A typological study of a Chabutra by Rajmi Doshi

THE STUDY OF TYPOLOGIES OF A CHABUTRA CASE STUDY : WALLED CITY OF AHMEDABAD

GUIDED BY:

DR.MEGHAL ARYA

SUBMITTED BY:

RAJMI DOSHI

15191027/B.ARCH 2019-2020

SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE NAVRACHANA UNIVERSITY, VADODARA, GUJARAT

NAVRACHANA UNIVERSITY SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE

A TYPOLOGICAL STUDY OF CHABUTRA A THESIS SUBMITTED TO THE FACULTY OF SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE, IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE DEGREE OF

BACHELORS OF ARCHITECTURE 2019-2020

Submitted to:-

Guided by:-

Submitted by:-

Prof. Pratyush Shankar Dean, SEDA

Dr.Meghal Arya

Rajmi Doshi 15191027 5

DECLARATION I hereby declare that the thesis entitled “A typological study of a chabutra ” is a record of original work by me under the guidance of Dr.Meghal Arya. The References taken from published or unpublished thesis and contribution of others have been clearly mentioned in the thesis.

RAJMI DOSHI

In my capacity as guide of the candidate’s thesis, I certify that the above statements are true to the best of my knowledge.

DR.MEGHAL ARYA

ACKNOWLEDGEMENT I am most grateful to my guide in the thesis, Dr. Meghal Arya for sharing her invaluable expertise and knowledge in the subject and for her constructive criticism and guidance throughout the thesis. I wish to express my sincere thanks the Dean of the Faculty of Architecture, Professor Pratyush Shankar for providing with all the necessary facilities for the research and for constant encouragement. I take this opportunity to express gratitude to all of the Architecture Department faculty members of School of Environmental Design and Architecture for their help and support. I also thank my parents for their unceasing encouragement, support and attention. I am also grateful to my friends Shrey Nimbark, Nirvani Gandhi, Sandeep Sidhwani, Vini Gandhi, Kairavi Gandhi and Ayushi Bhatt who have supported me throughout this venture and in life and been my constant source of support. Lastly, I am thankful to my grandparents, especially my grandmother her strong beliefs in rituals,her love for animals and her warmth towards everyone, which was my inspiration behind this thesis topic.

ABSTRACT The ideology of providing for the birds and animals around the world is an age old tradition. As an integral part of the ecosystem, birds and animals have survived with us for generations. Around the world, various structures were created for their feeding and dwelling. â&#x20AC;&#x153;The less you have, the more you share.â&#x20AC;? This notion of caring for the nonhuman sentient beings has particularly manifested itself in Gujarat in the form of Panjrapols or animals houses and parabadis. In Gujarat, there are hundreds of villages and also some urban settlements having bird feeding platforms. Many communities in dry regions brought their values of animals care to the settlements in an urban context. One such architectural element is the Chabutra. The Chabutra or the bird-feeder is typical structure with a roofed platform raised on a stambh in the center of a chotaro. The chotaro also serves as a baithak â&#x20AC;&#x201C; a resting place for the people. It is a symbol of an active co-existence of the people, animals and birds. Sometimes adjoining a temple or sometimes standing alone, it is found in a different manner in different places. The form, the elements, motifs and material of the chabutra varies at different pols due to various activities around it. This thesis aims to understand the culture and philosophy of the community of the pols and the impact of religion on the form. The elements surrounding the chabutras impacting on the form, location and use of the Chabutra will be explored. The elements of the chowk, the spatial user experience, the community around the chowk will be studied. The impact of the surroundings to the usage of the element will be observed. The larger intention remains of studying and decoding the form, shape, elements of the chabutras. On the basis of the ornamentation, elements, scale, structure and surrounding context, various typologies will be created and explored. It will be observed on how the typologies are created and what might be a reason for a certain type at a certain place.

Figure 1: Various birds sitting and chirping on an electric wire in the city of Ahmedabad

TABLE OF CONTENTS Chapter 0: Introduction 0.1 Aim 0.2 Objectives 0.3 Scope and limitations 0.4 Methodology 0.5 Introduction Chapter 1: Bird feeding ritual around the world 1.1 Isfahan , Iran 1.2 Cappadocia , Turkey 1.3 Gesi , Turkey 1.4 Cairo , Egypt 1.5 England Chapter 2: The birdfeeder of Gujarat 2.1 Philosophy and religion 2.2 Form and elements 2.3 Human encroachment Chapter 3 : The Chabutro of Ahmedabad 3.1 Introduction 3.2 List of various chabutras in Ahmedabad 3.3 Urban placement 3.4 Section 3.5 Form 3.6 Elements 3.6.1 Platform 3.6.2 Feeder Base 3.6.3 Roof 3.7 Material Chapter 4: Typological analysis 4.1 Type and typologies in chowk and chabutras in Ahmedabad 4.2 Defining the chowk with reference to the terminologies in kevin lynch 4.3 Typology in location and placement 4.4 Sectional analysis of the chabutras 4.5 Matrix Chapter 5: Inferences Bibliography Illustration credits

0.1 Aim: To study the functions and various typologies of a Chabutra .

0.2 Objectives: •To study the form of a bird feeder in various parts of the world and identify the possibilities to classify according to the form , scale , and surrounding context. •To understand the role of philosophy behind the idea of Chabutra •To identify and define a Chabutra . •To articulate the religious significance of the Chabutra based on literature. •To study the Chabutras of Gujarat and its form and structure. •To analyse the spatial structure / organisation of the Chabutra within the historic city of Ahmedabad and identify the types on basis of form , elements , motifs , material , location and spatial context. •To understand the various typologies of chabutras and chowks in the city of Ahmedabad. •Study of the Chabutra and the activities surrounding the chowk

0.3 Scope and limitations: The thesis is limited to the walled city of Ahmedabad. The limitation of the thesis is that lack of information and site visits Due to the covid -19 situation . There was a part of showing how a chabutra acts as an urban node and activity mapping supporting the topic which couldn’t be possible due to the lockdown. It resulted in the change of the scope and methodology of the thesis . Due to lack of accessibility to the Library , some gujarati texts and maps of various pols of Ahmedabad was not available .Hence the inferences which are obtained are through various online resources and photos. The site visits and documentation of the chabutra is in the Khadia and Kalupur region of the City , which was documented post lockdown . The analysis and inferences are derived for these chabutras , The term Chabutra means a platform , or a low plinth . But in this thesis the term Chabutra refers to the birdfeeding element . The platform is termed as a plinth for the duration of the thesis .

0.4 Methodology: •Literature study on the history and ideology of the Chabutra •Case studies of various Chabutra in Gujarat to compare the form and elements •Analysis of 20 chabutras in Ahmedabad comparing its placement , scale , materials , elements and motifs. •Comparison of the form of the Chabutras and possible inferences •Comparing the elements , motifs , materials and placements of the chabutra and its possible inferences •Relation of Chowk and chabutras with terminologies from Kevin lynch determining its social importance •Sectional study of the Chabutra to understand the scale and surrounding cluster , and the form or the elements. •Documentation of various Chabutra in the old city of Ahmedabad •Literature survey on Types and typologies and observations on the chabutras •Classify various typologies of the chabutra observed in the city of Ahmedabad •Compare the documented chabutras on basis of the parameters obtained from the typological study.

Architecture for birds

World

Iran

Turkey

India

England

Egypt

Gujarat

Ahmedabad

“The greatness of a nation and its moral progress can be judged by the way it’s animals are treated” – Mahatma Gandhi

INTRODUCTION Man and animal have coexisted together and alongside each other from time immemorial. There are many cases of humananimal co-habitation , but sharing space with other creature have a long history . Infact it is normal to share spaces with other living creatures. In an urban human settlement, the animals and birds have created niches and survived along with the humans. In order to maintain the ecosystem and a rigorous harmony between humans and animals it is necessary to look after other creatures. The need of care for animals and birds in human settlements has been of importance since a long time. Various buildings or elements to give shelter and protection like Bird towers, Panjrapols, paniharas, chotaras, Stables, barns were created for the animals and birds. This philosophy of an intimate relation between animals and humans, gave rise to the birdfeeders in various parts of the world. In countries such as Iran, Egypt and Turkey, birdfeeders are found bigger and more prominent than the houses and the settlements. They consider birds (especially pigeons) to be holy and feed them in the birdfeeders .This idea of providing for the birds and other creatures is observed in Gujarat in the form of Chabutras. The principle of non-violence and caring for animals and birds has been important to the Gujarati society and they have manifested symbolically and physically in the traditional architecture of Gujarat. From the viewpoint of concern for animals, Panjra pols, Chabutras, animal keeps and hospitals in tower are true symbol of the societal values of non-violence of the Jain and the Vaishnav communities . The Jain religion teaches a co-existence between animals and human beings . While these structures were created for the dwelling of the animals , in India the people would throw the leftover food and grains near their home for the animals to feed. They would scatter grains on streets, on balconies, on their terraces, or in the chowks . For the animals they would keep the food at a plinth near their entrance. The animals and birds would travel around the urban settlements for food and grains. These gave rise to the ritual of feeding the animals and birds. A ritual for feeding and helping out the nonhuman beings transcended into a daily activity in the part and parcel of the peopleâ&#x20AC;&#x2122;s lives. This need and demand for a feeding space gave birth to the form of a Chabutra. The style of ornamentation changed and in some cases , removed completely .In the Lehariya pol in Ahmedabad , the Chabutra made is completely without any ornamentation and placed on top of a provision store. Or in certain cities like Khambhat , the chabutras made in the present day has less or zero ornamentation. The use of new materials in different manner was observed in making of the Chabutra. At some places , the structure was used for a purpose completely different from birdfeeding , in some other places , the structure was modified to cater to the new needs of the community . Different existing chabutras had different levels of ornamentation on the basis of religious beliefs of the community .

Tranformation of space took place on various scales , and it created an atmosphere where elements , built spaces and people would connect and co-exist. The design for the Chabutras came as a thought of providing a safe space for the birds , which is out of reach for the animals and a sitting platform for the humans to gather and sit. Though the structure is made for the birds and animals , it transcended into a gathering point for the people in the pols. Many panchayat gatherings would take place under the Chabutra. Religious functions or festivals would take place in the chowk adjoining the Chabutra. The women of the houses would gather and sit on the plinth under the Chabutra . Slowly , it transformed into a commercial place where street vendors would come and sell their goods. The chattering of the humans merges with the chirping of the birds and a space different from the main street is experienced. On visiting various chabutras across the walled city , certain observations were recorded . The form of the Chabutra was similar but varied on the basis of the location and placement . The elements were similar but the motifs , colours, materials were different according to the religious values or the rituals of the people around . The scale of the Chabutras was different on the basis of the placement in the chowk . This futher helped in deciphering the chabutras into various types in the pols . The elements around the Chabutra like the plinth , the base and the roof were observed which gave rise to further classification and typologies of the chabutras in the pol.

Figure 2: Dishes attached to a lamp post for feeding grains to birds Figure 3: A person providing water to the dog in a residential street Figure 4: Chotaro and havado found at the entrance of the houses where the food and water is kept for the animals

Figure 5: An old broken bulb where squirrel is sitting Figure 6: Steel dishes placed on the balconies where grains are placed for the birds to eat and sit on the edges Figure 7: An open space in the pols used for scattering grains

Figure 8: A small plinth placed at the edge of the pol entry for feeding the animals Figure 9: Jharokhas at the entry of the shop Figure 10: The facade of the building has little bowls and niches where the birds Figure 12: Platform created near the entrance can feed and rest of the shop for the birds to rest Figure 11: A high plinth used for sitting , platform for scattering grains for the Figure 13: Ground near the MJ library where birds and a tulsi plant for puja . the grains are scattered for the birds to feed

Chapter 1: Pigeon towers around the world: Dovecotes represent one among the foremost outstanding samples of eccentricity in Iranian and Anatolian language design. The bird towers of those countries show an ideal example of humans and nature are operating along with each other. At a time once chemical fertilizers didnâ&#x20AC;&#x2122;t exist, a technique for generating giant quantities of chemical was close at hand. Taking advantage of their natural setting, the traditional architects created differing kinds of dovecotes. The largest dovecotes may house fourteen thousand birds, and were embellished in distinctive red bands thus on be simply recognizable to the pigeons. The larger towers square measure free-standing, however several smaller ones square measure engineered into the walls of gardens, misleadingly corresponding to bastions or corner towers in an exceedingly weapons system. Others brood giving protection, however unstrategically, over the flat mud roofs of village homes. Their sensible purpose was to gather the bird manure that had been found to be useful in melon fields. The philosophy of getting a structure created entirely for the birds isnâ&#x20AC;&#x2122;t new. Infact it is found round the world in varied places created entirely of various materials , different shapes and sizes , and having completely different which means altogether.

