Adaptive Reuse of Farah Bakhsh Palace, India

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Adaptive Reuse of Farah Bakhsh Palace

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BONAFIDE CERTIFICATE

Certified that this thesis titled Re-architecture: Adaptive Reuse of Farah Bakhsh Palace is the bonafide work of Ramola Helena Lewis Registration no.: 100901055 who carried out the work under my supervision. Certified further that to the best of my knowledge the work reported here in does not form part of any other thesis or dissertation of the basis of which a degree or award was conferred on an earlier occasion on this or any other candidate.

…………………………………..

Director

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SYNOPSIS Adaptation of existing buildings for new functions is not a new trend: the theoretical approach towards adaptive reuse was established and formulated as early as at the beginning of the 19th century.

This thesis will explore an alternative strategy to a conservative adaptive reuse practice for a residential building – Farah Bakhsh Palace that not only complements but challenges and reveals the history through the unique character and the original intent of the design by preserving the spirit of place that is more than often lost in the process of adaptation by considering the meaning of place conveyed through its architectural expression. The adaptive reuse strategy was formulated and tested through case study examples.

The design illustrates and makes explicit in this specific situation, and in detail – the processes, applications and implications of adaptively reusing Farah Bakhsh Palace as a museum keeping in mind the genius loci aspect. Every aspect of this project aims to raise awareness and actively portray the potential of this practice in adaptive reuse as a viable and socially responsible alternative to demolition and replacement.

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ACKNOWLEDGEMENT I would like to thank my supervisors for their insight and guidance, for supporting me and giving me confidence during the undertaking of this thesis. Their knowledge and patience added a great deal of value to my experience.

I would also like to thank Christopher Noronha Associates for helping and guiding me through the 3D modelling (existing building) for my project, the Superintending Archaeologist Mr. A.M.V. Subramanyam for his cooperation and time during the documentation process of Farah Bakhsh Palace and the curator of Historical Museum Ahmednagar, Mr. Santhosh Yadav for his time and imparting his knowledge about the history of Farah Bakhsh Palace and Ahmednagar.

I would like to thank my family for their love and care throughout the entire process of the thesis and beyond.

Last but not the least, I would like to thank the one above all of us, God, for answering my prayers and for giving me the strength throughout the process of this thesis.

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TABLE OF CONTENTS 1

2

Introduction ......................................................................................................................................1 1.1

Background Information ..........................................................................................................1

1.2

Relevance .................................................................................................................................1

1.3

Aim...........................................................................................................................................1

1.4

Project Justification ..................................................................................................................2

1.5

Methodology ............................................................................................................................2

1.6

Essence of dissertation .............................................................................................................3

1.6.1

Guidelines ............................................................................................................................3

1.6.2

Conclusion ...........................................................................................................................4

Literature Study ................................................................................................................................5 2.1 2.1.1

Introduction ..........................................................................................................................5

2.1.2

Principles of Adaptive Reuse ...............................................................................................5

2.1.3

Advantages of adaptive reuse...............................................................................................6

2.1.4

Benefits of adaptive reuse ....................................................................................................6

2.1.5

Criteria for adaptive reuse ...................................................................................................7

2.1.6

Impact of adaptive reuse on city development .....................................................................7

2.1.7

Adaptive reuse as an approach for preservation .................................................................7

2.2

3

Adaptive Reuse ........................................................................................................................5

Interior Spaces..........................................................................................................................9

2.2.1

Space ....................................................................................................................................9

2.2.2

Interior Design ...................................................................................................................10

2.2.3

Structural Systems ..............................................................................................................13

2.3

Classification Of buildings .....................................................................................................23

2.4

Age criteria for a building to be listed as an old building ......................................................24

Introduction to site .........................................................................................................................25 3.1

History- ..................................................................................................................................25

3.2

Architectural style- .................................................................................................................25

3.3

Topography - ..........................................................................................................................25

3.4

Demography - ........................................................................................................................26

3.5

Industries -..............................................................................................................................26

