism minister Mahesh Sharma announced that Rishikesh and Haridwar will be the first in India to be given the title of "twin national heritage cities".[6] Due to the religious significance of the place, non-vegetarian food and alcohol are strictly prohibited in Rishikesh.[7] The city has hosted the annual International Yoga Festival on the first week of March since 1989.[8][9]

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

5.0 Site Study Rishikesh

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

5.0 Site Study Beatles Ashram

䈀攀愀琀氀攀猀ᤠ 䄀猀栀爀愀洀Ⰰ 䈀攀愀琀氀攀猀ᤠ 䄀猀栀爀愀洀Ⰰ 愀氀猀漀欀渀漀眀渀愀猀䌀栀愀甀爀愀猀椀䬀甀琀椀愀Ⰰ 椀猀愀渀愀猀栀爀愀洀挀氀漀猀攀琀漀琀栀攀渀漀爀琀栀䤀渀搀椀愀渀挀椀琀礀漀昀刀椀猀栀椀欀攀猀栀椀渀琀栀攀猀琀愀琀攀漀昀唀琀琀愀爀愀欀栀愀渀搀⸀

䈀攀愀琀氀攀猀椀渀刀椀猀栀椀欀攀猀栀䈀攀愀琀氀攀猀椀渀刀椀猀栀椀欀攀猀栀㄀㤀㘀㠀㄀㤀㘀㠀

愀氀猀漀欀渀漀眀渀愀猀䌀栀愀甀爀愀猀椀䬀甀琀椀愀Ⰰ 椀猀愀渀愀猀栀爀愀洀挀氀漀猀攀琀漀琀栀攀渀漀爀琀栀䤀渀搀椀愀渀挀椀琀礀漀昀刀椀猀栀椀欀攀猀栀椀渀琀栀攀猀琀愀琀攀漀昀唀琀琀愀爀愀欀栀愀渀搀⸀ 䐀甀爀椀渀最琀栀攀㄀㤀㘀猀愀渀搀㄀㤀㜀猀Ⰰ 愀猀琀栀攀䤀渀琀攀爀渀愀琀椀漀渀愀氀䄀挀愀搀攀洀礀漀昀䴀攀搀椀琀愀琀椀漀渀Ⰰ 椀琀眀愀猀琀栀攀琀爀愀椀渀椀渀最挀攀渀琀爀攀昀漀爀猀琀甀搀攀渀琀猀漀昀䐀甀爀椀渀最琀栀攀㄀㤀㘀猀愀渀搀㄀㤀㜀猀Ⰰ 愀猀琀栀攀䤀渀琀攀爀渀愀琀椀漀渀愀氀䄀挀愀搀攀洀礀漀昀䴀攀搀椀琀愀琀椀漀渀Ⰰ 椀琀眀愀猀琀栀攀琀爀愀椀渀椀渀最挀攀渀琀爀攀昀漀爀猀琀甀搀攀渀琀猀漀昀䴀愀栀愀爀椀猀栀椀䴀愀栀攀猀栀夀漀最椀Ⰰ 眀栀漀搀攀瘀椀猀攀搀琀栀攀吀爀愀渀猀挀攀渀搀攀渀琀愀氀䴀攀搀椀琀愀琀椀漀渀琀攀挀栀渀椀焀甀攀⸀ 䴀愀栀愀爀椀猀栀椀䴀愀栀攀猀栀夀漀最椀Ⰰ 眀栀漀搀攀瘀椀猀攀搀琀栀攀吀爀愀渀猀挀攀渀搀攀渀琀愀氀䴀攀搀椀琀愀琀椀漀渀琀攀挀栀渀椀焀甀攀⸀ 䄀猀栀爀愀洀昀愀氀氀猀椀渀䐀椀氀愀瀀椀琀愀琀攀搀䄀猀栀爀愀洀昀愀氀氀猀椀渀䐀椀氀愀瀀椀琀愀琀攀搀䐀椀氀愀瀀椀搀愀琀椀漀渀䰀攀挀琀甀爀攀䠀愀氀氀猀䐀椀氀愀瀀椀搀愀琀椀漀渀䰀攀挀琀甀爀攀䠀愀氀氀猀䰀攀愀猀攀䔀砀瀀椀爀攀搀䰀攀愀猀攀䔀砀瀀椀爀攀搀㈀㄀㈀㈀㄀㈀

㄀㤀㘀㄀ⴀ㘀㌀㄀㤀㘀㄀ⴀ㘀㌀

㄀㤀㘀㠀

㄀㤀㤀猀㄀㤀㤀猀

㄀㤀㠀㄀㄀㤀㠀㄀

㄀㤀㘀㠀

䴀愀栀愀爀椀猀栀椀氀攀愀猀攀猀猀椀琀攀䴀愀栀愀爀椀猀栀椀氀攀愀猀攀猀猀椀琀攀䈀攀愀琀氀攀猀挀漀洀攀䈀攀愀琀氀攀猀挀漀洀攀昀爀漀洀䘀漀爀攀猀琀愀渀搀䐀攀瀀⸀ 愀渀搀昀爀漀洀䐀攀瀀⸀ 䘀漀爀攀猀琀琀漀䤀渀搀椀愀琀漀䤀渀搀椀愀挀漀渀猀琀爀甀挀琀猀愀猀栀爀愀洀愀猀栀爀愀洀挀漀渀猀琀爀甀挀琀猀

㈀㄀㠀㈀㄀㠀

㈀㄀㔀㈀㄀㔀

㈀㌀㈀㌀

䔀砀栀椀戀椀琀椀漀渀洀愀爀欀ⴀ洀愀爀欀ⴀ 䔀砀栀椀戀椀琀椀漀渀椀渀最㔀椀渀最礀攀愀爀猀漀昀漀昀㔀礀攀愀爀猀䈀攀愀琀氀攀猀ᤠ 愀爀爀椀瘀愀氀愀爀爀椀瘀愀氀椀渀椀渀䈀攀愀琀氀攀猀ᤠ 刀椀猀栀椀欀攀猀栀刀椀猀栀椀欀攀猀栀

匀椀琀攀爀攀瘀攀爀琀攀搀戀愀挀欀戀愀挀欀匀椀琀攀漀昀昀椀挀椀愀氀氀礀匀椀琀攀爀攀瘀攀爀琀攀搀匀椀琀攀漀昀昀椀挀椀愀氀氀礀匀椀琀攀愀戀愀渀搀漀渀攀搀琀漀氀漀挀愀氀䘀漀爀攀猀琀琀漀琀栀攀琀漀琀栀攀匀椀琀攀愀戀愀渀搀漀渀攀搀琀漀氀漀挀愀氀䘀漀爀攀猀琀漀瀀攀渀攀搀漀瀀攀渀攀搀䐀攀瀀愀爀琀洀攀渀琀瀀甀戀氀椀挀䐀攀瀀愀爀琀洀攀渀琀瀀甀戀氀椀挀