Figure 14: Image of a typical structure of a chabutra located in Iran

1.1 Isfahan, Iran In the geographic region, the pigeons would realize their safe havens within the nest holes within the earliest human homes. The humans would have use of their food and eggs, however presently accomplished the value of their wealthy, dry faeces created for valuable chemical. Hence, special bird towers were designed in order that thousands of pigeons may breed in them, their faeces would be found at the bottom. Each tower consists of an outer drum battered for stability and buttresses internally to forestall collapse, with lateral support provided by an inner drum that raises 0.5 as high. The centermost drum is split vertically by the galleries that interrupt the buttresses, and are Figure 15: Remains of one of the connected by a circular way. The galleries are more supported on barrel vaults and saucer domes. Between the buttresses, that seem pigeon towers , showing the inner like the spokes of a wheel on arrange, the domes are perforated to and outer towers drums permit the birds to fly up and down; equally, the inner and outer drums are connected by open arches at each level. The pigeons enter solely through the vaulted cupolas or â&#x20AC;&#x153;pepper-potsâ&#x20AC;? with holes in lateral walls, not superiorly, of honeycomb masonry at roof level one in every of these crowns the inner drum whereas others ring the flat roof of the most drum below and vary in range in line with the bottom arrange. A tower still in use at Chahar Burj has twenty, and four within the central drum. The pigeons enter solely through the vaulted cupolas with holes in lateral walls, not superiorly, of honeycomb masonry at roof level. Most builders appear to own been content to create the outer wall as a straightforward drum, alternately hollow out and internally braced, that provides its beaux arts fascination. The tower might be thought of as a cluster of eight tiny drums around a bigger central drum. The quality of the inside of the towers comes from pattern repetition on each surface, notwithstanding whether or not or not itâ&#x20AC;&#x2122;s snakelike on set up of the quality. Abundant of the sculptural quality of the structure is due bird holes measurement 20 cm x 20 cm x 27 cm on top of mud perches. Every perch is created of associate asymmetrical mud pyramid of unequal sides whose sq. base is clapped, while damp, on to the vertical brick face below the opening.The smaller high facet of the pyramid forms a horizontal perch and also the different sides slope away, creating access to the neighbouring holes easier for the pigeons adjacent.

Figure 16: View of the pigeon tower in dilapted condition , showing the honeycomb structure

In city itself, all of the towers seen at that point were circular in set up. Towers were sometimes comparatively break away their neighbours, though an oversized range would possibly sometimes occur in a very tiny space . Some were sited separately whereas others were sorted, with 9 engineered into garden walls.

Figure17: View of the pigeon tower in Iran

Figure18: Each pigeon sat near a cubicle , hundreds of such cubicles spiralling up in a geometric pattern

Figure19: The scale of human in the pigeon tower

A typical tower measured twelve.25 m x 4.45 m at the bottom and rose 7 to 8 m. The walls that were battered at the bottom were embellished by a board plastered band a pair of to three m on top of the bottom. This sleek surface could are to stop the entry of reptiles. The highest of the walls were crenelated. Their plans are the same as that of the sq. tower within the ruined village of Jozdan, towards Gavart, to the east of city. This consisted of a two-storey outer structure ten m high, encompassing a three-storey inner tower. Surprisingly, there have been conjointly an oversized range of tiny bird towers of the same old circular set up, set close within the tiny village. The towers area unit entered once a year for the gathering of manure. A little door, sometimes at ground level, is sealed. One tower probable to be in use, because it was in excellent repair, had no entrance below roof level. This was nearly actually to scale back the danger of snakes. Itâ&#x20AC;&#x2122;s thought that the reason for structural cracks was the tremendous vibration came upon by the wings of the thousands of panic-struck birds if a snake got into the tower. Some cracks may additionally are caused by earthquakes; a mud-brick building while not timbers to require tensile stress can be expected to crack badly in such conditions .There are various designs of pigeon towers based on their capacity, different tastes of their constructors. Tables 1 and 2 divide the pigeon towers of Isfahan into eight groups. Such attractive pigeon tower designs typify the traditional Persian enjoyment and mastery of pattern and color. External decoration varies according to the grandness of the tower; however, even the most exotic ones demonstrate a dual function of allowing entry of pigeons while preventing entry of snakes. The bands of smooth gach plaster, usually colored in lime wash or red ocher are certainly for this purpose; a snake might otherwise creep up the drum of the tower, aided by the rough kahgil (mud/straw) plaster of its surface. Moreover, string courses of brick and molded mud or brick cornices and friezes, besides providing an effective decorative capping to the wall, also provide projections that snakes would find difficult to navigate. Perhaps these intricate decorations were in use before the smooth plaster bands were introduced.

The honeycomb brickwork, which gives the pigeons access through the cupolaed turrets, is by itself very decorative and is usually carried around both drums as a balustrade, giving the birds somewhere to perch. During Shah`s time, the function of the towers was the collection of manure. It was the most valuable in Persia and was mixed with ash and soil in varying proportions for different purposes, of which the cultivation of melons and water melons was the most important. Both towers and birds belonged to the landlord who paid a tax to the Shah on the manure sold. Figure20: A pigeon tower observed

The material, unbaked mud brick plastered with mud, nice ingebeside a main road in Isfahan nuity. Timber was rarely used, because the whole structure should are designed to face up to compression. What is more, the ensuing vaults and domes will be on an individual basis thought of to be works of art. Their fascinating ground plans show rhythm, with the sequence of solid and void scrutiny with the simplest design of that building tradition. Generally, a picket timber wont to build bird towers structures by the whole structure to own the power to face up to axial forces, Domes and arches are largely used for structural applications, and therefore the structure has been designed in such the way that the arrival of pigeons and snakes may well be enter, to eliminate snakes entry, within the external faรงade, material are washed plaster and straw colourless to red was used, But if, rather than a skinny layer of thatch, the snake may benefit of surface rough thatch of friction emerged that access to the highest of the towers. In addition, architects used the polish and washed plaster to forestall snakes through live like the utilization of rows of brick, Figure21: The elaborate honeybrick frames. These cases that are the ultimate layer of plaster were comb like stairways and corridors wont to wash within the plaster on that they were implemented. The tower basically consists of an inner and outer drum; the outer drum may well be lobate. Generally the inner drum arrange is completely different from the outer, which is per the full arrange of the bird tower.

Figure22: The external and internal views of the pigeon tower

Figure23: Table showing different kinds of Ishfahanâ&#x20AC;&#x2122;s pigeon towers Figure24: The symbol of the inner pigeon structure Figure25: Honeycomb and its structure

1.2 Cappadocia, Turkey The dove cotes in Cappadocia are mostly designed like rooms which are set up by carving the rocks. The oldest samples of these cots in the region were built in the 18th Century but they are not many. Most of the cotes in the region were built in the 19th and early 20th century .It is significantly evident that the cotes were constructed near to water sources, on a place, above the valley and their entrance, called as mouth of the cotes were mostly built in the east or south direction of valleys. By this way of construction, it was proposed to protect the cotes from cold and get sun light inside. The cotes were generally constructed by carving the rocks as Figure26: The dove towers across a room. the landscape The inside area of the cotes range from 5 to 10 m2. The outer wall has 4 or 5 holes, which is used as an entrance for doves. Cote builders used to paint around the holes in order to attract the birds. Inside the cotes, there are hollows, which allow doves to lay their eggs and are called as ‘Nis.’ There are also roost poles, which lay between two walls and connect them with each other. Hence, this simple mechanism eases to collect the manure clustered on the floor. The cotes have a capacity to accommodate 100 doves. They were built quite above the valley level and on the rocks, which prevent humans and other creatures to disturb doves. In order to protect the cote against enemies, people use to make a mixture from plaster, white part of egg and lime and spread it to the walls for protecting the cotes. This mixture makes the surface slippery, which avoids dangerous wild animals to reach the dovecote. There is also an outside door, in the shape of a tunnel allowing a person to enter the cote for collecting manures and it is reached by means of the ladders. There are several kinds of ornaments on the outer side of the cotes in Cappadocia and its surroundings. Thus Figure27: Small dove tower opendovecotes lead us to see the unique examples of Turkish-Islamic ings with birds resting on them paintings .The red color, prevalently used in the region is produced from kind of a soil called ‘Yosa’, mostly found in the region. People also use root-paints produced from different plants and some paints produced from soil consisting of iron oxide.

1.3 Gesi, Turkey

Unlike the mud brick dovecotes examples in Isfahan, Iran, the dove cotes near Gesi are all built in the ground with brick towers above them. These towers have square, rectangular, circular or ellipsoidal base plans, good workmanship, and strong architectonic expressions. Their forms resemble the fairy chimneys of neighboring Cappadocia region, but they have well-finished geometric shapes. Generally, the structure of Gesi’s dovecotes is divided in two parts: 1) nest (hazne).2) the tower or the chimney (bun). The nest (hazne) or shelter part is like a lofty room or a well, in square, rectangular or circular plan, usually measuring 5m x 5m or 5m x 7m and their Figure28: Openings and railings of heights varying between 205m and 405m.1 the dove towers

Hundreds of regularly carved small cotes surround this central space from top to bottom, each to be used by a dove family. Sometimes one may come across larger nests that have complex plans and sections. Such nests usually have a large central hall connected to smaller individual rooms around, all surrounded by dove cotes. The towers in these cases are constructed on top of the central space. In order to let the incoming doves to adapt to the interior space, four or five timber beams or rafters are placed across this space. Doves coming into the central hall perch for a while on these beams before they move to theirown nests.

Figure29: A typical section of a dovecote through the nesting space

Nests open to the sky by a large hole formed at the top of the space over which the dove tower is built. The diameter of the hole measures around 100cm to 150cm. Just underneath this opening, on the floor level of the nest, there is a bowl hewn into the tufa rock to collect rainwater and snow from which the birds may drink. Human access to the nesting space is through a short tunnel and a door in the end. This tunnel or passageway is just wide enough for a person to pass. It starts from the lower part of the sloping land and reaches the floor level of the central hall. Depending on the slope of the site, it is either sloped or stepped up towards the entrance door. The entrance door and its lock are made of timber. This door is located a few steps higher than the main floor of the nest and its threshold is designed in such a way that snakes cannot pass through it. Bird drops that accumulate on the floor are collected at certain intervals, filled into sags and carried down the tunnel. Birds can feed themselves from spring to fall, but they need to be fed by people during winters. In order to feed them, a small hole connected to a 10cm diameter drop-tunnel, on the lower side of the tower is used. Food poured into this hole accumulates on the nest floor without disturbing the doves.

Dove towers or the chimney (bun) define and identify each unit crowning the upper parts of nests. They are strong enough to stand against natural forces and suitable to protect the birds from their enemies. As noted above, their plans vary from square to rectangle, from circle to ellipse. Sometimes, due to the slope of the land, they may have a rectilinear plan on the lower part, but curved on the upper. The width of tower structures varies between 150cm to 450cm, and lengths between 200cm to 650cm. Since mouths of towers always look toward the valleys, their sidewalls have to go parallel to the natural slope of the site and fit to it. The heights of these Figure30: Front view of the Cappastructures also vary, In order to protect the nest from predators; docia dovecotes the minimum wall height is around 210cm to 250cm.

The higher parts of a medium-sized unit may reach 350cm to 400cm. Towers that have larger dimensions or those located in steep slopes may have higher walls, reaching 300cm-350cm at their lower sides .Sidewalls of dove towers that go parallel to the slope of the land rise from lower to upper parts. This rise in the mouth of the towers is solved either by consecutive steps or by a sloping wall. The top of each wall or step, on the other hand, is finished with a strongly emphasized railing, which runs all around the mouth of the tower. The width of this stone railing changes depending on the thickness of the tower walls and generally varies between 40cm. to 75cm. They function as a small protecting eave for the tower walls as well as a watch platform for the doves. Birds coming in or going out of the nest land on these platforms; they rest and control the surroundings. Walls of dove towers are all built out of rubble or cut stone. The choice depends on: (a) The slope of the land in each location; (b) Existing towers nearby or around it; and how the designer interprets the existing structures and the surroundings; (c) The chosen or preferred plan type; (d) The proximity to the stone quarries or the creeks that accumulate rubbles nearby. Each of the caves or nests takes its air and natural light from the opening on its top, extended by the structure of the tower. The periphery of the nest (or central hall and all other nesting spaces around) is surrounded by dove cotes arranged in a clear egg crate order. The sizes of each cote are around 20cm x 20cm or 25cm x 25cm, just large enough to house a bird couple and their eggs. The depths of cotes range between 18cm and 25cm. Hundreds of these tiny small niches carved around the nest exhibit an interesting display; light coming from the tower above emphasizes the edges, leaving the caves in darkness and creating a dramatic atmosphere. If it is a nest with doves, upon their perception of a moving body, birds get frightened and start flapping their wings; at which time a small dust cloud fills the nest. After a period of time they adapt to the new situation and start humming and filling the space with noise.

Figure31: Different plan types of dove cotes in the Gesi region

1.4 Cairo , Egypt The pigeon tower is an ancient method of raising and keeping pigeons within a farm or a house near green areas. Although there are other modern buildings and techniques that are more efficient in keeping pigeons, old is gold as they say. Pigeon towers are unique icons and beautifully shaped, made with all natural materials and a design that allows fresh air to blow through. Pigeon owners often allow their birds to fly around through the fields.

Figure32: A typical bird tower in Egypt

Aside from being bred for consumption, pigeons are also raised as pets. They are really beautiful birds that have a special voice, wisdom and family structure. Pigeons are usually seen around grain crop times spreading along the fields, sometimes in the hundreds in a breathtaking scene. By sunset these birds return to their respective homes, giving the pigeon towers a homely feel.The main predators of these birds are crows and rats, who frequently feed on chicks and eggs. This is also why pigeon towers are more frequently found in areas where there are less of those predators. Figure33: The structure of the bird Some of these structures are built on top of the buildings and is tower used mainly of bamboo and maintained by the owner itself . This structure is found almost on timber every house as it is a favourite pastime of the people residing there.