3.6

Rivers - ...................................................................................................................................26

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Soil - .......................................................................................................................................27

3.8

Environment - ........................................................................................................................27

3.9

Media and communication -...................................................................................................28

3.10

Roads - ...................................................................................................................................28

3.11

Railway - ................................................................................................................................28

3.12

Airway - .................................................................................................................................28

3.13

Tourist places in and around ahmednagar- ............................................................................28

4

Site Location....................................................................................................................................30

5

Site Analysis ....................................................................................................................................31

6

History .............................................................................................................................................34

7

Documentation Drawings ...............................................................................................................37

8

Survey Study ...................................................................................................................................42

9

New Use Options ............................................................................................................................43

10

Case Studies ...............................................................................................................................45

10.1

Primary Case Study: Tipu Sultan’s Summer Palace, Bangalore ...........................................45

10.2

Secondary Case Study: The Alexander Palace, Tsarskoe Selo, St. Petersburg, Russia .........49

10.2.1

Survey-exterior ...............................................................................................................51

10.2.2

The objectives of the visit to the museum was to:...........................................................51

10.2.3

Project Proposal ............................................................................................................52

10.2.4

Utilization of Interior Spaces .........................................................................................52

10.2.5

Museum support facilities: .............................................................................................52

10.2.6

Museum details...............................................................................................................52

11

Standards ...................................................................................................................................61

11.1 As Per Space Planning By Building Type – Time Saver Standards For Interior Design And Space Planning ...................................................................................................................................62 11.2

As Per Museums – Time Saver Standards For Building Types – 2nd Edition ........................62

12

Case Study Analysis ....................................................................................................................65

13

Restoration .................................................................................................................................65

14

Conceptual Design Program .......................................................................................................65

15

Conclusions ................................................................................................................................67

16

Appendices .................................................................................................................................68

17

References..................................................................................................................................78

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TABLE OF FIGURES & TABLES Figure 1 ....................................................................................................................................................9 Figure 2 ..................................................................................................................................................10 Figure 3 ..................................................................................................................................................11 Figure 4 ..................................................................................................................................................12 Figure 5 ..................................................................................................................................................13 Figure 6 ..................................................................................................................................................14 Figure 7 ..................................................................................................................................................14 Figure 8 ..................................................................................................................................................15 Figure 9 ..................................................................................................................................................15 Figure 10 ................................................................................................................................................16 Figure 11 ................................................................................................................................................16 Figure 12 ................................................................................................................................................17 Figure 13 ................................................................................................................................................17 Figure 14 ................................................................................................................................................18 Figure 15 ................................................................................................................................................19 Figure 16 ................................................................................................................................................19 Figure 17 ................................................................................................................................................20 Figure 18 ................................................................................................................................................20 Figure 19 ................................................................................................................................................21 Figure 20 ................................................................................................................................................22 Figure 21 ................................................................................................................................................22 Figure 22 ................................................................................................................................................22 Figure 23 SALABAT KHAN’S TOMB ................................................................................................29 Figure 24 AHMEDNAGAR FORT .......................................................................................................29 Figure 25 SHANI SHINGANAPUR- SAI BABA .................................................................................29 Figure 26 ................................................................................................................................................32 Figure 27 ................................................................................................................................................33 Figure 28 PANAROMIC VIEW FROM ENTRANCE .........................................................................33 Figure 29 GROUND FLOOR PLAN .....................................................................................................37 Figure 30 FIRST FLOOR PLAN ...........................................................................................................38 Figure 31 ROOF PLAN .........................................................................................................................39 Figure 32 CROSS SECTION .................................................................................................................40 Figure 33 ELEVATIONS ......................................................................................................................40 Figure 34 ELEVATIONS ......................................................................................................................41 Figure 35 LOCATION ...............................................................................................................................45 Figure 36 ................................................................................................................................................46 Figure 37 PLAN .....................................................................................................................................46 Figure 38 PLAN SHOWING FURNITURE..........................................................................................47 Figure 39 ELEVATION .........................................................................................................................47 Figure 40 ................................................................................................................................................49