䤀渀琀栀攀䤀渀㈀琀栀攀㤀䤀渀搀椀愀渀最攀渀攀爀愀氀攀氀攀挀琀椀漀渀Ⰰ 匀愀琀瀀愀氀匀愀琀瀀愀氀䴀愀栀愀爀愀樀栀愀搀爀愀椀猀攀搀琀栀攀椀洀瀀漀爀ⴀ ㈀㤀䤀渀搀椀愀渀最攀渀攀爀愀氀攀氀攀挀琀椀漀渀Ⰰ 䴀愀栀愀爀愀樀栀愀搀爀愀椀猀攀搀琀栀攀椀洀瀀漀爀ⴀ䠀愀瘀椀渀最漀爀搀攀爀攀搀猀攀瘀攀爀愀氀䤀渀搀椀愀渀椀渀猀琀爀甀洀攀渀琀猀昀漀爀昀漀爀搀攀氀椀瘀攀爀礀昀爀漀洀䐀攀氀栀椀Ⰰ嬀㐀㔀崀䠀愀瘀椀渀最漀爀搀攀爀攀搀猀攀瘀攀爀愀氀䤀渀搀椀愀渀椀渀猀琀爀甀洀攀渀琀猀搀攀氀椀瘀攀爀礀昀爀漀洀䐀攀氀栀椀Ⰰ嬀㐀㔀崀琀愀渀挀攀琀愀渀挀攀漀昀爀攀琀愀椀渀椀渀最 ∀琀栀攀爀椀挀栀漀昀琀栀攀愀渀搀椀渀㄀㌀㈀栀攀㄀㌀栀攀䠀愀爀爀椀猀漀渀漀昀爀攀琀愀椀渀椀渀最 ∀琀栀攀猀瀀椀爀椀琀甀愀氀椀琀礀爀椀挀栀猀瀀椀爀椀琀甀愀氀椀琀礀漀昀愀爀攀愀∀ 琀栀攀愀爀攀愀∀ 愀渀搀㈀椀渀挀漀洀洀愀渀搀攀攀爀攀搀漀渀攀漀渀攀漀昀琀栀攀昀漀爀昀漀爀愀洀甀猀椀挀爀漀漀洀⸀ 䠀攀䠀攀椀渀ⴀ 椀渀ⴀ 䠀愀爀爀椀猀漀渀挀漀洀洀愀渀搀攀攀爀攀搀漀昀戀甀渀最愀氀漀眀猀琀栀攀戀甀渀最愀氀漀眀猀愀洀甀猀椀挀爀漀漀洀⸀ 瘀漀眀攀搀瘀漀眀攀搀琀漀瀀爀攀猀攀爀瘀攀琀栀攀 ∀最氀漀爀椀漀甀猀栀椀猀琀漀爀礀漀昀琀栀攀爀攀瀀爀攀猀攀渀琀攀搀戀礀戀礀瘀椀琀攀搀瘀椀琀攀搀琀漀瀀爀攀猀攀爀瘀攀琀栀攀 ∀最氀漀爀椀漀甀猀栀椀猀琀漀爀礀漀昀䈀攀愀琀氀攀猀∀ 琀栀攀䈀攀愀琀氀攀猀∀ 爀攀瀀爀攀猀攀渀琀攀搀愀氀氀琀栀攀琀漀瀀愀爀琀椀挀椀瀀愀琀攀Ⰰ 愀渀搀愀渀搀洀甀猀椀挀愀氀最攀琀ⴀ琀漀最攀琀栀攀爀猀琀漀漀欀愀氀氀猀琀甀搀攀渀琀猀琀栀攀猀琀甀搀攀渀琀猀琀漀瀀愀爀琀椀挀椀瀀愀琀攀Ⰰ 洀甀猀椀挀愀氀最攀琀ⴀ琀漀最攀琀栀攀爀猀琀漀漀欀䌀栀愀甀爀愀猀椀䬀甀琀椀愀⸀ 䌀栀愀甀爀愀猀椀䬀甀琀椀愀⸀瀀氀愀挀攀瀀氀愀挀攀漀渀琀栀攀漀昀琀栀攀吀栀攀吀栀攀猀琀愀礀猀琀愀礀愀琀琀栀攀愀猀栀爀愀洀琀甀爀渀攀搀漀甀琀漀甀琀琀漀戀攀漀渀爀漀漀昀琀栀攀爀漀漀昀漀昀戀甀椀氀搀椀渀最⸀ 琀栀攀戀甀椀氀搀椀渀最⸀ 愀琀琀栀攀愀猀栀爀愀洀琀甀爀渀攀搀琀漀戀攀

㔀⸀ 嘀攀搀䈀栀愀瘀愀渀䴀攀搀椀琀愀琀椀漀渀䰀攀猀猀漀渀猀䰀攀猀猀漀渀猀㔀⸀ 嘀攀搀昀漀爀䈀栀愀瘀愀渀昀漀爀䴀攀搀椀琀愀琀椀漀渀

琀栀攀䈀攀愀琀氀攀猀✀ 洀漀猀琀洀漀猀琀挀爀攀愀琀椀瘀攀瀀攀爀椀漀搀昀漀爀昀漀爀猀漀渀最眀爀椀琀椀渀最⸀ 䴀愀渀礀漀昀漀昀琀栀攀椀爀渀攀眀渀攀眀琀栀攀䈀攀愀琀氀攀猀✀ 挀爀攀愀琀椀瘀攀瀀攀爀椀漀搀猀漀渀最眀爀椀琀椀渀最⸀ 䴀愀渀礀琀栀攀椀爀椀渀猀瀀椀爀攀搀戀礀渀愀琀甀爀攀爀攀昀氀攀挀琀攀搀猀椀洀瀀氀椀挀椀琀礀猀漀渀最猀猀漀渀最猀眀攀爀攀眀攀爀攀椀渀猀瀀椀爀攀搀戀礀渀愀琀甀爀攀愀渀搀愀渀搀爀攀昀氀攀挀琀攀搀琀栀攀琀栀攀猀椀洀瀀氀椀挀椀琀礀漀昀漀昀琀栀攀琀栀攀猀甀爀ⴀ猀甀爀ⴀ 爀漀甀渀搀椀渀最猀⸀ 䰀攀渀渀漀渀䴀挀䌀愀爀琀渀攀礀攀猀瀀攀挀椀愀氀氀礀瀀爀漀搀甀挀琀椀瘀攀爀漀甀渀搀椀渀最猀⸀ 圀椀琀栀圀椀琀栀䰀攀渀渀漀渀愀渀搀愀渀搀倀愀甀氀倀愀甀氀䴀挀䌀愀爀琀渀攀礀攀猀瀀攀挀椀愀氀氀礀瀀爀漀搀甀挀琀椀瘀攀搀甀爀椀渀最琀栀攀爀攀琀爀攀愀琀Ⰰ 琀栀攀猀漀渀最猀挀漀洀瀀爀椀猀攀搀漀昀琀栀攀戀愀渀搀✀猀㄀㤀㘀㠀搀甀爀椀渀最琀栀攀爀攀琀爀攀愀琀Ⰰ 琀栀攀猀漀渀最猀氀愀琀攀爀氀愀琀攀爀挀漀洀瀀爀椀猀攀搀琀栀攀琀栀攀戀甀氀欀戀甀氀欀漀昀琀栀攀戀愀渀搀✀猀㄀㤀㘀㠀搀漀甀戀氀攀愀氀戀甀洀吀栀攀䈀攀愀琀氀攀猀Ⰰ 愀氀猀漀欀渀漀眀渀愀猀琀栀攀 ∀圀栀椀琀攀䄀氀戀甀洀∀⸀ 搀漀甀戀氀攀愀氀戀甀洀吀栀攀䈀攀愀琀氀攀猀Ⰰ 愀氀猀漀欀渀漀眀渀愀猀琀栀攀 ∀圀栀椀琀攀䄀氀戀甀洀∀⸀