They breed pigeons and use the faeces for manure . The pigeons are even trained and used in annual pigeon races .

In Cairo, Egypt pigeon towers were perched on a higher level. Unlike in Cappadocia where pigeon houses were made inside the ground, these pigeon house were higher than the houses in the city or in Ishfahan , where the houses are made of mud and brick. Looking like treehouses, these wooden structures are perched atop the rooftops all across the city. Figure34: The tower is usually found n top of a building

Figure35: Bird towers dominate the view of the city

Usually rectangular in shape, these high structures are mainly for breeding of the pigeon. The structure is a wooden frames with cross bracings and floor on each levels. In some cases, the floor for pigeon breeding is only on the top. Here food and water is stored and provided for the pigeons. A temporary bamboo ladder is placed to go from a floor to the topmost area where the pigeons reside . The facade is covered in bamboo skins with gaps in between from where the pigeon can go outside .

1.5 England The richest people across the United Kingdom and France built beautiful towers, just for pigeons. English dovecotes were connected with a large estate or manor and were a symbol of status - the greater the land of the estate, the bigger the structure could be. Known as dovecotes, pigeonniers, doocots, or colombiers, these buildings served as apartment blocks for hundreds of pigeons. In his 1920 Book of Dovecotes Arthur Cooke says: “Are not all dovecotes pretty much alike?” it may be asked. The answer to this question is emphatically “No.” It would be difficult to find two dovecotes quite identical in every detail, architectural style, shape, size, design of doorway, means of entrance for the inmates, number and arrangement of the nests. … They were designed and built by craftsmen gifted with imagination, who, though they worked Figure36: A typical dovecote with to some extent upon a pattern, loved to leave their individual mark a circular base found in England upon the thing they fashioned with their hands’. Dovecotes were used primarily to keep pigeons for their meat. As time passed it was realised that the pigeon faeces could also be used as a wonderful fertiliser and for production of gun-powder. Structure : Free-standing dovecotes are more common though. Medieval ones were usually round and massively built in stone. The circular plan enabled squabs (young doves or pigeons) to be collected from the nesting-boxes by a ladder attached to a revolving pole with arms, known as a potence.

Figure37: A dovecote merged with the main gate in Sussex , England

If dovecotes were timber-framed, they had to be square, rectangular or polygonal. With a little ingenuity, potences could still be used within some of these. Brick began to be used in the 16th century and lent itself to a variety of shapes, though a round plan remained popular. Though they may appear picturesque to modern eyes, dovecotes were functional buildings, almost always built in vernacular styles using local materials. However some of the later ones, particularly those belonging to large country houses, were consciously designed to be a feature in the landscape.

Figure38: Cross-section of a classic dovecote

Chapter 2: The “bird feeder” of Gujarat શબ્દ ‘ચબૂતરહ’ ઉપરથી આવ્યો છે. ઇતિહાસની એર ..સની એરણ પર ચકાસીએ એ હાલ મુખ્ય પોલીસ અખ4; ગણાતો અને તે શહેરના ચકલાની ચોકીઓની તપાસ રા તપાસ રાખતો તથા સર્વ કેન્દ્રસ્થળ “ચબૂતરો’ કહેવાતું. મોટા શહેરોમાં એકથી વધુ રહેતા. આમ મુગલકાળમાં ચબૂતરાનો સંબંધ પોલીસતંત્ર સાથે હતો. મિરાતે સિકંદરી જેવા ઇતિહાસગ્રંથો એવું પણ સૂચવે છે કે સદીમાં ગુજરાતના સુલતાનોના સમયમાં રાજ્યને ખર્ચે પક્ષીઓને નાંખવાના આદેશો અપાયેલા હતા. સંભાવના એવી છે કે પક્ષીઓ નિરી થઇ સલામત સ્થળે ચણી શકે તે માટે ગામડાઓમાં ચોરાની પડખેની પર તેમજ શહેરોમાં કોટવાલના ચબૂતરાની પડખેની પરબડી, સ્થળ સામ્ય કારણે ચબૂતરાના નામે લોકજીભે રમી રહી. મુગલ શાસન દરમ્યાન શહેરોમાં કોટવાલ મખ્ય એવી લોકપરંપરા પણ રહી છે કે ગ્રામપંચો તેમજ નાતપંચો ચબૂતરે એકઠા મળે અને નાના ગુનાઓ માટે પંખીને ચણ નાંખવાની સજા સુણાવે. Figure40: A typical feeder base of a chabutra at VIsnagar

(The word ‘Chabutra’ comes from above. On the aisles of the Chief of Police The checkpoints were counted and the checkpoints of that city were inspected and all the centers were called “pavements”. Living in more than one in the big cities. Thus in the Mughal period, Chabutra was associated with the police system. Chronicles like Mirat Sikandari also indicate that during the Sultanate of Gujarat in the century, the state was given orders to kill the birds at a cost. It is likely that the birds were playing in the name of Chabutara because of the similarity of the place on the siege of the thieves in the villages and in the cities of the Kotwals on the sidewalks, so that the birds could be freed. During the Mughal rule, Kotwal has also been popular among the cities in which the village panchayats and the Natpanches meet together in Chabutra and punish the fanatics for minor crimes)

Figure41: A room like chabutra found on top of a temple gate in Vadodara

Figure39: A view of Danapith chabutra at Bhuj

ચબૂતરા શબ્દની પછીતે ધર્મપરંપરા રહેલી છે તેની સાથોસાથ ન્યાય તોળવાની પરંપરા અને તે પણ સમુદાયની વચ્ચોવચ ન્યાય કરવાની લોકપરંપરી સદીના સિલસિલાની દહાઇ દઇ રહી છે. ગુજરાતમાં હિંદુ ધર્મપરંપરાના જેમ દાનનો મહિમા અનેરો છે તેમ અન્ય ધર્મપરંપરામાં પણ દાન, સખીની કે ખેરાતનો દરજ્જો અવ્વલ છે. પરંત પંખીઓ માટે ચબુતરો, પંગડા ? ( Following the word Chabutara, the tradition of judging justice along with the traditions of justice and the folk tradition of judging among the community has been tens of thousands of years. In Gujarat, the status of charity is as high as that of Hindu religion.)

કબૂતરખાનાની રચના કરાવવા અંગે બધી ધર્મપરંપરામાં સમરૂપતા વિશેષ કરીને ઇસ્લામની પરંપરામાં પંખીઘરની કે પંખીને ચણ નાખન” પરામાં સમરૂપતા નથી.પ્રથાનું સ્થાન કેટલું એ અંગે મતમતાંતર પ્રવર્તે છે. અલબત્ત, ગુર્જરી સુલતાનો વિશેની ફારસી તવારીખોમાં એવું જરૂર નોંધાયું છે કે એમ સ્થાપક અહમદશાહના પાત્ર લતીફખાનના વિસરાયેલા પત્ર અર્ણન વાયું અમદાવાદની દુકાનમાંથી કબૂતરો માટે બાજરો ખરીદી રાયેલા પુત્ર અહમદશાહની સરો માટે બાજરો ખરીદી, ખમીસના ખોબામાં લાં નજરે પડ્યો હતો !

Figure42: A chabutra merged with a room and located at the center of the chowk in Rander

(In all the rituals regarding the formation of pigeons, there is no uniformity in the tradition of Islam, especially in the tradition of Islam.)

- ભૂજ, રાજકોટ, વડોદરા અને સુરતના ચબૂતરાઓ, આગવા શૈલી સંયોજનની સાથોસાથ સમગ્ર ગુજરાતમાં જેનો પ્રસાર છે તે ચબૂતરાની પરંપરાના ફલકને દર્શાવવા પસંદ કર્યા છે. મધ્યગુજરાતના મહુધાનો ચબૂતરો નાનાશા ગામના નાના વિસામાને ચબૂતરાની પસંદગી કળાકારીગરીનો વારસો રાષ્ટ્રીયમાર્ગો પર કેવો વેચાઇ રહ્યો છે તે દર્શાવવા માટે પણ છે. દર્શાવે છે જ્યારે ખેડાના કાષ્ઠકળાના નમૂના જેવા ગુજરાતમાં વિવિધ પ્રજાઓના સમન્વયથી રચાયેલી લોકપરંપરા જેટલી ભાતીગળ છે તેટલી અટપટી પણ છે.

Figure43: A different form of chabutra loacted at the center of the main street in Gomta ,Rajkot

(Bhuj, Rajkot, Vadodara and Surat chabutras, along with Agra style combination, have chosen to display the pane of the tradition of Chabutara which is spread all over Gujarat. The midwife’s cousin is also there to show how the legacy of artisanship is being sold on the national highways to the younger Visamas of the village of Nanasha. It is as absurd as folk art made by the coordination of different castes in Gujarat, such as the model of the Kheda woodwork. ) Figure44: A tower like chabutra in the city of rajkot

The ‘Chabutaro’ metaphorically stands in place of a tree in the confined locality of a pole. It was planted into the center of the pole so it would become a point of gathering for all the residents. Just as people gather up in the villages under a huge banyan tree, similar purpose was served by the Chabutaro. Being in the center of the pol all the important public gatherings and ceremonies took place around itself. This made Chabutaro a very important part of the pol. The Chabutro or bird feeder is an important structure, usually a few meters high sitting on a pedestal, is located in the square and reflects the humanitarian and benevolent life styles of the people. It is a unique cultural institution of Gujarat and reflects a concern about the welfare of all life forms.

Figure45: A chabutro found attached to a temple on the way to Junagadh

Chabutro tower for birds to pick up the grains thrown for them regularly in the morning and Parabdi for providing them water by residents are small architectural structures in the chowks of every pol. In English, it can be vaguely defined as “pigeon tower”. The word Chabutro has arrived from Gujarati word Kabutar since Chabutro is specially constructed for use and breeding of Pigeons only in Gujarat. In other countries like Egypt, it is known as Kapotar. It is constructed to serve seeds and water to them and other domestic birds like sparrows and parrots. Gujarati chabutras can be of various shapes and sizes, as we learnt later, while discussing the folk art forms of Gujarat with Esther David—an eminent art critic, columnist and author of a book on Ahmedabad. Some can be as large as a room. Built from stone and bricks these are elevated platforms which provide refuge to a variety of birds, ranging from the small sized sparrows, mynas and pigeons to large ones such as peacocks. It is said that during the medieval centuries, the Sultans of Gujarat had ordered to provide grains for birds and these were offered at the parabadi (a plinth or a structure where grains and a small water container were kept for birds adjoining the Chabutra (a public square near the police station). As the parabadi and chabutra were contiguous in many sites, over time, they became synonymous.

Figure46: A tower like chabutra with raised platform for birds to sit in Bhuj

The design of the chabutra seems to have emerged after thought for its primary function of providing a safe space for birds; if possible, space for people to sit below it and access its upper platform thus, taking into account the requirements of birds and people. By designing a structure with a pillar supporting a platform, it ensures that little space is required on ground level for its construction while providing for ample space for birds along with safety in the platform above.

As artisans carved wood with beautiful motifs and figures, the chabutra turned into a small masterpiece of the woodcarverâ&#x20AC;&#x2122;s skills as they hand carved the different elements of the structure and integrated them to construct a well-proportioned and balanced structure. In this way, the unique form of the bird feeder organically meshed concern for birds, comes in a functional design, ornamentation and is a craft in its unique form. It also offers a glimpse of the traditional benevolence of the locals for birds, their philosophy of jeevadaya or compassion for all living beings and the skill of local artisans. The food is kept on a wooden plate like structure and is raised above the ground in order to save the feeding birds from stray dogs and cats. The chabutro in ancient time was also known for the wood carving done on it. Apparently it doesnâ&#x20AC;&#x2122;t merely remain a place for feeding birds but was looked upon as a decorative element in public places and also as an iconic location, which people Figure47: Highly ornamented can identify. feeder base of a chabutra In Gujarat, we have found hundreds of villages and also some urban settlements having bird feeding platforms. Many communities in dry regions having bird feeding platforms. Many communities in dry regions brought their values of animals care to the urban settlements. The regions prones to drought and thus having periodic scarcity of grains have invariably been found to have more places for feeding birds than the more developed regions. The less you have, the more you share. And not just with human beings but also with the nonhuman sentient beings. Majority of the Chabutras in Gujarat are in the walled city of Ahmedabad. At present there are more than 200 chabutras in Ahmedabad. In each pol or street the Chabutras are erected either on the individual basis or collective basis. They are managed by the Panch, a group of residents of the pol. The residents place grains in the Chabutra for the birds as per their capacity. Even today, the tradition of placing grains is existent.