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vii | P a g e Figure 41 ................................................................................................................................................50 Figure 42 SITE PLAN ...........................................................................................................................54 Figure 43 ................................................................................................................................................54 Figure 44 FIRST FLOOR PLAN ...........................................................................................................55 Figure 45 BASEMENT PLAN ..............................................................................................................55 Figure 46 MEZZANINE PLAN.............................................................................................................56 Figure 47 ROOF PLAN .........................................................................................................................56 Figure 48 ELEVATIONS ......................................................................................................................57 Figure 49 ELEVATIONS ......................................................................................................................57 Figure 50 ELEVATIONS ......................................................................................................................58 Figure 51 SECTIONS ............................................................................................................................58 Figure 52 ................................................................................................................................................59 Figure 53 INTERIORS VIEWS AFTER RESTORATION ..................................................................60 Figure 54 ................................................................................................................................................64 Figure 55 ................................................................................................................................................64 Figure 56 ENTRANCE VIEW...............................................................................................................68 Figure 57 SEMI DOME .........................................................................................................................68 Figure 58 SEMI DOME .........................................................................................................................69 Figure 59 CENTRAL HALL .................................................................................................................69 Figure 60 NICHE ...................................................................................................................................70 Figure 61 NICHE ...................................................................................................................................70 Figure 62 FRONT FACADE .................................................................................................................71 Figure 63 DOME ...................................................................................................................................71 Figure 64 COLUMNS ............................................................................................................................72 Figure 65 STUCCO WORK ..................................................................................................................72

Table 1 International Existing Building Code .........................................................................................8 Table 2....................................................................................................................................................23 Table 3....................................................................................................................................................44 Table 4....................................................................................................................................................63 Table 5 ....................................................................................................................................................67 Table 6 ....................................................................................................................................................67

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1 INTRODUCTION 1.1 BACKGROUND INFORMATION Old buildings give neighborhoods their distinct character and at the same time provide a tangible connection to the past. And sometimes buildings often outlive their original purposes. This results in the process of adaptive reuse of such buildings in order to make the existing structure and surroundings active once again.

When the original use of a structure changes or is no longer required, architects have the opportunity to change the primary function of the structure, while retaining some of the existing architectural details that make the building unique.

The sustainable development and conservation of buildings in the city provide social, economic, and environmental benefits to a community or area. The conservation of the built structures not only contributes to the economic and environmental composition of a community, but also to the social and cultural identity, which helps to create dynamic places, and defines the ‘character, spirit and sense of a place’.

1.2 RELEVANCE It is a common and significant trend to create the specific character of spaces for human use and enjoyment. As societies continue to re-examine their stock of existing buildings, re- architecture becomes increasingly important to users seeking building conservation, preservation, and adaptive reuse.

1.3 AIM To portray the potential of adaptive reuse of interior spaces in Farah Bakhsh Palace as a viable and socially responsible alternative to demolition and replacement.

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1.4 PROJECT JUSTIFICATION Due to the presence of many old residential structures that have been left abandoned, creation of character of spaces for human use and enjoyment can be done to regenerate the structures. As it becomes increasingly important to users seeking building conservation, preservation, and adaptive re-use.

The structure being rich in Persian architecture and still standing strong after 430 years is very poorly cared for and can be developed and revived of its lively character through restoration and adaptive reuse.

With restoration techniques, adaptive reuse will be feasible in this structure in terms of social, economic, and environmental benefits.

1.5 METHODOLOGY

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1.6 ESSENCE OF DISSERTATION 1.6.1

Guidelines

1.6.1.1 Reuse Strategy Typological: To understand the typology of the building of the existing and new use. Technical: To study and analyse the structural system of the existing structure. Strategical: The building along with its surroundings should be taken into context thus reusing the building while keeping in mind the ‘character, sense and spirit’ of the place.