吀漀眀愀爀搀猀䴀愀渀椀欀漀漀琀吀漀眀愀爀搀猀䴀愀渀椀欀漀漀琀䠀椀氀氀䠀椀氀氀㘀⸀ 吀栀攀倀爀椀渀琀椀渀最㘀⸀ 吀栀攀倀爀椀渀琀椀渀最倀爀攀猀猀倀爀攀猀猀䔀渀琀爀愀渀挀攀䜀愀琀攀㐀⸀ 䌀漀洀洀甀渀椀琀礀㄀⸀ 䔀渀琀爀愀渀挀攀㄀⸀䜀愀琀攀㐀⸀ 䌀漀洀洀甀渀椀琀礀䬀椀琀挀栀攀渀䬀椀琀挀栀攀渀伀瀀攀渀䐀椀渀椀渀最眀椀琀栀伀瀀攀渀眀椀琀栀䐀椀渀椀渀最

㄀

㐀

㈀⸀ 䴀攀搀椀琀愀琀椀漀渀倀漀搀猀㈀⸀ 䴀攀搀椀琀愀琀椀漀渀倀漀搀猀

㐀

㤀⸀ 䈀甀渀最愀氀漀眀猀琀漀㤀⸀ 䈀甀渀最愀氀漀眀猀琀漀愀挀挀漀洀漀搀愀琀攀愀挀挀漀洀漀搀愀琀攀琀爀愀椀渀攀攀猀琀爀愀椀渀攀攀猀

㘀

㈀

㌀

匀椀琀攀䄀爀攀愀㨀㔀㜀Ⰰ 匀椀琀攀䄀爀攀愀㨀㔀㜀Ⰰ 猀焀⸀洀

㜀

㐀㘀洀䌀氀椀昀昀

㜀⸀ 䜀愀渀最攀猀匀栀漀爀攀愀琀琀栀攀㜀⸀ 䜀愀渀最攀猀匀栀漀爀攀愀琀琀栀攀䘀爀漀渀琀䄀猀栀爀愀洀䄀猀栀爀愀洀䘀爀漀渀琀

㤀

㜀

㠀⸀ 夀漀甀琀栀䠀漀猀琀攀氀猀㠀⸀ 夀漀甀琀栀䠀漀猀琀攀氀猀

㐀㘀洀䌀氀椀昀昀

猀焀⸀洀

㄀㄀

㄀㈀

㄀㄀㄀

㄀

㄀㄀⸀ 䴀愀栀愀爀椀猀栀椀ᤠ猀㄀㄀⸀ 䴀愀栀愀爀椀猀栀椀ᤠ猀刀攀猀椀搀攀渀挀攀刀攀猀椀搀攀渀挀攀

㄀㈀

㄀㌀⸀ 唀渀搀攀爀ⴀ ㄀㌀⸀ 唀渀搀攀爀ⴀ 最爀漀甀渀搀䠀甀琀最爀漀甀渀搀䠀甀琀

㄀㈀⸀ 䌀栀愀甀爀愀猀椀䬀甀琀椀礀愀漀昀㠀㐀唀渀搀攀爀最爀漀甀渀搀㄀㈀⸀ 䌀栀愀甀爀愀猀椀䬀甀琀椀礀愀漀昀㠀㐀圀椀琀栀唀渀搀攀爀最爀漀甀渀搀䴀攀搀椀琀愀琀椀漀渀䠀甀琀猀愀䰀攀挀琀甀爀攀䠀愀氀氀䴀攀搀椀琀愀琀椀漀渀䠀甀琀猀圀椀琀栀愀䰀攀挀琀甀爀攀䠀愀氀氀

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

䠀愀爀爀椀猀漀渀䰀攀渀渀漀渀琀栀攀洀漀猀琀搀攀搀椀挀愀琀攀搀漀昀琀栀攀䈀攀愀琀氀攀猀琀漀洀攀搀椀琀愀ⴀ 䠀愀爀爀椀猀漀渀愀渀搀愀渀搀䰀攀渀渀漀渀眀攀爀攀眀攀爀攀琀栀攀洀漀猀琀搀攀搀椀挀愀琀攀搀漀昀琀栀攀䈀攀愀琀氀攀猀琀漀洀攀搀椀琀愀ⴀ 琀椀漀渀Ⰰ 愀渀搀琀栀攀礀眀攀爀攀琀栀攀氀愀猀琀洀攀洀戀攀爀猀漀昀琀栀攀戀愀渀搀琀漀搀攀瀀愀爀琀昀爀漀洀琀椀漀渀Ⰰ 愀渀搀琀栀攀礀眀攀爀攀琀栀攀氀愀猀琀洀攀洀戀攀爀猀漀昀琀栀攀戀愀渀搀琀漀搀攀瀀愀爀琀昀爀漀洀琀栀攀琀栀攀愀猀栀爀愀洀⸀ 吀栀攀礀氀攀昀琀愀洀椀搀愀渀愀琀洀漀猀瀀栀攀爀攀漀昀爀攀挀爀椀洀椀渀愀琀椀漀渀琀漀眀愀爀搀猀愀猀栀爀愀洀⸀ 吀栀攀礀氀攀昀琀愀洀椀搀愀渀愀琀洀漀猀瀀栀攀爀攀漀昀爀攀挀爀椀洀椀渀愀琀椀漀渀琀漀眀愀爀搀猀琀栀攀琀栀攀䴀愀栀愀爀椀猀栀椀Ⰰ 戀愀猀攀搀漀渀爀甀洀漀甀爀猀漀昀愀氀氀攀最攀搀栀椀猀愀氀氀攀最攀搀椀洀瀀爀漀瀀爀椀攀琀礀猀漀洀攀䴀愀栀愀爀椀猀栀椀Ⰰ 戀愀猀攀搀漀渀爀甀洀漀甀爀猀漀昀栀椀猀椀洀瀀爀漀瀀爀椀攀琀礀眀椀琀栀眀椀琀栀猀漀洀攀漀昀漀昀琀栀攀昀攀洀愀氀攀猀琀甀搀攀渀琀猀Ⰰ 愀渀搀琀栀攀琀眀漀戀愀渀搀洀攀洀戀攀爀猀✀ 洀椀猀最椀瘀椀渀最猀琀栀愀琀栀攀琀栀攀昀攀洀愀氀攀猀琀甀搀攀渀琀猀Ⰰ 愀渀搀琀栀攀琀眀漀戀愀渀搀洀攀洀戀攀爀猀✀ 洀椀猀最椀瘀椀渀最猀琀栀愀琀栀攀眀愀猀眀愀猀琀愀欀椀渀最愀搀瘀愀渀琀愀最攀漀昀䈀攀愀琀氀攀猀✀ 琀栀攀䈀攀愀琀氀攀猀✀ 昀愀洀攀⸀ 琀愀欀椀渀最愀搀瘀愀渀琀愀最攀漀昀琀栀攀昀愀洀攀⸀