Figure48: Chabutra found in Surendranagar

Chapter 2: Chabutra in Gujarat

Gomta, Rajkot

Rander

Surendranagar

Rajkot

Songadh

Vadodara

નહીં કોઇ પંડિત, નહીં કોઇ કાજી, પાંચ તત્વ ગુન તીન. કોઇ સુનત કોઇ કાન છેદાવત, દુગ્ધા આપે . કોઇ સંધ્યા કોઇ નમાજ પઢતે, કોઇ ધ્યાનમેં લીન રામ-રહીમ બડે કર જાને, સોઇ સંત પ્રબીના -નિર્મલદાસ

2.1 Philosophy and Religion Since ages, itâ&#x20AC;&#x2122;s the value system and tolerance that gives an example of living in conscience with animal and bird life. People in the city follow the religions that preach to be kind to other living creatures on earth. In the morning, food and grains are kept in the small niches on the walls , or at the parabdis for the birds and animals to feed upon. By noon, cooked food is left in some of those places. The birds take refuge in the niches carved out into the walls of houses, when there is scorching heat in the noon, or at horizon at night. The world of nature with birds and animals , as well as humans and divine figures carved on walls and pillars ,astonish us with its beauty . It a reminder in time and a unique way to show that birds and animals are our companions and equals in the spirit world . Non-violence as a principle: Principles of non-violence have been important to the Gujarati society and they have manifested symbolically and physically in the traditional architecture of this region. The stone and wooden bird feeders, temporary animal shelters, animals keeps, animal hospitals and water places for animals have found an architectural expression of Gujarat. The wooden bird feeder is a beautiful looking object, however, when analytically drawn, its complexity surface. The stone ones are also equally complex, however, when these two types are compared; the local knowledge of the craftsmen comes to fore. A â&#x20AC;&#x2DC;modernâ&#x20AC;&#x2122; Panjara Pol was built in 1939 by the rich merchants of Ahmedabad in the then outskirts of the new part of the city. From the viewpoint of their concern for animals, employed construction system and their astuteness, this animal keep and the hospital in the tower are true symbol of the societal values of nonviolence of the Jain and the Vaishnava communities. It was almost entirely built with the help of precast concrete Jali (grill) and other components, including the operable doors and windows. The wedge shaped areas with the protected shelters on two sides and a hay storage place have a water place for the animals.

Figure49: An old man feeding the birds at a sidewalk in Delhi

This tower is the Animal Hospital where the large animals are treated and secluded while smaller animals are treated on the subsequent upper floors with birds on the top chamber .Practically no wood is used most of its from precast panels and the slabs of the animal shelters have been made with brick and lime mortar with galvanized to providing nominal reinforcement. The central tower with a clock and a weather cock atop was a land mark of that are till the sixties. The Hindu religion preaches two kinds of Karma: ishti and yagnayag. The first karma also called Purtadharma. It suggests benevolent action to donate for construction of public utilities for the birds and animals, like wells, stepwells and parabdi or chabutaro. Killing animals, not even a fly, was prohibited on this land. This notion has particularly manifested itself in Ahmedabad in the form of Panjarapols or animal homes and Parabdi or Chabutras. According to Kirti Patel, a well-known artist who has also documented local art forms in considerable detail, the chabutras has a deep sociological and religious significance in Gujarat. The form and carvings on the Chabutras are influenced from the architecture of Hindu, Muslim and Jain architectural designs, but the ideology of putting up the bird feeders is linked to the Jain faith which preaches non-violence and humanity. According to one view, originally chabutras were meant to be the destination of message carrying pigeons in the royal households. It is well known that long before the day when wireless and telephone existed, messages were carried by trained pigeons. In India too pigeons were widely used for carrying messages from one point to another. It is believed that, at least in Gujarat, chabutras or similar structures were the logical destination point of all birds, including the message bearing pigeons. Even though chabutras may have been of some use for message carrying pigeons in earlier times, there is bound to be much more than this, as far as their significance and evolution is concerned. In earlier times vaids and hadvaids (Ayurvedic physicians and bone-settlers) did not charge the patients. They cured the patients from fatal accidents and suggested them to feed grains in some quantity to cows, dogs and birds. Still today, the Jain people believe in the ideology of provide for the birds and animals and hence many Panjrapols and Chabutras are built in the city. In the local lore there is a wide belief that after death a personâ&#x20AC;&#x2122;s soul assumes the form of birds and animals. So by caring for birds they also care for the souls of their departed ancestors. Thus, feeding birds and animals is considered to be as good as offering to their ancestors.

Even in the present day , the community follows the tradition of feeding the birds and animals by providing grains and leftover food. It is a tradition to make the first roti of the day for the cow. Everyday , the aminals are fed and then the people would sit for lunch. In the morning , grains are scattered on the plinths and the Chabutras for the birds and the water is filled in the panihara. In the modern societies , chabutras are constructed and plinths are created for this purpose. It is considered in the religion to look out for the weak in order to attain ‘punya’ and eventually ‘nirvana’. They stand as symbols of the broad humanitarian ethos of the people of Ahmedabad, a conventional acceptance of the co-existence of human beings, animals and birds, and above all, adherence to the putradharma philosophy of life preached in Indian culture. They are maintained by the pol panch. It is an expression of an intimate relationship between humans and animals. This object is a direct manifestation of the non-violent and animal loving philosophy of the Hindu and Jain communities of Gujarat. Its main purpose is to care for and feed birds in a way that other animals such as cats, dogs and cows do not usurp the grains and waters kept especially for them. It also provides them with a temporary shelter during hot summers and the rainy season.

2.2 Form and elements: A few raised square stone platforms called Chotaro to feed cows and dogs and small tanks called Havado to fill water for them are still found in the pols and on public streets. Some of the houses have gokhs in the backwall where if one has time to look up can find parrots or doves taking refuge from the heat, or other animals. They are often found in the gokhs perching loudly or singing.

Figure50: A jharokha embedded on a chabutra

The niches and holes in the external surface of walls are decorated with stucco plaster using motifs such as vegetables and fruits or animals and birds themselves. At some places miniature jharokhas are embedded into the walls to house the birds. The outer fascia of the house are treated with the same level of interest as internal. The external walls become the face for the chowk, streets and the houses the forms of nature also take care of the surroundings of the pol. The Chabutra is placed on a big thick pillar fixed on a platform. The platform of the Chabutra is the Pithika. At some places, there is a small water room on the platform of Chabutra . Such Chabutras are called Parabdi. A ladder is placed against the pillar to climb upto the Chabutra to place grains and water in a bowl for birds.

Figure51: An idol carved at the plinth of the chabutra

Figure52: The form and elements of a typical chabutra

It is a typical structure of a roofed platform or plate covered with a small dome at the top. It looks like an umbrella, and hence, called chattri, raised on a stambh (pillar) in the centre of a chotaro to protect the birds from cats and dogs. A ladder is attached to reach there for throwing grains and to place an earthern bowl of water. Constructed as a round, square or octangular shape in stone, the chotaro, also serves as baithak â&#x20AC;&#x201C; a resting place for the people nearby. The type to be seen most commonly is the ek-dandia chabutras which is essentially a platform covered with a dome or hood and mounted on a 5-6 feet high pole. On the platform a dish of water and some food is put for the birds.

They are quite elaborate structures that are either richely carved or brightly painted. These properties give them the status of a landmark. The forms of the Chabutra either imitate the tree that shelters the birds or dwellings that house people in terms of form. They are made as pavilions in the air, supported on a column or a pedestral. Food such as grains and water is provided on the pavilions for mainly the birds. The large pedestrals below are made hollow from within, which becomes the storage for birdâ&#x20AC;&#x2122;s feeder. They are constructed in wood or stone, mostly decorated with beautiful carvings. Some carry floral designs. Traditionally, the chhatri raised on the feeding platform is supported by eight thambalis at corners which bears madal shilp- sculptures of the instrument players and dancers. The border between each two of them is decorated with Illika toran. The ceiling at each of its eight corners has sculptures of sinh (a lion). They are also decorated with madal shilp of gajvyala or po- Figure53: The chattri of the patvyala â&#x20AC;&#x201C; sculptures of elephant or parrot. The ghumat invariably chabutra at Raipur Bhajia house has auspicious symbols of Kalasha and Shrifal. At the city scale, it is an ornately crafted wooden object occupying a nodal space within fabric of neighbourhoods. The heritage is spread far and wide in the water-starved areas of Kutch and Bhuj, Saurastra as well as North Gujarat. Figure54: Different kinds of scultures inscribed on various elements

A comparision of the stone Chabutra and wooden one is vital. The persistent image of making in different materials, the role of lathed components, sense of the material coming through the visual lightness or heaviness of the object and ways of resolving details are remarkable here. The wooden chabutra is very complex in terms of the joinery and requires resourceful carpenters to put together and erect the object. Though the location of Chabutra, niches and holes in plan, puts them amongst people, the location in elevation, lifts them above Figure55: The wooden chabutra at the ground. So they become inaccessible for predators like cats, Sanskar Kendra dogs and mischievous kids. The Parabdis at Gangath Mahadev â&#x20AC;&#x201C; Baherampura, Bahucharaji Mata Temple â&#x20AC;&#x201C; Navapura, Geeta Mandir road and Vejalpur village are believed to be more than 400 years old. Many like the ones near Muleva Parshwanath Derasar, Panjara pol and Lalbhai-ni pol, Parabadiwalo khancho, Raipur and Kharakuva â&#x20AC;&#x201C;Ni pol are 100-150 years old. The parabadis in Dhal-ni pol, Mandvi-ni pol and near Ajitnath derasar, Shahpur are remarkable for having Kamal carved at the top. Figure56: The motifs of musicians at the feeder base of the chabutra

2.3 Human Encroachment: In earlier times, the Chabutro was used only as a bird feeder for providing food and grains to the animals and birds in the pol community. As t¬ime passed, the importance of feeding birds and animals reduced and it merely became a symbol for the pol community. But the space around the Chabutro was still used for gatherings and it acted as a node and a landmark. Slowly, other religious institutions such a temple was made around the Chabutras. In the city context, shops are constructed around the Chabutro which gives the space Figure57: The chabutra at chauan identity as a landmark. It acts as a point of gathering for the mukhji ni pol , Zaveriwad people, for religious purposes or commercial purposes. In pols like Zaveri pol, the Chabutra is surrounded by a cluster of shops selling street food and various other small objects. The built around the Chabutra is mainly jewellery shops and hence it is a highly commercial street. The “larri” surrounding the Chabutra targets people who would visit the shops around and has a pause at the Chabutra. The Chabutra at the Raipur Darwaza, is changed into a Bhajia shop. In this case, the Chabutra is not functional but rather acts as only a landmark. The shop encroaching the Chabutra is used as a shop for selling ‘Bhajias’. In a commercial street like Manek chowk, the ideology of the Figure58: Chabutra found at relief Chabutra to be used for feeding the birds is lost. As the human road , near calico dome surroundneeds and requirements change, the space around the Chabutra is ed by street vendors used as a place where street vendors would sell various vegetables and household goods. Here the Chabutra is denoted as a landmark, rather than a bird feeding element. Whereas in the pols of Ahmedabad, where the streets and cluster is mainly for residential purposes, the use of the Chabutra is completely different. On most of the pols, it is still used as a bird feeding element, but the use of the stambh, or the pole changes according to the needs of the people. In pols like Vagheshwar Ni pol, the Chabutra is connected to a temple. People would come to the temple for worship and would feed the birds. Though the idea of the element remains the same, the form of the element changes. The pole is replaced by a temple and stairs are placed to go up to the octagonal base. In some pols, it is also replaced by a provision store. Still the ritual of providing grains and water to the birds in the bird feeder is practiced in pols, even in spaces where the human encroachment is evident.

Figure59: Chabutra at lambeshwar ni pol situated beside a temple and a water cooler

Figure60: A Chabutra located at Lehariya pol situated on top of a provsional store

Figure61: Karanj Chabutra loacted at middle of a busy street

Figure62: Chabutra at Raipur Bhajia house

તું ચેતન જડ તન ક્યા ઢંઢત, ક્યાં ભરમાયા બાજીમેં. તે હૈ બ્રાહ્મણ ક્ષત્રી વેશ્યમે, તું મુલ્લાં તું કાજી ! તું હૈ મનુજ દનુજ દેવનમેં, તું છે માત પિતાજી, તું જલચર થલચર પશુપક્ષી, તુઇ સકલ ગજ બાજર. -મનોહર સ્વામી

Chapter 3: The “Chabutro” of Ahmedabad 3.1 Introduction Majority of the Chabutras in Gujarat are in the walled city of Ahmedabad. At present there are more than 200 chabutras in Ahmedabad. In each pol or street the Chabutras are erected either on the individual basis or collective basis. They are managed by the Panch, a group of residents of the pol. The residents place grains in the Chabutra for the birds as per their capacity. Even today, the tradition of placing grains is existent. Figure63: Chabutra at panjra pol The ritual of bird feeding gave rise to the built element known located at the center of the chowk as Chabutra. This element transformed the place not only into a

center of activity but also acted as a visual and functional nodal point in the old city of Ahmedabad.

“….the manner in which public places are animated and used, they respond to the idea of the city being an expression and celebration of collective existence.” – Mehrotra 80 Along the entire street length one finds a central community space, with a religious shrine or a ‘parabdi’ for birds and a tree. Many of the festivals took place in this central court. The settlement patterns were essentially based on a personal and religious relationship which allowed the rich and poor to live together. There was a strong concern for community welfare.

Figure64: Chabutra at relief road

Chabutras are traditionally been used for feeding birds but more than that they have extended beyond the image of an element and act as a common gathering place. The presence of Chabutra accentuates activities like panchayat, celebrating festivals, daily activities such as worshipping, playing and is the primary place for interaction for the residents of this pol. Hence, it is important to notice that the Chabutara as a spot or place within a residential locality has an important meaning along with its functional connotations. One can almost view this object as an important urban design element that was once a part and parcel of the people’s lives and all age groups related to it in their daily life. It was a place around which the village institutions came about. The design, construction and articulation of the Chabutara were primarily aimed at making a memorable object that also fulfils the functional requirements. While there are said to have been about 300 chabutras in Ahmedabad in earlier times, their number has shrunk in the present. Yet, as it stands today, the Karanj chabutra speaks of a wonderful legacy of the city and the concerted efforts at giving it a new lease of life. In 2007, it was restored to its former glory by a meticulous process that involved documentation, dismantling the structure and its restoration.