1.6.1.2 Use and function Choice of use and function depends on location, building typology, environmental factors, social factors, and economic factors. Environmental factors include site features, climatic conditions and embodied energy of existing building. Social factors include the needs and wants of the society and preservation of the character, sense and spirit of the place. Economic factors include the budget for reuse, sustainable construction and durability.

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4|Page 1.6.1.3 Quality of Design It should blend to the surroundings and the society, innovative designs, preservation of the historical and heritage elements should be carried out. It should also be structurally sound and strong to be durable 1.6.1.4 Materials and technology Use of old and new can be merged resulting in innovative techniques. The materials of the original structure should be ideally maintained and used unless it is a dilapidated structure. The new additions and preservation to be done can be a combination of old and new techniques and materials in the construction.

1.6.1.5 Flexibility and reversibility The building should be able to undergo future changes and adapt to other reusability options in case change of use needs to be done due to society demands or economic demands.

1.6.2 •

Conclusion Integration of adaptive reuse and development of interior space is very essential and critical as it depends on the new use, users and suitability to the existing structure. The apt combination of the two parameters results in preserving historical identity at the same time as it is the product of contemporary technology.

•

Finally this process looks at long-term feasibility for a neighbourhood; specifically, it proposes the transformation of uses for different building typologies.

•

Below listed are the possible options for change in use based on the building typology:

•

Residential building conversions: Flats, Two - Three Storey Town Houses, Office block, Educational building, Retail units, mixed use development containing offices/shops/flats, hotels, restaurant, old aged homes, museums, etc.

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2 LITERATURE STUDY 2.1 ADAPTIVE REUSE 2.1.1

Introduction

Adaptive reuse usually refers to the reuse of sites or buildings for purpose other than they were originally built or designed for. These new uses can offer economic, social and cultural benefits to their environments. Reuse is one approach to sustainability since it conserves original durable building materials. Adaptive reuse deals with issues of conservation and preservation of built form as well as strategies and policies. Once old structures become unsuitable for their functional and programmatic requirements or has remained unused, adaptive reuse becomes a sustainable option for reclamation of sites.

Adaptive reuse is defined as a revitalization strategy which employs a series of linked procedures to plan for, inventory, acquire, manage and reuse surplus or abandoned real estate. [1] An imperative aspect of adaptive reuse projects is that the land or building which is being considered for had a previous use that is no longer suitable or the use remains unused in that type of building location, and therefore the potential value of the property will be maximized by adapting the space. The adaptive reuse of buildings can include modifications that are purely aesthetic, and are made to the building while retaining its structure and character.

2.1.2

Principles of Adaptive Reuse

The challenge comes in finding the desired balance between change, adaptation and restoration to appease the stakeholders. In finding the right balance, adaptive reuse projects should integrate five principles into the design as stated by: • Perform the functions well for which they are redesigned • Be long lasting and adaptable to new uses • Respond well to their surroundings and enhance their context • Have a visual coherence and create ‘delight’ for users and passers-by • Be sustainable – non-polluting, energy efficient, easily accessible and have a minimal environmental impact [2]

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Advantages of adaptive reuse The ability to reuse the materials is mainly due to the fact that older buildings are often constructed with materials of a higher grade and quality that therefore have a longer lifespan than those used in current construction.



Moreover, with the envelope of older buildings generally consisting of stronger materials and containing numerous windows, the energy efficiency of the heating and cooling can be improved.



The social benefits of reuse projects include rejuvenating the historical and cultural values of a building.



During the time period when the building was originally in use, it served a specific purpose in the neighbourhood to which people, in one way or another, were connected. Older buildings have the ability to provide character to an area and create a ‘sense of place’. [3]

2.1.4

Benefits of adaptive reuse

2.1.4.1 Environmental Adaptive reuse of buildings has a major role to play in the sustainable development. Environmental benefits are more significant, as these buildings offer so much to the landscape, identity and amenity of the communities they belong to.

One of the main environmental benefits of reusing buildings is the preservation of the original building's "embodied energy". That is, the energy consumed by all of the processes associated with the production of a building, from the attainment of natural resources to product delivery, including mining, manufacturing of materials and equipment, transport and administrative functions. By reusing buildings, their embodied energy is retained, making the project much more environmentally sustainable than entirely new construction.