㠀

䰀攀挀琀甀爀攀䠀愀氀氀㌀⸀ 䰀攀挀琀甀爀攀㌀⸀䠀愀氀氀㌀

㄀ ⸀ 䈀攀愀琀氀攀猀ᤠ ㄀ ⸀ 䈀攀愀琀氀攀猀ᤠ 䈀甀渀最愀氀漀眀䈀甀渀最愀氀漀眀

㔀

㔀㈀

吀栀攀吀栀攀愀猀栀爀愀洀最愀椀渀攀搀椀渀琀攀爀渀愀琀椀漀渀愀氀愀琀琀攀渀琀椀漀渀眀栀攀渀琀栀攀琀栀攀䔀渀最氀椀猀栀爀漀挀欀愀猀栀爀愀洀最愀椀渀攀搀椀渀琀攀爀渀愀琀椀漀渀愀氀愀琀琀攀渀琀椀漀渀眀栀攀渀䔀渀最氀椀猀栀爀漀挀欀戀愀渀搀戀愀渀搀琀栀攀䈀攀愀琀氀攀猀猀琀甀搀椀攀搀洀攀搀椀琀愀琀椀漀渀琀栀攀爀攀Ⰰ 愀氀漀渀最眀椀琀栀挀攀氀攀戀爀椀琀椀攀猀猀甀挀栀愀猀愀猀琀栀攀䈀攀愀琀氀攀猀猀琀甀搀椀攀搀洀攀搀椀琀愀琀椀漀渀琀栀攀爀攀Ⰰ 愀氀漀渀最眀椀琀栀挀攀氀攀戀爀椀琀椀攀猀猀甀挀栀䐀漀渀漀瘀愀渀Ⰰ 䴀椀愀䴀椀愀䘀愀爀爀漀眀愀渀搀愀渀搀䴀椀欀攀䰀漀瘀攀⸀ 䐀漀渀漀瘀愀渀Ⰰ 䘀愀爀爀漀眀䴀椀欀攀䰀漀瘀攀⸀

䐀攀猀瀀椀琀攀琀栀攀椀爀猀甀戀猀攀焀甀攀渀琀爀攀瀀甀搀椀愀琀椀漀渀漀昀琀栀攀䴀愀栀愀爀椀猀栀椀Ⰰ 琀栀攀䈀攀愀琀氀攀猀✀ 猀琀愀礀愀琀䐀攀猀瀀椀琀攀琀栀攀椀爀猀甀戀猀攀焀甀攀渀琀爀攀瀀甀搀椀愀琀椀漀渀漀昀琀栀攀䴀愀栀愀爀椀猀栀椀Ⰰ 琀栀攀䈀攀愀琀氀攀猀✀ 猀琀愀礀愀琀琀栀攀愀猀栀爀愀洀最攀渀攀爀愀琀攀搀眀椀搀攀椀渀琀攀爀攀猀琀椀渀吀爀愀渀猀挀攀渀搀攀渀琀愀氀䴀攀搀椀琀愀琀椀漀渀Ⰰ 眀栀椀挀栀琀栀攀愀猀栀爀愀洀最攀渀攀爀愀琀攀搀眀椀搀攀漀昀椀渀琀攀爀攀猀琀吀爀愀渀猀挀攀渀搀攀渀琀愀氀䴀攀搀椀琀愀琀椀漀渀Ⰰ 攀渀挀漀甀爀愀最攀搀琀栀攀猀琀甀搀礀䔀愀猀琀攀爀渀椀渀猀瀀椀爀椀琀甀愀氀椀琀礀椀渀圀攀猀琀攀爀渀瀀漀瀀甀氀愀爀眀栀椀挀栀挀甀氀琀甀爀攀⸀ 攀渀挀漀甀爀愀最攀搀琀栀攀猀琀甀搀礀漀昀䔀愀猀琀攀爀渀猀瀀椀爀椀琀甀愀氀椀琀礀椀渀圀攀猀琀攀爀渀瀀漀瀀甀氀愀爀挀甀氀琀甀爀攀⸀

Name : Parag Kashyap Roll No : 39

5.0 Site Study Beatles Ashram

䔀氀攀瘀愀琀椀漀渀䴀愀瀀

䌀椀爀挀甀氀愀琀椀漀渀䴀愀瀀

搀

匀甀洀洀攀爀圀椀渀

爀洀攀

洀匀甀

攀爀

椀渀琀

圀

䌀漀漀氀䈀爀攀攀稀攀

䌀氀椀洀愀琀攀䄀渀愀氀礀猀椀猀䴀愀瀀

嘀攀最攀琀愀琀椀漀渀䴀愀瀀

圀愀琀攀爀昀氀漀眀瀀愀琀琀攀爀渀䴀愀瀀

匀愀琀攀氀氀椀琀攀䴀愀瀀

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

5.0 Site Study Beatles Ashram

Site Introduction: Beatles Ashram, also known as Chaurasi Kutia, is an ashram close to the north Indian city of Rishikesh in the state of Uttarakhand. It is located on the eastern bank of the Ganges river, opposite the Muni Ki Reti area of Rishikesh, in the foothills of the Himalayas. During the 1960s and 1970s, as the International Academy of Meditation, it was the training centre for students of Maharishi Mahesh Yogi, who devised the Transcendental Meditation technique. The ashram gained international attention between February and April 1968 when the English rock band the Beatles studied meditation there, along with celebrities such as Donovan, Mia Farrow and Mike Love. It was the setting for the band's most productive period as songwriters, where they composed most of the songs for their self-titled double album, also known as the "White Album". The site was abandoned in the 1990s and reverted to the local forestry department in 2003, after which it became a popular visiting place for fans of the Beatles. Although derelict and overrun by jungle, the site was officially opened to the public in December 2015. It has since become known as Beatles Ashram and held an exhibition in February 2018 to celebrate the 50th anniversary of the Beatles' arrival in Rishikesh.