Artisans worked at restoring the carved wooden elements, crafting missing elements from recycled, seasoned teakwood true to the character of the original at the artist’s workshop, fitting them correctly as per the original design and then reassembling and installing the chabutaro to bring back the glory of the original structure and of the original ambience of the locality. The dismantling of the original structure, restoring the parts and re-assembly was carried out by Prabhudas Mistry and his team under the guidance and supervision of architect and historian Prof. Rabindra Vasavada. Well-known artist Amit Ambalal generously contributed funds to undertake this work from his family trusts and allowed for the work to be carried out in the compound of his bungalow where he had a carpentry workshop. Today the Karanj chabutra stands tall, its columns holding up exquisitely carved, angled brackets that hold up an octagonal platform with a delicately latticed edge, marked by animal heads at each corner on the exterior, there are also a few delicate posts Figure65: Karanj chabutra loacted holding up the domed canopy, with a small dish attached to a pulley at middle of the road that allows fresh water to be filled regularly. Located next to the Karanj police chowk in the Teen Darwaza area in the Old City and surrounded by shops and sellers, Karanj chabutra adds charm to the historic precinct. More recently, in February 2019, an old chabutra in Padshah Ni Pol on Relief Road, Ahmedabad, was given a new lease of life: graced with jali work in a parapet wall of its plinth, small niches in the structure above for roosting and a row of bowls for water. Its restoration and presence speaks of the renewed interest in restoring the city’s unique living heritage of chabutras that offer an insight into Ahmedabad’s physical and social fabric. Yatin Pandya, an architect in Ahmedabad—an organization working for the preservation of the cultural heritage, interpreted chabutras to us from the perspective of town planning and architecture. He said that in earlier times chabutras were an important element of urban design and served to enhance the utilization of Figure66: Newly modifies chabutra space judiciously and aesthetically in pols i.e. traditional urban at suigara ni pol settlements in Gujarat. Even now, old chabutras in villages and pols are located very prominently in the centre—the place where most community interactions and the celebration of festivals take place. (Shivaji. Indian architect and builder.pg75.2014) Within the urban space, people live their lives with their knowledge, belief and experiences. A chabutra installed in an open space changes the meaning of the space spatially. It introduces a new center to otherwise fluid space. It orients the activities in the open space and gives a new meaning to the space . Sometimes adjoining a temple or sometimes standing alone, Chabutras are a rustic benevolence of man and nature in a physical environment. Figure67: Chabutra located at a busy chowk in Chaumukhji ni pol

The settlement patterns were essentially based on boards of a personal and religious relationship which allowed the rich and poor to live side by side. There was a strong concern for community welfare. Many of the festivals took place in this central court. The presence of Chabutra accentuates activities like panchayat, celebrating festivals, daily activities such as worshipping, playing and is the primary place for interaction for the residents of this pol. The repetition of constructing Chabutras across the city creates several visual and functional nodal points. The repetition of the element, provides food, water and shelter for birds and also connects the old city through nodal points.

Figure68: Gatherings and discussions at the chabutra in Khara kuva ni pol The open space marked with Chabutra and it induces the notion

of centre and periphery to the space. All the festival celebrations, gatherings are oriented towards it. The space around the Chabutras develops over a period of time. The street light, otlas, benches are oriented towards the Chabutra. It is no more a bird feeding elements but is also considered a special place not only as an identity to the square but also as an auspicious element. In the midst of hustle and bustle of the congested city life or in the middle of villages, they stand tall and majestically silent in their stoic grace and elegance, beautiful to look at and a refuge for the little winged creatures.

3.2 List of various chabutras in Ahmedabad List of Chabutras in the walled city of Ahmedabad: 1. Anandshankar dhurav road 2. Shamla ni pol 3. Panditji ni pol 4. Vagheshwar ni pol 5. Lambeshwar ni pol 6. Suigara ni pol 7. Chaumukhji ni pol 8. Fatasa ni pol 9. Dev ni sheri 10. Panjra pol 11. Ambaji ni pol 12. Swaminarayan temple 13. Khara kuva ni pol 14. Raipur Bhajia house 15. Dhal ni pol 16. Doshi ni pol 17. Lehariya ni pol 18. Relief road , calico dome 19. Parabdi no khancho 20. Shantinath ni pol

Figure69: Various chabutra located in the wlled city of Ahmedabad

Factors affecting the typology The

Factors

Religious/ Philosophical

Physical context

Social

Typology of a Chabutra

Location and placement

Scale

Platform

Elements

Feeder base

Motifs

Materials

Roof

3.3 Urban Placement The location of the chowks has a huge impact on the usage of the space in the chowk . If the chowk is located near of adjoining the main road , the activites that take place there are more commercial and public . The chowk and chabutra near relief road is surrounded by shops. The chabutra is surrounded by stalls and vendors selling tea , fafda and cigarettes . The people usually found in the chowk are the ones going to office or having a tea break at the chowk. The chowk such as the one in panjra pol is inside the pol far away from the main gate . The chowk and the chabutra is surrounded by residential houses . Hence the activites differ , the chowk is used only in the evening as a gathering space by the residents . The chabutra is used in the morning and the evening to feed the birds . On the basis of the location and placement of chowk , certain diagrams were derived.

Figure 90 : The location of Chabutras at various pols in Ahmedabad

3.4 Sections On observing the sections of the chowks in various pols , a difference in the scale is deduced . The diagram shows the sizes of various chowks in comparison . It is observed that the chowks having a more commercial use is bigger in scale than the one which has a residential use. But the placement of the chabutra varies in terms of the section too . If a temple is found in the chowk , the chabutra will be attached to the temple or beside it . If the chowk has a tree , the chabutra will be beside the tree. In a commerical chowk , the chabutra will be observed to be at the edge of the chowk . The space surrounding the chabutra will be used by the vendors selling food and other commodities . Whereas in a residential chowk , which is devoid of any tree or temple , the chabutra will be found in the center of the chowk . In some pols like Shamla ni pol , the chabutra is placed at the center of the chowk , but the plinth is merged with a blackboard , temple and a storage space. In certain commercial spaces , the chabutra is not used for a bird feeding element , but is merged with other functions or is used as a visual identity of the space. In residential private spaces the element is still used for feeding the birds. The chabutra is a singular element found in chowks having narrow streets . In wider chowks , the chabutra is more integrated with other functions of the pol.

Figure 91: Various sections of the Chabutra with the surrounding context

3.5 Form of the Chabutra In a public realm , the form of the chbautra is an ek-dandia chabutra with a hihg plinth . In a residential realm , the form is mostly integrated with any function of the user group. The form of the chabutra varies with respect to the surrounding user groups or the location where they are placed. No two chabutras have the same exact form. Variation of the form is observed due to change in the scale or the different elements. In certain chowks , the form is integrated with a shop or a temple to use the space more judaiciously . In public spaces like the Raipur Bhajia house , the pole of the chabutra is merged with the shop and a plinth for sitting is found beside the shop . Whereas in lambeshwar ni pol , the chabutra is placed beside a temple and water cooler , but the form is of an ek-dandia chabutra. Certain chabutras are as large ar rooms. The chabutra at Lehariya ni pol is found on top of the provisional store . This chabutra is attached with a parabdi where water for the birds is kept . The chabutra at Anandshankar dhurav road is attached to a room , where the pole of the chabutra acts as a structural element for the room. In certain places like Ambaji ni pol , the chabutra is merged with the temple . The pol of the chabutra is found inside the temple and the feeder base on top of its roof . In religious institutions like Swaminarayan temple , the Chabutra has a low plinth where people can easily scatter grains . The height of the chabutra is lower and the element of pole is missing . The pole of the chabutra is required to provide a certain height to the feeder base so that other animals such as dogs , cows etc cant harm the birds. But in certain cases where the space is used for other purposes , the pole is replaced with other elements to provide the height to the feeder base. In certain pols , where there is a need for a sitting space, the form found in such a way that the plinth is low enough for people to gather and sit. On basis of these observations , typologies are infered.

Figure93: The form of various chabutras

Typology of a Chabutra Form

Ek-dandia

Integrated with shop/temple

Integrated with storage spaces

95 12

3.6 Elements Every chabutra has a same set of elements , the platform , the pole , the feeder base and the roof . But the elements are percieved differently in most of the chabutras . In the chabutra of anandshankar dhurav road , the pole is integrated with the function of the room , and the feeder base and the roof was on top of the room . In chabutra at doshi ni pol , the element of pole is replaced with a huge room like structure . The feeder base is on top of the room and the roof is a flat roof which can also be used to feed the birds . In shantinath ni pol , the high plinth is used for storage space . The roof is cantilevered enough to protect the whole structure rather than only the feeder base. In Suigara ni pol , the elements are percieved in a completely different manner. The feeder base is covered with stone which has small perforations through which the birds can enter inside the chabutra to the platform where the grains are kept. The birds can reside inside the feeder base. In fatasa ni pol , the feeder base is found within the huge foliage of the tree. The roof of a sloping roof and the base is ornamented with jharokas . In khara kuva ni pol , the element is a part of the space around the huge tree. The platform is flat and the roof is a sloping roof.

Figure93: The various elements of the Chabutras

Learning: Typology of a Chabutra Elements

Platform • • • • •

Storage space Plinth for sitting Temple Commercial shop Support

Roof

Feeder Base • • •

Spherical base Flat base Supported by brackets

• • •

Staggered sloping roof Circular dome Sloped roof

3.6.1 Platform The platform of the chabutra is used in various ways. In some cases like lambeshwar ni pol , the platform is used as a storage space and is merged with the temple on one side and water cooler on other . In shamla ni pol , the platform is used in many way , as a sitting space , a temple , a blackboard and also as a room for storage. In swamirayan temple , the platform acts a feeder base . In most of the cases the platform as a storage space or a small plinth . These chabutras are known as ek-dandia chabutras . In Ambaji ni pol , the platform acts as a temple base which is extended for sitting purposes . In certain cases like the chabutra at relief road or the chabutra at chaumukhji ni pol , the plinth is not used at all . At sanskar kendra , the plinth is created in level where you can sit and also feed the grains at the feeder base. In certain chabutras like the one in law garden , niches are created in the low plinth for birds to dwell inside. Some chabutras have wider and lower plinths which are used for gatherings .Whereas some chabutras have higher and narrow plinth which is mostly used for storage space. Based on the variations in the platforms , certain typologies are created.

Figure94: Compilation of the platforms of various chabutras

100

101

102

Platform:

Storage space

Plinth for sitting

Temple

Commercial shop

Physical support

103

3.6.2 Feeder Base The feeder base of the chabutra is used to keep grains for the birds and for them to rest. Most of the feeder bases are supported by jharokhas and a pole at the center of the base . Some chabutras like the one at doshi ni pol , or tambu chowki at dariapur , have a feeder base in form of the top of the room . In the chabutra at swaminarayan temple the plinth is used as a feeder base . These elements are beautifully decorated in all ek dandia chabutras with jharokhas. Some jharokhas are imscribed with motifs of flowers and leaves . In some chabutras , it is inscribes with dancing idols or musicians.

Figure95: Compilation of the feeder base of various chabutras

104

105

106

Feeder Base:

Spherical base

Flat base

Supported by brackets

107

3.6.3 Roof The roof of the chabutra the element which is different with different materials . The most common form of the roof is the chattri . The chattri is a dome like structure with a kalash on the top. The ornamentation on the chattri can denote the time and the ritual of the structure . The chattri is decorated with motifs of gods , or musicians . They are also decorated with motifs of animals like lion or elephant and birds like peacock . In certain chabutras , the roof is a flat sloping roof , with a higher cantilever at the edge. These kind of roof have little or no ornamentation on the top . On basis of this compilation , two broadly classified typologies of roofs are found in a chabutra .

Figure96: Compilation of roofs of various chabutras

108

109

110

Roof:

Staggering sloping roof

Circular dome

Narrow Sloping roof

111

3.6.4 Materials Initially the chabutras were made of stone and wood. As time passed various new materials like brick , cement , tiles or metal were intoduced. In a stone chabutra , due to the ease of use of the materials for various craftesmen , various motifs of gods, animals , musician and dancers are observed. These chabutras have heavily ornamented dome shaped roofs. The cantilever of the roof is less compared to chabutras made from other materials . The base has a huge stone pole as a support and small jharokhas supporting the cantilever of the base. In a woden chabutra , the material is hard which created a limitation of making motifs for the chabutra . But as it is easier to carve when in a bigger scale , they have beautifully ornamented jharokhas . The roof is cantilevered enough to provide shade to the whole structure . Wooden chabutras usually have a sloping roof , but in some case such as the karanj chabutra it has a dome shaped roof . The have smaller poles for support in comparison to the stone chabutras but longer and more decorated jharokhas to support the feeder base. In current days , chabutras can be found made of brick and concrete too . The chabutra at lehariya pol is made of bricks . As it is a stronger material , the feeder base is supported by jharokhas with lesser depth . The roof found is a sloping roof, and no ornamentation is observed. In pols like khara kuva ni pol , the chabutra is created by bricks and is covered in tiles . Tiles have certain limitations , and due to which the form of the chabutra is different .