Background and Location: Maharishi Mahesh Yogi leased the site from the state forestry department of Uttar Pradesh in 1961.[1] It sits on a 150 feet (46 m)-high cliff overlooking the Ganges river, on a hill known as Manikoot, and comprises 14 acres (57,000 m2) of land surrounded by jungle.[1] The facility was built in 1963 with a $100,000 gift from American heiress Doris Duke.[2][3] Referred to locally as the Chaurasi Kutia ashram,[3][4] and by some meditators as Shankaracharya Nagar,[1][5] it was named the "International Academy of Meditation" by the Maharishi. It was one of many ashrams in the Rishikesh area, which is a place of religious significance[6] and known as the "yoga capital of the world".[7] The ashram is located due east of the Muni Ki Reti area of Rishikesh, in the north of the city, and on the opposite bank of the river. In the late 1960s, access to the cliff-top facility was possible via the Lakshman Jhula footbridge, 5 kilometres (3.1 mi) north-east of the centre of Rishikesh, at the village of Tapovan, followed by a 2-mile walk back downriver and a steep climb up the rocky path to Manikoot. Alternatively, a ferry service was available, from close to what is now the Ram Jhula suspension bridge, built in 1986. Before the opening of Ram Jhula, vehicles crossed the Ganges over the narrow bridge at Haridwar, south of Rishikesh, and then travelled 13 miles along a twisty and potholed dirt road to the ashram.

Facilities: The training centre was designed to suit Western habits and was described variously as "luxurious" and "seedy".[8][9] It was built to accommodate several dozen people and each of its stone bungalows contained five rooms.[10] According to author Susan Shumsky, a TM devotee whose first retreat at the ashram was in 1970, the facility was "under constant construction".[11] In addition to several stone huts, there were accommodation blocks, known as puri, each containing six self-contained rooms.[12] The Maharishi's residence was a long, modern-style bungalow located away from the other buildings.[13] According to journalist Raymond Zhong, who visited the site in 2015, the name Chaurasi Kutia is Hindi for "84 Huts".[14] He also comments on the less traditional design aspects: "One four-story building has a stepped pyramid design and multifoil arches above the doorways, and on the roof there are massive white structures shaped like ostrich eggs ..."[14] Shumsky writes that the Maharishi's bungalow was a "simple brick, concrete, and stone" building, and far from the lavish accommodation commonly depicted in the media in the aftermath to the Beatles' stay at the ashram.[15][nb 1] The compound was surrounded by a wire fence,[17][18] which served as a barrier against the abundant wildlife in the interior. Beyond the fence, the forest was thick with teak, guava and sissoso trees, while inside were gardens filled with flowerbeds of red hibiscus.[12] At the entrance to the site, there was a gatehouse, signposted as the "Inquiry Office", and a white picket fence inside the wire fence.[12] Along the cliff edge, a path led down to the shoreline. The Maharishi addressed his students in the two-storey lecture hall. This high-ceilinged structure had long windows that, as with its roof, provided a popular habitat for birds and monkeys. The kitchen block was towards the rear of the site.[12] Meals were taken communally in an open dining area, over which stood a wooden trellis.[19] For the Beatles' stay in early 1968, according to one of the Maharishi's aides at the time, Ravindra Damodara, four small stone-covered buildings were constructed along the path down from the main centre to the ashram gates. These dome-shaped "caves" included a raised platform, accessed by ladder, on which each Beatle could engage in advanced meditation.[20] During the same period, the Maharishi was negotiating with the Indian government to convert some nearby parkland into an airstrip for a Beechcraft aeroplane[21] that he had been given.[8] Several thousand landless peasants objected to this deal, as they had been denied the use of the land for farming.[22]

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

5.0 Site Study Beatles Ashram Public opening and adoption as Beatles Ashram: Since the 1990s, trespassers on the ashram site had taken to leaving graffiti as a tribute to the Beatles.[57] In 2012, street artist Pan Trinity Das founded "The Beatles Cathedral Gallery" with the aim of "re-activating" Satsang Hall, the property's former lecture hall,[4][14] but his and others' efforts were curtailed by officials from the forestry department.[57] In early December 2015, the ashram was officially opened to the public,[59] [64] with an entrance fee of 150 rupees for Indian people and 650 rupees for other nationalities.[65] Coinciding with this event, the director of the Rajaji Tiger Reserve stated his intention to preserve the existing buildings as "heritage structures" while Dinesh Agrawal, the foreign minister for Uttarakhand, said: "Our aim is to ensure that visitors don't simply come for the Beatles connection but to learn the magic of nature, meditation and yoga."[65] Aside from viewing the ashram ruins, nature walks and bird-watching tours were available to visitors.[24] Reporting on the opening for The Wall Street Journal, Raymond Zhong described the ashram as "One of the most storied locations in Beatles lore". He said that the Cathedral Gallery was the "main attraction" and a "showcase for some accomplished graphic art".[14] In February 2016, the Cathedral Gallery initiative was re-born as the Beatles Ashram Mural Project, when four artists, including Das,[66] were invited to produce a series of murals for the hall.[57] Another of the artists, Miles Toland, said he sought to pay tribute to the Maharishi in his work, which depicts spiritually themed scenes he first photographed in Rishikesh.[67][nb 5] In February 2018, the 50th anniversary of Lennon and Harrison's arrival in Rishikesh was marked by the opening of a two-year exhibition titled The Beatles in India at the Beatles Story museum in Liverpool.[68][69] A similar celebration took place at Chaurasi Kutia, now known as Beatles Ashram,[60][68] further to the announcement of plans for a full renovation of the site and the founding of a museum dedicated to the Beatles and the Maharishi.[25][nb 6] The exhibition in Liverpool featured memorabilia, photographs from the 1968 retreat by Paul Saltzman, a sitar courtesy of the Ravi Shankar Foundation, and video contributions from Pattie and Jenny Boyd.[68] The 2018 International Yoga Festival, held in Rishikesh from 1 March, dedicated three days of its program to acknowledge the anniversary of the Beatles' visit.[52]

Lecture halls for the Ashram

Beatles’ Ashram Meditation Pods

Community gathering spaces

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

5.0 Site Study Beatles Ashram

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

6.0 Program

ᠠ攀氀攀愀渀漀爀爀椀最戀礀밂

ᠠ椀渀洀礀氀椀昀攀밂 洀攀洀漀爀礀戀漀砀 ᠠ栀攀爀攀挀漀洀攀猀琀栀攀猀甀渀밂

ᠠ猀漀洀攀琀栀椀渀最밂 眀椀渀搀椀渀搀甀挀攀搀瀀愀瘀椀氀椀漀渀

ᠠ樀甀氀椀愀밂

眀愀猀琀攀琀爀攀愀琀洀攀渀琀

ᠠ最氀愀猀猀漀渀椀漀渀밂 瀀氀愀稀愀⼀挀漀洀洀甀渀椀琀礀最愀琀栀攀爀椀渀最

猀攀眀愀最攀琀爀攀愀琀洀攀渀琀

猀琀漀爀攀猀

瀀愀渀琀爀礀

ᠠ琀漀洀漀爀爀漀眀渀攀瘀攀爀欀渀漀眀猀밂

ᠠ栀攀氀琀攀爀猀欀攀氀琀攀爀밂

ᠠ戀氀愀挀欀戀椀爀搀밂

ᠠ氀甀挀礀椀渀琀栀攀猀欀礀眀椀琀栀搀椀愀洀漀渀搀猀밂

攀氀攀挀琀爀椀挀愀氀爀漀漀洀

ᠠ愀搀愀礀椀渀琀栀攀氀椀昀攀밂

漀爀椀攀渀琀愀琀椀漀渀稀漀渀攀

ᠠ礀攀猀琀攀爀搀愀礀밂 瀀愀猀猀愀最攀 ᠠ渀漀眀栀攀爀攀洀愀渀밂

攀砀瀀攀爀椀攀渀琀椀愀氀挀攀渀琀爀攀

椀渀猀琀爀甀洀攀渀琀眀漀爀欀猀栀漀瀀

猀漀甀渀搀琀栀攀爀愀瀀礀

猀攀爀瘀椀挀攀猀

椀渀猀琀爀甀洀攀渀琀最愀爀搀攀渀

琀栀攀爀愀瀀礀瀀漀搀猀

攀砀椀猀琀椀渀最猀琀爀甀挀琀甀爀攀猀

眀愀猀栀爀漀漀洀猀

挀漀洀洀甀渀椀琀礀欀椀琀挀栀攀渀⼀搀椀渀椀渀最

礀漀甀琀栀栀漀猀琀攀氀猀琀愀昀昀焀甀愀爀琀攀爀猀

戀甀渀最愀氀漀眀猀

氀攀挀琀甀爀攀栀愀氀氀猀⼀瘀攀搀戀栀愀瘀愀渀

瀀漀猀琀漀昀昀椀挀攀

眀愀猀琀攀洀愀渀ⴀ 愀最攀洀攀渀琀猀礀猀琀攀洀

琀栀攀爀愀瀀礀瀀漀搀猀

洀甀猀攀甀洀

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

7.0 Approach to Design

Pavilion with Viewing points to the horizon and the cliff ● Spaces appreciating the volumes and the hills with sky

Space to make peace with nature using tactile senses ● Dark caves with openings for trees and sense of nature devoid of light

To exhibit the avantgarde nature of experimental Beatles' music ● Life Stories + the modesty felt in a space due to its abrupt vastness+ Echo Point + Grandeur

Confusing space that challenges mindsets to adapt ● Undulated Floor Surfaces to challenge mindset and translucent partitions to remove from outside world

ANALYSIS OF SONGS •“Yesterday all my troubles seemed so far away, now it looks as though they’re here to stay”

IDENTIFICATION OF SONGS

Dome Flooded With Light Through Narrow Dark Cave ● Experience the celebration of the Sun by creating suspense for it

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

PROG RAM

•Conceptual approach •Themes •Production •Story (Context) •Delivery •Relevance

•Space configuration •Utility •Tangible Space •Essence of message intact •Tells cohesive story

PHENOMENOLOGY EXPERIENCE •Experiencing in senses •Touch •Vision •Smell •Sound

INTERPRETTION OF SONGS

Design Approach Name : Parag Kashyap Roll No : 39

THE BEATLES’

● The enjoyment of seeing mechanical construction details creating music right in front of the user

7.0 Approach to Design

lenges mindsets to adapt ● Undulated Floor Surfaces to nslucent partitions to remove from outside world

PHENOMENOLOGY EXPERIENCE

•Space configuration •Utility •Tangible Space •Essence of message intact •Tells cohesive story

•Experiencing in senses •Touch •Vision •Smell •Sound

Pavilion with Viewing points to the horizon and the cliff ● Spaces appreciating the volumes and the hills with sky

INTERPRETTION OF SONGS

Approach

PROG RAM A space to celebrate the natural life in Rishikesh and in the Ashram

ES’

Peeking in every space with a common space and providing a space for the community ● Periscopes (Refracting Mediums)

tial

Pavilion with Textural installations to flow with wind

Space to enjoy melodies by a mechanical music box ● The enjoyment of seeing mechanical construction details creating music right in front of the user

Confusing space that challenges mindsets to adapt ● Undulated Floor Surfaces to challenge mindset and translucent partitions to remove from outside world

Sound Therapy

sterday all my troubles med so far away, now it ks as though they’re here tay”

Using elements of a space for spiritual healing ● Understanding sound as a naturally occurring ANALYSIS OF SONGS phenomenon (wind, stones, trees) ● Using techniques of •Space configuration flowing sound vibrations ● Attempt to accentuate the •Utility experience •Conceptual as a wholeapproach •Tangible Space

IDENTIFICATION OF Beatles’ SONGS

•Themes •Production •Story (Context) •Delivery •Relevance

•Essence of message intact •Tells cohesive story

PHENOMENOLOGY EXPERIENCE •Experiencing in senses •Touch •Vision •Smell •Sound

INTERPRETTION OF Experience Ashram: An experience center celebrating Beatles’ music through space SONGS

interpretation at the Beatles’ Ashram in Rishikesh

A space to celebrate the natural life in Rishikesh and in the Ashram Name : Parag Kashyap Roll No : 39

Experience the •“Yesterday all my troubles celebration of now theit Sun seemed so far away, looks as though they’re here by creating suspense to stay” for it IDENTIFICATION OF SONGS

•Conceptual approach •Themes •Production •Story (Context) •Delivery •Relevance

•Space configuration •Utility •Tangible Space •Essence of message intact •Tells cohesive story

EXPERIENCE •Experiencing in senses •Touch •Vision •Smell •Sound

INTERPRETTION OF SONGS

Design Approach

A space to celebrate the tonatural 7.0 Approach Designlife in Rishikesh and in the Ashram

THE BEATLES’