Figure97: Compilation of materials and colours of various chabutras

112

113

114

Stone:

Wood:

Metal:

Concrete:

115

M Religious: • God • Angels • Saint • Kalash

116

Animals: • Lion • Elephant

Motifs: Nature: • Leaves • Flowers

Figures: • Musician • Dancer

117

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Chapter 4: Typological Analysis 4.1 Type and typology of chowk and chabutras in Ahmedabad “To raise a question of typology in architecture is to raise a question of the nature of architectural work. The work of architecture is considered unique, an entity in itself, an unrepeatable single phenomenon. But on the other hand it can also be considered to belong to a class of repeated objects, which have some general attributes.” From the earlier times to the construction techniques in the present day, the architecture evolves with respect to certain formal features, ranging from the production to the usage. Earlier the Chabutras were made of stone or wood, which has evolved into steel and concrete in the present days .The construction style and the materials in the earlier times changes with respect to the usage and the production in the present day. The style and the features evolves with respect to the change in the ideology in the community. The type implies the presence of elements forming such as typological series and this elements in themselves are considered as single types. The chowk in different pols forms a typological series and the elements in the chowk such as the otlas can be considered as single types. “What then is type? It can more simply be defined as a concept which describes a group of objects characterized by the same formal structure .It is neither special diagram not the average of a serial list it is fundamentally based on the possibility of grouping objects by certain inherent structural similarities.” Type as a formal structure is in contrast also intimately connected with reality with a vast hierarchy of concerns running from social activity to building construction. Type of an element varies on the basis of the social context or religious beliefs too. Like the Chabutra at the swaminarayan temple has a different form , with a low plinth for scattering grains for the birds . The motifs inscribed on the Chabutra had the religious inscriptions and figures carved on it . It expresses the permanent in the single and unique object of features which connected it with the pass acting as a perpetual recognition of primitive renewed identification of the condition of the object. The architectural object can no longer be considered as a single isolated event but it is bounded by the world that surrounds it as well as by its history. It expands its life to other objects by virtue of its specific architectural condition by establishing a chain of related events in which it is possible to find common formal structures. The surrounding world influences the form, patterns and the change in the object. This change can be observed throughout history or in the manner of lifestyle of people. The pols are identified by a name, a specific character of its location, various religious or daily activities that are celebrated in the chowks in the pols.

119

The space changes in a Jain pol , where the puja in the temple is early in the morning as opposed to a Muslim pol which is surrounded by the echos the aazan in the evening. The Swaminarayan pol has its Puja early in evening followed by gatherings and discussions about the religion and its beliefs. Every city is formed and evolved from its history . When different periods are examined , it is the society’s owned culture and location where the built environment is through these historical layers . Different periods bring out different styles of architecture in the city . Each style has a certain set of rules which are followed in the elements and the motifs . On examining these layers , a type is created which gives a sense of the style of architecture practiced in a certain period of time . Ahmedabad is a city in the west-central state of Gujarat in India. Its origin dates back to the 10th century. A significant event in the development of the city was the construction of the walled city on the eastern banks of the Sabarmati river in 1411 AD by AhmedShah. Since then, many rulers have been in their seat of power. The British finally took control of the city in 1817.In the later part of the 19thcentury the city became known as the ‘Manchester of the east’, owing to large developments in the textile industries. This industrialisation increased the population through the migration of labourers to the city to work in the textile mills. The city of Ahmedabad has a rich and varied history . The city was found under the Solanki dynasty , who ruled the city in the 13th century . At the end of the 13th century , the city was conquered by the Sultanate dynasty of Delhi . Ahmedabad was under the rule of this dynasty for 162 years: 1411-1573 A.D. till the independent Sultanate of Gujarat came to an end under the reign of MurzaffarIII. Akbar conquered the city in 1573. Though Ahmedabad lost its importance as a capital during the Mughal dynasty , it emerged as a center for trade in the country. In the years from 1737 to 1753 , there was a joint rule between Mughal viceroy and Peshwa in Ahmedabad . The Peshwas, after defeating the Mughals , ruled the city with the Gaekwads . they ruled over the kingdom for 64 years before the British came in 1818. The city played an astonishing role in the independence movement too. Due to its varied history of rulers , many different styles of architecture can be noticed in the city. These are hence classified into different types which can be determined due to different era and rulers . The city has been a seat of power for the Sultans, Mughals, Marathas, Dutch and the British. Every ruler contributed to the architecture of the city in its own way. The city hence got in new architectural styles with every new ruler. While the Mughals introduced the intricate jalis, the Marathas built extensively in wood and the British got in the European architectural elements in the buildings they built in their reign. Cultural and natural values owned by the city, shape the city identity. To have a city identity, it is necessary to provide to continuity of these values and to protect moral and material values which transfer messages of a city’s past to its future.

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The most adequate differentiation and definition of type and a typology was interpreted by Aldo rossi through both his books and works . “…With the introduction of the memory into the object, the object comes to embody both an idea of itself and a memory of a former self. Type is no longer a neutral structure found in history but rather an analytical and experimental structure which now can be used to operate on the skeleton of history; it becomes an apparatus, an instrument for analysis and measure.” . (Rossi, 1986, p.7) Similarly, the Chabutra shows an idea of itself and a memory of the former self. The form of the chabutra fulflils the ideology of feeding the birds and the element of the feeder base is for that purpose. With that the form does change at different places, probably due to the changing needs and demands of the people surrounding the Chabutra. The shape and the scale of the feeder base might change but the function remains the same in all the cases. The different shapes and scale of the chabutra gives rise to different types of the birdfeeder. To determine why a particular type of Chabutra is found at a location, one might look into the history of the space, the activities surrounding the element, the relationship of the people to the place, and the urbaneness of the chowk. This way it acts as an element which is evolved and changed with respect to the surroundings. Hence, the type acts as an analytical tool in deciphering these parameters of the chowk. According to Aldo Rossi in “The architecture in the city “Typology is the taxonomic classification of characteristics commonly found in buildings and urban places, according to their association with different categories. “ It can be considered as a class of repeated objects characterized like a class of tools or instruments by some general attributes . The attributes are abstracted and simplified into geometrical shapes . These forms are usually created through historical experiences. The typology is observed locally , but the class of objects are abstracted and can be denounced in a urban context. To explain the premise of a typal and typological reasoning and their relation to forms of abstraction, one has to examine how this distinction and interrelation relates to a separation of history and theory. How theories of type are framed by problems of invention, disposition, and style- the first three principles of transformative composition in rhetoric- through which arguments are conceived, structured, and delivered, or considered as equally made up of conceptual, formal and social aspects. To clarify the concept of type as emerging in parallel with ideas of abstraction and diagrammatic reasoning reveals a richer set of connected problems that derive from architectural practice, pedagogy, and disciplinary knowledge, and a different framing of the historical discourse.

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Rossi defined typology as study of elements of a city and of architecture that cannot be further reduced. The process of reduction is a necessary process. It enables the examination of urban and architectural form. Rob Krier, after working on a design for a complex project in downtown Stuttgart incorporated his ideas in Urban Space, as a mix of text, photographs, and drawings, in addition to matrices. In his text, one of the matrixes defines the alterations of a given spatial type. Another matrix summarizes the morphological classification of urban spaces as the three basic shapes of square, circle, triangle, and the modulating factors that affect them, such as angling, segmentation, addition, merging, overlapping or amalgamation of elements, and distortion. The source of forms for architecture is the accumulated forms that make up the city. The city becomes a quarry of formal types, the generator of the typologies whose referents and elements are to be abstracted from the vernacular. Rossi prioritizes universal over particular, collective over individual. However, the individual and the particular are the keys to reach to the collective and the universal and thus are also significant in his thinking. Predictably, typology is defined as a classificatory study of buildings with shared functional and morphological traits. Through a typal reasoning, form acquires manifold historical, social, political, cultural, and symbolic dimensions limited by but, importantly, also in excess of material reality. The material and typological organisation of these social diagrams is in turn the concern of spatial and graphic diagrams, which can also be termed typological diagrams. Type is specific to a form, element or an architectural space whereas typology is the study and classification in an Urban context. “The word type presents less the image of the thing to copy or imitate completely, than the idea of an element which must itself serve as a rule for the model. […] The model, understood in the sense of practical execution, is an object that should be repeated as it is; contrariwise, the type is an object after which each artist can conceive works that bear no resemblance to each other. All is precise and given when it comes to the model, while all is more or less vague when it comes to the type. When we look at the writings of philosophy and on psychology of perception, we see that typos acquires a meaning close to that of “model,” describing a set of characteristics necessarily present on a group of concrete individuals answering, that is, to the type.

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Ahmedabad has a rich heritage of settlement patterns in its historic old town, which was populated by a large merchant community in various community settlements following different religions. Following the communal riots of 1714 and the civil disorder of the 18th century, the houses built in the city were organised in dense clusters consisting of a set of dead end streets entered through a single gateway. The residents of each cluster tended to belong to not only the same religion but also the same caste, or occupation group. The gate into each cluster could be closed. These clusters are called ‘Pol’. The historic city of Ahmadabad is characterised by an urban pattern, consist of three scales of community based settlement: the neighbourhood ‘Pur’, the sub neighbourhood ‘Pol’ and a house. Pol houses is considered as a primary housing typology built for more than 300 years in the city of Ahmadabad. The pol settlement pattern has a rural origin prevalent in the villages of North Gujarat. A combination of several of such settlements Pol formed of a neighbourhood, and these neighbourhoods again constituted the entire fortified historic city. These neighbourhoods have their own urban structure which is self-sufficient for the communities, where each ‘Pol’ is also a self-sufficient unit. As the individual Pol is an entity by itself, the neighborhood is also an entity at a larger scale. So the progression goes further, which gives the city an urban pattern consisting of these neighbourhoods that downscale to a house. Each Pol was socially and architecturally homogenous and provided a territory for the interaction, co-operation and interdependence. This enhanced the formation of a cohesive and self-sustaining community whose physical boundaries were set by the day-to-day interactions of its inhabitants. Some Pols were also places of work, where artisans sold their wares on the thoroughfares outside of the pols. The essence of a Pol is a network of small streets, side lanes, shrines and open community spaces (otla), with a bird house (chabutaro) raised on a pole to feed birds in the neighborhood. Historically, each pol was specific to a community, caste or occupational group and each house was a single family unit. The neighborhood was based on cultural homogenity, rather than economic status. One might infer that, here, the understanding of type suggests a pattern or a model after which something is made. Typology was used to refer to the study of types .The word type present / the image of a thing to copy or imitate completely then the idea of an element which or itself to serve As a rule for the model. It can be considered as a concept which describes a group of objects characterized by the same formal structure .

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Architecture is not only defined by typology, but is also a product of them. Architectural typology acts as a pedagogy and can be used to establish a connection between man and history via architectural elements . The typology of the place can be decided on the basis of the characteristics of the space , the settlements , and the history . It links morphological nature of urban fabric with its social political and demographic aspects , creating comprehensive results. “Type doesn’t mean plagiarism or imitation of the image of things, but represent the thought of an essential element, which in itself is the rule of formation of the model.” The activities in the commercial space are different throughout the day and scattered . Whereas in a chowk in a space surrounded by houses , the chowk is used for specific functions. The houses surrounding the chowks interact with the open spaces through otlas or balconies. Aldo Rossi believes that the development of type according to the desire of beauty and a particular type is a combination of lifestyle and form. Psychology acts as a theoretical tool for the production of architectural form. The logic of architectural form lies in the definition of type based on the juxtaposition of memory and reason. The concept of typology implies the idea of change and transformation. The architectural style resonates with the psychological experience of human beings. The lifestyle of the people in the pols resonate with the urban fabric created there. The chowk of the pol varies in size and character according to the surrounding activities in the pol . In a commercial space , the chowk is wider and the scale of the buildings give it a sense of enclosure. “If ...the type is a constant it can be found in all the areas of architecture it is therefore also a cultural element and as such can we say what in the different areas of architecture typology does becomes broadly the analytical moment of architecture and can we characterize even better at urban level topology has come to be understood simply as a mechanism of composition the circle typological research today me nearly result in the production of images or in the reconstitution of traditional typologies in the end it can be said that it is the nostalgia for type that gives formal consistency to this works” According to Moneo , typology has come to be understood simply as a mechanism of composition . The typological research results in the production of images , or in reconstitution of traditional typologies. In the end it can be said that it is the nostalgia for types that gives formal consistency to these works .

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Typological form refers, then, to a form which, either as a result of its being chosen during certain periods or the implications ascribed to it, has ended up by assuming the synthetic character of a process which exactly manifests the form itself. It is an element that plays its own role in constituting form; it is a constant. The problem is to discern the modalities within which it operates and, moreover, it’s effective value. Ultimately, we can say that type is the very idea of architecture, that which is closest to its essence. In spite of changes, it has always imposed itself on the “feelings and reason” as the principle of architecture and of the city. It can be classified as a comparative study of physical or other characteristics of the build type into distinct types. According to Rossi, from the contrast between particular and universal, between individual and collective, between public and private spheres and building, between rational design of urban design and the values of the locus or place emerges the form of the city and its architecture. Also influenced from Muratori’s work, Rossi promoted traditional building types and emphasized the significance of examining historic cities for architecture .Considering “city itself as an artifact,” i.e. as architecture, in a sense, will enable one to understand that the time factor is not an issue but city is one piece molded within time through dynamic forces acting on it. The city of Ahmedabad now is an amalgamation of different cultures and values which developed and evolved into architecture of the place. Though he(Rossi) agreed on history playing a huge part in the shaping of a typology , he was against the process of determining type or typology on the basis of time period . As though the time period changes , the style and process of building and architecture is an evolving process. Each era is an amalgamation of the previous styles of form , elements and motifs . Thus, Rossi rejected to divide history in periods thinking that it leads to the loss of universal and permanent character. Instead, his analytical approach prioritizes universal over particular and suggests that this permanent, universal, collective character is the type, “the logical principle that’s prior to form and that constitutes it”. The architecture perceived maybe developing during different centuries but the use of the space is according to the needs of the people living in the present day . Rossi’s analytical approach gives the freedom to explore and understand the elements and analyse Figure98: The pols of Ahmedabad the parameters of the typology.