SONGS

Design Approach

Connecting passages ● Reflecting yourself in multiple corridors in real time

THE BEATLES’

as Experiential

SONGS

SPACES

Celebrating Illusions and surrealism ● Colour and senses to get hypnotized in the music

as Experiential

SPACES

Sound Therapy Using elements of a space for spiritual healing ● Understanding sound as a naturally occurring phenomenon (wind, stones, trees) ● Using techniques of flowing sound vibrations ● Attempt to accentuate the experience as a whole

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Sound Th

Peeking in every space with elements a common Using of space a space for spiri Understanding and providing sound a spaceas a natur phenomenon (wind, stones, for the community ● trees) ● Usin flowing sound vibrations Periscopes (Refracting● Attempt to experience as a whole Mediums)

Name : Parag Kashyap Roll No : 39

9.0 Final Design (Site Plan) PATHWAY LINED WITH TALL EVERGREEN TREES FOR PRIVACY

STEPPED CONTOURS

LUXURY QUA

TREES SURROUNDING THE YOUTH HOSTEL FOR PRIVACY AND SOUND INSULATION

PATHWAYS WITH LOCAL STONE CURBS AND GUTTERS TO ALLOW WATER SEEPAGE

STAFF QUARTERS

VED BHAVAN MEDITATION HALL

COMMUNITY KITCHEN

STAFF QUARTERS

MEANDERING PATHWAY AROUND MUSEUM

WATER BODIES NEAR WORKSHOP SPACES AND HOSTEL TO CREATE ELEMENTS OF INTEREST

TREES SURROUNDING THE YOUTH HOSTEL FOR PRIVACY AND SOUND INSULATION

POST OFFICE

TREES WITH A SEATING UNDERNEATH CREATING FOCAL POINTS AND GATHERING AREAS

2.5 M PATHWAY FOR PEDESTRIANS WITH SHRUBS WITH LIMITED CAR ENTRY

BEATLES' MUSEUM

TICKET OFFICE

SIDDHI BHAVAN (YOUTH HOSTEL)

MEDITATION PODS AREA 3

ENTRANCE GATE

ANAND BHAVAN (YOUTH HOSTEL

MEDITATION PODS AREA 1

'GLASS ONION' ORIENTATION SPACE CARETAKER'S RESIDENCE

ENTRANCE PAVILLION

'HELTER SKELTER' WORKSPACE

'BLACKBIRD' PLAZA

MEDITATION PODS AREA 2

MOUND OF GRASS WITH A STATUE OR AN INSTALLATION OF THE BEATLES. KIND OF LIKE A MEMORIAL AT THE ENTRANCE

'DEAR PRUDENCE' OUTDOOR GARDEN

PATHWAY LINED WITH TALL TREES TO SEGREGATE THE WALKING SPACE FROM THE TICKET COUNTER WHICH IS A PUBLIC SPACE

'ELEANOR RIGBY' AVANT GARDE FOLLY

THE TREE WITH THE SEATING HAS BEEN PLACES AT VARIOUS LOCATIONS IN MEDITATION AREAS

'LUCY IN THE SKY WITH DIAMONDS' KALIEDOSCOPIC INSTALLATION

JULIA PAVILION + CONFERENCE ROOM

TREES LINED TO GIVE THE MEDITATION SPACES THE PRIVACY AND PURIFIED AIR

CONNECTING PATHWAYS WITH PAUSE POINTS/PEDESTALS FOR OUTDOOR MEDITATION SESSIONS

THE BUNDINGS AS TALL RETAINING WALLS WITH VERTICAL GARDENS

LANDSCAPING MOUND WITH LAKE WITH A JOGGING TRACK AROUND IT

15 M LEVEL DROP OFF RETAINING WALL

LAVENDER PLANTS ON RETAINING WALLS TO REDUCE STRESS

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

9.0 Final Design (Ground Floor Plan)

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

9.0 Final Design (First Floor Plan)

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

9.0 Final Design (Second Floor Plan)

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

9.0 Final Design (Roof Plan)

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

9.0 Final Design (Sectional Elevations)

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

9.0 Final Design (Sectional Elevations)

CLUSTER SECTION

SITE SECTION Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

9.0 Final Design (Cluster Sections

⬀㌀

⬀㈀㔀

⬀㈀

⬀㄀㔀

⬀㄀

⬀㔀

CLUSTER SECTION

+30000

+25000

+20000

+15000

CLUSTER SECTION +10000

+5000

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

9.0 Final Design Views

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

9.0 Final Design Views

C A

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

9.0 Final Design (Cluster Plan)

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

10.0 Conclusion

Conclusion:

My architectural intervention is an interpretation of their musical expression throughout the Beatles' most glorious years and tells the story of their music in such an

abstract way that architecture allows in the experience and atmosphere built, similarly to music that only allows you to hook yourself to beats, rhythms, lyrics, and themes.

Hopefully, the users would find something in the space that they can connect with and find some inspiration of their own in this natural nurturing environment. For the creatively dedicated, a creative retreat is being carefully designed to live the way the Beatles did in the Ashram amongst peace and nature and to find out how creativity be explored in an environment where artistic expression is the way of life. Being surrounded by hundreds of artistic expressions by the painters around the world to pay tribute to the creative voices that inspired the world to sing along with them, hopefully, the retreat participants may also find peace and solace in this abode. And hopefully, the voices of the Beatles echo throughout the hills where they once crafted a legacy that can be heard in the walls of an Ashram now lying in ruin but to is rebuilt by the expression of future generations.