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On basis of the study of typology , various parameters for analysis were observed in the walled city of Ahmedabad. These parameters would help in determining the type and typology of the element and the influence of the surrounding on it. The parameters are: 1)Defining the pols and chowks with urban terminologies 2)Location of the chowk in the pol 3)Elements of a chowk defining the activities 4)Placement of the Chabutra in the chowk 5)The height of the Chabutra with respect to the surrounding buildings 6)The form of the Chabutra 7) Elements - Platform - Support - The feeder base - Roof 8)Motifs - Animals - Gods - Musicians - Leaves - Flowers 9)Materials - Concrete - Stone - Wood - Metal - Bricks

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4.2 Defining the chowk with reference to the terminologies in Kevin Lynch

Figure99: Table for analysis of terminologies with respect to the pols

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4.3 Observations on the location of the chowk and placement of the Chabutra

Figure100: Table for comparison of the placement of the chabutras in the chowks in Ahmedabad

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4.4 Sectional analysis of the Chabutras

Figure101:Table for sectional analysis of the chowk with the chabutra in Ahmedabad

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4.5 Matrix

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Panditji ni pol

Inferences

Chabutra as an identity in a chowk

The aim of this research thesis was to understand the architecture of the bird feeding element in Ahmedabad as a typology. The typology of the element were determined by various parameters which were independent in nature. But in a certain form or motif of the Chabutra was derived from a certain function attached to the element. Hence, these parameters were observed separately and then together to derive certain inferences. The structure was observed first in an urban environment, the location of the chowk in which the Chabutra is placed was observed. The nature of the chowk was analyzed. In a certain chowk, the placement of the Chabutra was observed and marked. The reason for a certain placement was inferred on the basis of the nature of the chowk and the certain values of the people living in the space. After observing the chabutra with the surrounding elements, a question arised on how the element is changing with respect to certain surroundings. This resulted in analyzing the form of various Chabutra. Different typologies were observed in the form, elements like feeder base, platform, roof and its motifs. These parameters were compiled and a matrix was formed. On studying the parameters together and separately, such inferences were derived: 1) In a public realm the form of the chabutra is an ek-dandia chabutra with high plinth. The gathering and sitting happens around the chabutra. In a residential / private realm, the form is integrated with a function of the user group. This shows a difference in the importance of the element in the space. In a public realm, the element is not frequently used as a bird-feeding element unless it is needed to. Whereas in a private realm, it acts as a part and parcel of the daily routine of the people living. 2) On observing the sections of the chowks in various pols, a difference in the scale is deduced. It is observed that the chowks having a more commercial use is bigger in scale than the one which has a residential use. But the placement of the chabutra varies in terms of the section too. If a temple is found in the chowk, the chabutra will be attached to the temple or beside it. If the chowk has a tree, the chabutra will be beside the tree. In a commercial chowk, the chabutra will be observed to be at the edge of the chowk. The space surrounding the chabutra will be used by the vendors selling food and other commodities. Whereas in a residential chowk, which is devoid of any tree or temple, the chabutra will be found in the center of the chowk. In some pols like Shamla ni pol, the chabutra is placed at the center of the chowk, but the plinth is merged with a blackboard, temple and a storage space. In certain commercial spaces, the chabutra is not used for a bird feeding element, but is merged with other functions or is used as a visual identity of the space. 3) In residential private spaces the element is still used for feeding the birds. The chabutra is a singular element found in chowks having narrow streets. In wider chowks, the chabutra is more integrated with other functions of the pol.

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4) On observing the diagrams showing the placement of the Chabutra, it can be deduced that the element is located at the edge Inference: of the chowk and near the temple in most cases. Chabutra integrated with temple or shop 5) Most of the activities take place surrounding the chabutra. In a public space, the vendors are found around the chabutra. As it acts as a visual node, it is the first thing that you can observe when you enter the chowk. In a private space, the chabutra is usually merged with a temple or a provisional store. It is used as a storage space and the seating is placed around it. People come to the chabutra to feed grains to the birds in the morning and evening. The children play around the element in the evening. 6) In certain chowks, the form is integrated with a shop or a temple to use the space more judiciously. In public spaces like the Raipur Bhajia house, the pole of the chabutra is merged with the shop and a plinth for sitting is found beside the shop. Whereas in lambeshwar ni pol, the chabutra is placed beside a temple and water cooler, but the form is of an ek-dandia chabutra. Certain chabutras are as large are rooms. The chabutra at Lehariya ni pol is found on top of the provisional store. This chabutra is attached with a parabdi where water for the birds is kept .The chabutra at Anandshankar dhurav road is attached to a room, where the pole of the chabutra acts as a structuralInference: element for the room. Chabutra integrated with temple or shop

7) The pole of the chabutra is required to provide a certain height to the feeder base so that other animals such as dogs, cows etc. cannot harm the birds. But in certain cases where the space is used for other purposes, the pole is replaced with other elements to provide the height to the feeder base. In certain pols, where there is a need for a sitting space, the form found in such a way that the plinth is low enough for people to gather and sit. 8) The feeder base of the chabutra is used to keep grains for the birds and for them to rest. Most of the feeder bases are supported by jharokhas and a pole at the center of the base. Some chabutras like the one at doshi ni pol, or tambu chowki at dariapur, have a feeder base in form of the top of the room. In the chabutra at swaminarayan temple the plinth is used as a feeder base. These elements are beautifully decorated in all ek dandia chabutras with jharokhas. Some jharokhas are inscribed with motifs of flowers and leaves. In some chabutras, it is inscribes with dancing idols or musicians. 9) There is a difference in the ornamentation on the chabutras with relation to the materials. Various motifs of gods, angels, dancers, musicians and animals such as lions and elephants are observed on the stone Chabutra. The wooden Chabutra having ornamentation on its feeder base of leaves and flowers. The stone Chabutra have sculptures of gods and animals on the chattri. The Chabutra made from materials like cement and bricks have less ornamentation and are bigger in size.

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Inference:

Elements on basis of materials

Vagheshwar ni pol

Panditji ni pol

10) The motifs on the chabutra changes on the basis of the Chabutra as an identity in a chowk surroundings too. In the chowks in a residential introvert cluster, the motifs on the chabutra are more of flower and animals. If the chabutra is located near or adjoining a temple, it has the motifs of gods, musicians and dancers. In spaces where the chabutra is located near the temple, the people living there believe in feeding the birds as a religious practice. They find it as important as praying. So every morning when they visit the temple, they feed the birds and provide drinking water at the plinth nearby for the animals. 11) The pole of the chabutra is incorporated with the part of a temple or a shop in many chowks and clusters. It can be observed that the function of the shop or a temple was incorporated after the Chabutra was created. The shift in the form might be due to the constant usage of the space for a particular function. For eg: In Raipur Bhajia House, the chabutra was there before and the shop surrounding it was created afterwards. Initially the plinth wouldâ&#x20AC;&#x2122;ve been used for selling bhajia and after it became a function which was constantly taking place, the form of the Chabutra changed. 12) The Chabutra situated at the main chowk or a primary street are more decorated than the ones in the secondary streets or chowks. This might be due to the division of ownership and the people surrounding the chabutra. 13) The ek-dandia chabutras observed in the pols have a small storage space attached to the plinth in most of the cases.

Inference:

Public/Private space

14) The height of the chabutra varies in proportion to the base Activities surrounding the Chabutra of the element. In the Chabutra having a smaller base and plinth the height of the element is less compared to the chabutra having a higher plinth. 15) Roof typologies: The form of the roof changes with respect to the material and the surrounding cluster. In a stone chabutra the roof is a dome shaped chattri like structure with motifs. In a wooden chabutra, the roof is shaped like a pyramid with less ornamentation. 16) The location of the chowks has a huge impact on the usage of the space in the chowk. If the chowk is located near of adjoining the main road, the activities that take place there are more commercial and public. The chowk and chabutra near relief road is surrounded by shops. The chabutra is surrounded by stalls and vendors selling tea, fafda and cigarettes .The chowk such as the one in panjra pol is inside the pol far away from the main gate. The chowk and the chabutra is surrounded by residential houses. Hence the activites differ, the chowk is used only in the evening as a gathering space by the residents. The chabutra is used in the morning and the evening to feed the birds.

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Inference:

Public/Private space 17) Every chabutra has a same set of elements, the platform, the pole, the feeder base and the roof. But the elements are perceived differently in most of the chabutras. In the chabutra of Anandshankar dhurav road, the pole is integrated with the function of the room, and the feeder base and the roof was on top of the room. In chabutra at doshi ni pol, the element of pole is replaced with a huge room like structure. The feeder base is on top of the room and the roof is a flat roof which can also be used to feed the birds. In shantinath ni pol, the high plinth is used for storage space. The roof is cantilevered enough to protect the whole structure rather than only the feeder base. In Suigara ni pol, the elements are perceived in a completely different manner. The feeder base is covered with stone which has small perforations through which the birds can enter inside the chabutra to the platform where the grains are kept. The birds can reside inside the feeder base. In fatasa ni pol, the feeder base is found within the huge foliage of the tree. The roof of a sloping roof and the base is ornamented with jharokas .In khara kuva ni pol, the element is a part of the space around the huge tree. The platform is flat and the roof is a sloping roof.

18) The platform of the chabutra is used in various ways. In some cases like lambeshwar ni pol, the platform is used as a storage space and is merged with the temple on one side and water cooler on other. In shamla ni pol, the platform is used in many way, as a sitting space, a temple, a blackboard and also as a room for storage. In swamirayan temple, the platform acts a feeder base. In most of the cases the platform as a storage space or a small plinth. These chabutras are known as ek-dandia chabutras. In Ambaji ni pol, the platform acts as a temple base which is extended for sitting purposes. In certain cases like the chabutra at relief road or the chabutra at chaumukhji ni pol, the plinth is not used at all. At Sanskar Kendra, the plinth is created in level where you can sit and also feed the grains at the feeder base. In certain chabutras like the one in law garden, niches are created in the low plinth for birds to dwell inInference: side. Some chabutras have wider and lower plinths which are used Material and motifs for gatherings .Whereas some chabutras have higher and narrow plinth which is mostly used for storage space.

Activities surrounding the Chabutra

Inference:

Material and motifs

Scale of the Chabutra in th Co Residential

Parabdi no khancho

Ne Khara kuva ni pol

Swaminarayan temple

Fatasa ni pol

Scale of the Chabutra in the chowk Commercial Residential

Parabdi no khancho

Near relief road, calico dome Khara kuva ni pol

Swaminarayan temple

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Fatasa ni pol

Lambeshwar ni pol

Chaumukhji ni pol

Dhal ni pol

Fatasa ni pol

Lambeshwar ni pol

Dhal ni pol

Fat

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Conclusion:

Conclusion Objectives

Factors affecting the type of the Chabutra

• Social • Religious/ Philosophical • Physical

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Typology of Chabutras

Form • Elements: Platform Feeder Base Roof • Motifs • Materials

Placement • Acts as Central node • Transitional point • Symbol

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Illustration credits :

Figure 1 Birds sitting together and chirping Source – recreated by the author Figure 2 Different ways of feeding birds and animals in pols of Ahmedabad Source – Author Figure 3 Different ways of feeding birds and animals in pols of Ahmedabad Source – Gupta, Anil. “Landscapes of Love, Sharing and Co Creation in Urban Spaces, a Case o...” LinkedIn SlideShare, 1 Feb. 2014, www. slideshare.net/anilgb/landscapes-of-love-sharing-and-co-creationin-urban-spaces-a-case-of-ahmedabad. Figure 4 Different ways of feeding birds and animals in pols of Ahmedabad Source- Author Figure 5 Different ways of feeding birds and animals in pols of Ahmedabad Source – Gupta, Anil. “Landscapes of Love, Sharing and Co Creation in Urban Spaces, a Case o...” LinkedIn SlideShare, 1 Feb. 2014, www. slideshare.net/anilgb/landscapes-of-love-sharing-and-co-creationin-urban-spaces-a-case-of-ahmedabad. Figure 6 Different ways of feeding birds and animals in pols of Ahmedabad Source – Gupta, Anil. “Landscapes of Love, Sharing and Co Creation in Urban Spaces, a Case o...” LinkedIn SlideShare, 1 Feb. 2014,www. slideshare.net/anilgb/landscapes-of-love-sharing-and-co-creationin-urban-spaces-a-case-of-ahmedabad. Figure 7 Different ways of feeding birds and animals in pols of Ahmedabad Source – Gupta, Anil. “Landscapes of Love, Sharing and Co Creation in Urban Spaces, a Case o...” LinkedIn SlideShare, 1 Feb. 2014, www. slideshare.net/anilgb/landscapes-of-love-sharing-and-co-creationin-urban-spaces-a-case-of-ahmedabad. Figure 8 Different ways of feeding birds and animals in pols of Ahmedabad Source- Author Figure 9 Different ways of feeding birds and animals in pols of Ahmedabad Source- Author Figure 10 Different ways of feeding birds and animals in pols of Ahmedabad Source- Author Figure 11 Different ways of feeding birds and animals in pols of Ahmedabad Source- Author Figure 12 Different ways of feeding birds and animals in pols of Ahmedabad Source- Author Figure 13 Different ways of feeding birds and animals in pols of Ahmedabad Source- Author

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Figure 14 Sketch of a typical structure of pigeon tower located in Iran Source - Lavent, Tine, and Amro Okacha. “Learning on Wings.” Mashallah News, 9 Apr. 2019, www.mashallahnews.com/learningon-wings/. Figure 15 Remains of one of the pigeon towers , showing inner and outer towers drums Source - Thuras, Dylan. “Pigeon Towers of Iran.” Atlas Obscura, Atlas Obscura, 8 Oct. 2009, www.atlasobscura.com/places/pigeon-towers-iran. Figure 16 View of a pigeon tower in a dilapted condition , showing the honeycomb structure Source - Ragab,Nancy. The Ancient art of pigeon towers.2017 Figure 17 View of a pigeon tower in Iran Source - Pigeon Towers: A Low-Tech Alternative to Synthetic Fertilizers. www.notechmagazine.com/2016/10/pigeon-towers-a-low-tech-alternative-to-synthetic-fertilizers.html. Figure 18 Each pigeon sat near a cubicle , hundreds of such cubicles spiralling up in a geometric pattern Source - Thuras, Dylan. “Pigeon Towers of Iran.” Atlas Obscura, Atlas Obscura, 8 Oct. 2009, www.atlasobscura.com/places/pigeon-towers-iran. Figure 19 The scale of human in a pigeon tower Source- https://www.flickr.com/photos/fengwei888/38539203890 Figure 20 A tower beside a main road in Isfahan , Iran Source - Thuras, Dylan. “Pigeon Towers of Iran.” Atlas Obscura, Atlas Obscura, 8 Oct. 2009, www.atlasobscura.com/places/pigeon-towers-iran Figure 21 The elaborate corridors and stairways Source - Thuras, Dylan. “Pigeon Towers of Iran.” Atlas Obscura, Atlas Obscura, 8 Oct. 2009, www.atlasobscura.com/places/pigeon-towers-iran. Figure 22 External and internal views of the pigeon tower Source - Amirkhani, Aryan. Ancient Pigeon Houses: Remarkable Example of the Asian Culture Crystallized in the Architecture of Iran and Central Anatolia.2010 Figure 23 Different kinds of Isfahan’s pigeon towers Source - Amirkhani, Aryan. Ancient Pigeon Houses: Remarkable Example of the Asian Culture Crystallized in the Architecture of Iran and Central Anatolia.2010 Figure 24 Symbol of inner pigeon towers structure Source - Amirkhani, Aryan. Ancient Pigeon Houses: Remarkable Example of the Asian Culture Crystallized in the Architecture of Iran and Central Anatolia.2010 Figure 25 Honeycomb and its structure Source - Amirkhani, Aryan. Ancient Pigeon Houses: Remarkable Example of the Asian Culture Crystallized in the Architecture of Iran and Central Anatolia.2010

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Figure 26 The dove towers across the landscape Source- Imamoglu,Vacit.A fantasy in central Anatolian architectural heritage:Dove cotes and towers in Kayseri.2005 Figure 27 Small dove tower openings with birds resting on them Source- Imamoglu,Vacit.A fantasy in central Anatolian architectural heritage:Dove cotes and towers in Kayseri.2005 Figure 28 Different type of openings and railings of the dove towers Source- Imamoglu,Vacit.A fantasy in central Anatolian architectural heritage:Dove cotes and towers in Kayseri.2005 Figure 29 A typical section of a dovecote through the nesting space Source- Imamoglu,Vacit.A fantasy in central Anatolian architectural heritage:Dove cotes and towers in Kayseri.2005 Figure 30 Front view of Cappadocia dovecotes Source- Imamoglu,Vacit.A fantasy in central Anatolian architectural heritage:Dove cotes and towers in Kayseri.2005 Figure 31 Different plan types of dove towers in Gesi region Source- Imamoglu,Vacit.A fantasy in central Anatolian architectural heritage:Dove cotes and towers in Kayseri.2005 Figure 32 A typical bird tower in Egypt Source- Patowary, Kaushik. “The Pigeon Breeders of Cairo.” Amusing Planet, Home, 3 Dec. 2019, www.amusingplanet.com/2019/12/ the-pigeon-breeders-of-cairo.html. Figure 33 The structure is mainly build of bamboo and timber Source - Metcalfe, John. “The Rooftop Homes of Cairo’s Racing Pigeons.” CityLab, 22 July 2014, www.citylab.com/design/2014/07/ the-bizarre-structures-that-house-cairos-racing-pigeons/374805/. Figure 34 The tower is usually found on top of a building Source - Metcalfe, John. “The Rooftop Homes of Cairo’s Racing Pigeons.” CityLab, 22 July 2014, www.citylab.com/design/2014/07/ the-bizarre-structures-that-house-cairos-racing-pigeons/374805/. Figure 35 Bird towers dominate the view of the city Source - Patowary, Kaushik. “The Pigeon Breeders of Cairo.” Amusing Planet, Home, 3 Dec. 2019, www.amusingplanet.com/2019/12/ the-pigeon-breeders-of-cairo.html. Figure 36 A typical dovecote with a circular base found in England Source -“Dovecotes.” Pigeon Control Resource Centre - PCRC, www. pigeoncontrolresourcecentre.org/html/dovecotes-pigeon-houses-columbaria.html. Figure 37 A dovecote merged with the main gate in Sussex , England Source- Morton, Ella. “Pigeon Towers: The Rise and Fall of a 17th-Century Status Symbol.” Atlas Obscura, Atlas Obscura, 17 Apr. 2015, www.atlasobscura.com/articles/dovecotes.

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Figure 38 Cross- section of a classic dovecote Source -“Dovecotes.” Pigeon Control Resource Centre - PCRC, www. pigeoncontrolresourcecentre.org/html/dovecotes-pigeon-houses-columbaria.html. Figure 39 The chabutra at Bhuj at the view in evening time Source - Samarth.Gujaratni Chabutra parampara.Center for social knowledge and action.2002 Figure 40 A typical chabutra found in the city of Visnagar, Gujarat Source - Samarth.Gujaratni Chabutra parampara.Center for social knowledge and action.2002 Figure 41 A room- like chabutra found on top of a temple gate in Vadodara Source - Samarth.Gujaratni Chabutra parampara.Center for social knowledge and action.2002 Figure 42 Chabutro merged with a room and located at the center of the chowk in the village of Rander Source - Samarth.Gujaratni Chabutra parampara.Center for social knowledge and action.2002 Figure 43 A different form of Chabutra located at the center of the main street in Gomta, Rajkot Source Figure 44 A tower like chabutro in the city of Rajkot Source - Samarth.Gujaratni Chabutra parampara.Center for social knowledge and action.2002 Figure 45 Chabutro found attached on top of a temple on the way to Junagadh Source – Author Figure 46 A tower like chabutra with raised platforms for birds to sit in Bhuj Source - Samarth.Gujaratni Chabutra parampara.Center for social knowledge and action.2002 Figure 47 Highly ornamented structure of Chabutra Source - Samarth.Gujaratni Chabutra parampara.Center for social knowledge and action.2002 Figure 48 Various chabutras all over Gujarat Source - Samarth.Gujaratni Chabutra parampara.Center for social knowledge and action.2002 Figure 49 An old man feeding the birds at a sidewalk in Delhi Source- Gandhi,Maneka. Vanishing chabutra.daily excersior.2016 Figure 50 A jharokha embedded on a chabutra Source - Desai, Miki. The domestic regional architecture of Gujarat. Figure 51 An idol carved at the plinth of the Chabutra Source - Desai, Miki. The domestic regional architecture of Gujarat. Figure 52 The form and elements of a typical chabutra Source - Desai, Miki. The domestic regional architecture of Gujarat. Figure 53 The chattri of the chabutra at Raipur bhajia house Source- Speaks, History. “CHABUTRA OF AHMEDABAD.” History Speaks, 1 Jan. 1970, indiahistoryspeaks.blogspot.com/2008/05/ chabutra-of-ahmedabad.html. Figure 54 Different kinds of sculptures inscribed on various elements Source - Samarth.Gujaratni Chabutra parampara.Center for social knowledge and action.2002

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Figure 55 The wooden chabutra at Sanskar Kendra Source - Blogger. “Museums of Ahmedabad : City Museum Sanskar Kendra - Amdavad Blog.” Amdavad Blog - The Ahmedabad Blog, 23 Nov. 2018, amdavadblog.com/city-museum-le-corbusier-ahmedabad/. Figure 56 Motifs of gods at the feeder base of a chabutra Source - Blogger. “Museums of Ahmedabad : City Museum Sanskar Kendra - Amdavad Blog.” Amdavad Blog - The Ahmedabad Blog, 23 Nov. 2018, amdavadblog.com/city-museum-le-corbusier-ahmedabad/. Figure 57 Chabutra at zaveriwad Source – Author Figure 58 Chabutra found at relief road , near calico dome surrounded by street vendors Source – Author Figure 59 Chabutra at lambeshwar ni pol situated beside a temple and water cooler Source – Author Figure 60 A chabutra located at Lehariya pol situated on top of a provisional store Source – Author Figure 61 Karanj Chabutra located at middle of a busy street Source- Speaks, History. “CHABUTRA OF AHMEDABAD.” History Speaks, 1 Jan. 1970, indiahistoryspeaks.blogspot.com/2008/05/ chabutra-of-ahmedabad.html. Figure 62 Chabutra at Raipur bhajia house Source – Author Figure 63 Chabutra at Panjra pol located at the center of the chowk Source – Author Figure 64 Chabutra at relief road Source – Author Figure 65 Karanj chabutra Source- Speaks, History. “CHABUTRA OF AHMEDABAD.” History Speaks, 1 Jan. 1970, indiahistoryspeaks.blogspot.com/2008/05/ chabutra-of-ahmedabad.html. Figure 66 Newly modified chabutra at suigara ni pol Source – Author Figure 67 Chabutra located at a busy chowk in Chaumukhji ni pol Source – Author Figure 68 Gatherings and discussions at the chabutra in Khara kuva ni pol Source – Author Figure 69 List of the chabutras analysed in the walled city of Ahmedabad Source – Base drawing : Ahmedabad municipal corporation Figure 70 The placement , section and elements of the chabutra at Anandshankar dhurav road Source – Author

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Figure 71 The placement , section and elements of the chabutra at Shamla ni pol Source – Author Figure 72 The placement , section and elements of the chabutra at Panditji ni pol Source – Author Figure 73 The placement , section and elements of the chabutra at Vagheshwar ni pol Source – Author Figure 74 The placement , section and elements of the chabutra at Lambeshwar ni pol Source – Author Figure 75 The placement , section and elements of the chabutra at Suigara ni pol Source – Author Figure 76 The placement , section and elements of the chabutra at Chaumukhji ni pol Source – Author Figure 77 The placement , section and elements of the chabutra at Fatasa ni pol Source – Author Figure 78 The placement , section and elements of the chabutra at Dev ni sheri Source – Author Figure 79 The placement , section and elements of the chabutra at Panjra pol , Gheekanta Source – Author Figure 80 The placement , section and elements of the chabutra at Ambaji ni pol Source – Author Figure 81 The placement , section and elements of the chabutra at Swaminarayan temple Source – Author Figure 82 The placement , section and elements of the chabutra at Khara kuva ni pol Source – Author Figure 83 The placement , section and elements of the chabutra at Raipur Bhajia house Source – Author Figure 84 The placement , section and elements of the chabutra at Dhal ni pol Source – Author Figure 85 The placement , section and elements of the chabutra at Doshi ni pol Source – Author Figure 86 The placement , section and elements of the chabutra at Lehariya pol Source – Author Figure 87 The placement , section and elements of the chabutra near relief road , calico dome

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Figure 88 The placement , section and elements of the chabutra at Parabdi no khancho Source – Author Figure 89 The placement , section and elements of the chabutra at Shantinath ni pol Source – Author Figure 90 The location of chabutras at various pols in Ahmedabad Source – Author Figure 91 Various sections of the Chabutras at the same scale Source – Author Figure 92 Analysis of form of various chabutras Source – Author Figure 93 Analysing the elements of chabutras Source – Author Figure 94 Compilation of the platform of various chabutras Source – Author Figure 95 Compilation of the feeder base of various chabutras Source – Author Figure 96 Compilation of the roof of various chabutras Source – Author Figure 97 Analysis of material and colour of various chabutras Source – Author Figure 98 Pols of Ahmedabad Figure 99 Application of terminologies of kevin lynch to the chowks of Ahmedabad Source – Author Figure 100 Table of comparison of the placement of Chabutra in the chowk of Ahmedabad Source – Author Figure 101 Sectional analysis of the chowk and chabutra in Ahmedabad Source – Author

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