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

11.0 Bibliography

• Resources: • Austerlitz, Saul (2007). Money for Nothing: A History of the Music Video, from The Beatles to The White Stripes. Ann Arbor: University of Michigan Press. ISBN 978-0-71197520-0. • Badman, Keith (1999). The Beatles After the Breakup 1970–2000: A Day-by-Day Diary (2001 ed.). London: Omnibus. ISBN 978-0-7119-8307-6. Retrieved 31 March 2014. • The Beatles (2000). The Beatles Anthology. San Francisco: Chronicle Books. ISBN 978-0-8118-2684-6. Retrieved 31 March 2014. • Benson, Bruce Ellis (2003). The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge and New York: Cambridge University Press. ISBN 978-0-52100932-4. Retrieved 31 March 2014. • Boyd, Pattie (2008). Wonderful Tonight: George Harrison, Eric Clapton, and Me. Three Rivers Press. ISBN 978-0307407832. • Brown, Peter; Gaines, Steven (2002). The Love You Make: An Insider's Story of The Beatles. New York: New American Library. ISBN 978-0-451-20735-7. • Campbell, Michael (2008). Popular Music in America: The Beat Goes On. East Windsor, CT: Wadsworth. ISBN 978-0-495-50530-3. Retrieved 31 March 2014. • Davies, Hunter (1968). The Beatles (Revised 2009 ed.). New York & London: W. W. Norton. ISBN 978-0-393-33874-4. Retrieved 31 March 2014. • Doggett, Peter (2009). You Never Give Me Your Money: The Beatles After the Breakup (1st US hardcover ed.). New York: Harper. ISBN 978-0-06-177446-1. Retrieved 31 March 2014. • Doggett, Peter (2011). You Never Give Me Your Money: The Beatles After the Breakup. New York: It Books. ISBN 978-0-06-177418-8. • Emerick, Geoff; Massey, Howard (2006). Here, There and Everywhere: My Life Recording the Music of The Beatles. New York: Gotham. ISBN 978-1-59240-179-6. • Everett, Walter (1999). The Beatles as Musicians: Revolver through the Anthology. Oxford and New York: Oxford University Press. ISBN 978-0-19-512941-0. Retrieved 31 March 2014. • Everett, Walter (2001). The Beatles As Musicians: The Quarry Men through Rubber Soul. Oxford and New York: Oxford University Press. ISBN 978-0-19-514105-4. Retrieved 31 March 2014. • Fisher, Marc (2007). Something in the Air. New York: Random House. ISBN 978-0-375-50907-0. Retrieved 31 March 2014. • Frontani, Michael R. (2007). The Beatles: Image and the Media. University Press of Mississippi. ISBN 978-1-57806-965-1. Retrieved 31 March 2014. • Gilliland, John (1969). "The British Are Coming! The British Are Coming!: The U.S.A. is invaded by a wave of long-haired English rockers" (audio). Pop Chronicles. University of North Texas Libraries.

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39

11.0 Bibliography

• Resources: • Ingham, Chris (2006). The Rough Guide to The Beatles. London: Rough Guides. ISBN 978-1-84353-720-5. • Inglis, Ian (2008). "Cover Story: Magic, Myth and Music". In Julien, Olivier (ed.). Sgt. Pepper and the Beatles: It Was Forty Years Ago Today. Aldershot, UK, and Burlington, VT: Ashgate. ISBN 978-0-7546-6249-5. • Larkin, Colin (2006). Encyclopedia of Popular Music. New York, NY: Oxford University Press. ISBN 0-19-531373-9. • Lavezzoli, Peter (2006). The Dawn of Indian Music in the West: Bhairavi. New York and London: Continuum. ISBN 978-0-8264-1815-9. Retrieved 31 March 2014. • Lewisohn, Mark (1988). The Complete Beatles Recording Sessions. New York: Harmony. ISBN 978-0-517-57066-1. • Lewisohn, Mark (1992). The Complete Beatles Chronicle:The Definitive Day-By-Day Guide To the Beatles' Entire Career (2010 ed.). Chicago: Chicago Review Press. ISBN 978-1-56976-534-0. • Lewisohn, Mark (2013). The Beatles: All These Years, Vol. 1: Tune In. Crown Archetype. ISBN 978-1-4000-8305-3. • MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (2nd revised ed.). London: Pimlico. ISBN 978-1-84413-828-9. • Martin, George (1979). All You Need Is Ears. New York: St. Marten's Press. ISBN 978-0-312-11482-4. Retrieved 31 March 2014. • McNeil, Alex (1996). Total Television: The Comprehensive Guide to Programming From 1948 to the Present (4th ed.). New York City: Penguin Books. ISBN 978-0-14-0249163. • Miles, Barry (1997). Paul McCartney: Many Years from Now. New York: Henry Holt and Company. ISBN 978-0-8050-5249-7. • Miles, Barry (1998). The Beatles: A Diary – An Intimate Day by Day History. London: Omnibus. ISBN 978-0-7119-9196-5. • Miles, Barry (2001). The Beatles Diary Volume 1: The Beatles Years. London: Omnibus Press. ISBN 978-0-7119-8308-3. • Neaverson, Bob (1997). The Beatles Movies. London: Cassell. ISBN 978-0-304337965. Archived from the original on 2 October 2009 – via beatlesmovies.co.uk (chapter: "Magical Mystery Tour Part 1 – Background and Production"). • Norman, Philip (1996). Shout!: The Beatles in Their Generation. New York: Fireside. ISBN 978-0-684-43254-0. • Norman, Philip (2008). John Lennon: The Life. New York: Ecco/HarperCollins. ISBN 978-0-06-075401-3. • Pang, May (2008). Instamatic Karma: Photographs of John Lennon. Macmillan. ISBN 9781429993975. Archived from the original on 11 January 2016. Retrieved 7 April 2015. • Pedler, Dominic (2003). The Songwriting Secrets of The Beatles. London: Omnibus. ISBN 978-0-7119-8167-6. Retrieved 31 March 2014. • Rodriguez, Robert (2010). Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980. New York: Backbeat. ISBN 978-0-87930-968-8. • Sandford, Christopher (2006). McCartney. New York: Carroll & Graf. ISBN 978-0-7867-1614-2. • Schaffner, Nicholas (1978). The Beatles Forever. New York, NY: McGraw-Hill. ISBN 0-07-055087-5. • Schinder, Scott; Schwartz, Andy (2007). Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever. Westport, CT: Greenwood Press. ISBN 978-0-31333845-8. • Southall, Brian; Perry, Rupert (contributor) (2006). Northern Songs: The True Story of the Beatles Song Publishing Empire. London: Omnibus. ISBN 978-1-84609-237-4. Retrieved 31 March 2014. • Sheff, David (1981). Golson, G. Barry (ed.). The Playboy Interviews with John Lennon and Yoko Ono. Playboy. ISBN 978-0-87223-705-6. • Spitz, Bob (2005). The Beatles: The Biography. New York: Little, Brown. ISBN 978-0-316-80352-6. • Spizer, Bruce (2004). The Beatles Are Coming! The Birth of Beatlemania in America. New Orleans: 498 Productions. ISBN 978-0-9662649-9-9. • Strong, Martin (2004). The Great Rock Discography. Edinburgh and New York: Canongate. ISBN 978-1-84195-615-2. Retrieved 31 March 2014. • Winn, John C. (2008). Way Beyond Compare: The Beatles' Recorded Legacy, Volume One, 1957–1965. New York: Three Rivers Press. ISBN 978-0-307-45157-6. Retrieved 31 March 2014. • Winn, John C. (2009). That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970. New York: Three Rivers Press. ISBN 978-0-307-45239-9. Retrieved 31 March 2014. • Womack, Kenneth (2007). Long and Winding Roads: The Evolving Artistry of the Beatles. London & New York: Continuum. ISBN 978-0-8264-1746-6.

Beatles’ Experience Ashram: An experience center celebrating Beatles’ music through space interpretation at the Beatles’ Ashram in Rishikesh

Name : Parag Kashyap Roll No : 39