2.1.4.2 Social Keeping and reusing buildings has long-term benefits for the communities that value them. Adaptive reuse can restore and maintain the significance of a building and help to ensure its survival.

2.1.4.3 Economic There are several financial savings and returns to be made from adaptive reuse of buildings. Embodied energy savings from not demolishing a building will only increase with the predicted rise of energy costs in the future.

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7|Page While there is no definitive research on the market appeal of reused buildings, they have been popular because of their originality and historic authenticity.

2.1.4.4 Promoting innovation The adaptation of buildings presents a genuine challenge to architects and designers to find innovative solutions. As development pressures increase in our cities, more buildings are being reused, producing some excellent examples of creative designs that retain its significance. [4] 2.1.5 

Criteria for adaptive reuse The societal value of a given site and building; that is, the importance to the community of the use of a site by its members or visitors.



The potential for the reuse of a particular site and building; the physical damage sustained to the site and its support of future use, the character of the existing form in terms of the proposed reuse.



The historical importance of the site and building; in terms of both the physicality of the streetscape and the area, as well as of the role of the site in the community’s understanding of the past.



The natural ecological conditions of the site and building; whether it is suitable climatically or can support the proposed environmental work.

2.1.6 Impact of adaptive reuse on city development Today, one controversial concern in urban expansion is the adaptive reuse of aged urban industrial sites or structures. These sites are known as brownfields instead of Greenfields due to the fact that they may contain chemical contamination; it is necessary to deal with this problem before the structures can be put to residential or commercial use. A successful adaptive reuse project can offer growth and also bring historical tourism to its city and new life to its neighborhood.

2.1.7 Adaptive reuse as an approach for preservation After review and evaluation of literature on the adaptive reuse of buildings, we can identify three main strategies for conservation: typological, technical and strategic.

2.1.7.1 Typological approach ‘A new use for old buildings’ by Cantacuzino was the first publication on adaptive reuse. Its introductory essay discusses the history of adaptive reuse and its role within current conservation practice. It goes on to give a variety of examples from all over the world; these examples are presented according to building type before adaptation. In contrast, many publications only deal with reuse of one specific building type, e.g. religious buildings or industrial buildings.

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8|Page 2.1.7.2 Technical approach Several sources have considered building adaptation as mainly a technical matter and also, regarding how to decide on a new function for adapted buildings. ‘The rehabilitation and re-use of old buildings’

by Highfield (1987) is a booklet in which the author first explains the benefits of rehabilitation. He differentiates domestic and nondomestic buildings and in a technical chapter he discusses the upgrading of fire resistance, thermal function, and acoustic performance, elimination of damp infiltration, condensation and timber decay.

Also, a main portion of the work of Douglas is about technical characteristics of reuse. Highfield and Douglas have discussed building protection but they approach the space only as a shell instead of giving consideration to aspects of preservation and significance.

2.1.7.3 Strategic approach The strategic approach concentrates on the processes and strategies used for adapting important structures.

(1) building within (2) building over (3) building around (4) building alongside (5) recycling materials (6) adapting to a new function (7) Building in the style of.

Three strategies for conversions: (1) intervention, (2) insertion and (3) installation.

Repairs Alterations

Change of use Additions Historic buildings

Description Restoration to good or sound condition of any part of an existing building for the purpose of its maintenance.

Level 1 similar to a repair except newer materials, elements, equipment, or fixtures replace the previous ones.

Level 2 includes reconfiguration of space, additions or elimination of doors or windows, building system updates.

Level 3 where the work area, including al reconfigured spaces, exceeds 50% of the total building area.

Applies when new occupancy of an existing building is different from the previously approved occupancy.

Applies if the building is increased in area, number of stories, or height.

Covers buildings that are listed in either a state or national register of historic places, designated by local or state agencies, certified as a contributing resource within a historic district, or eligible for official historic designation.

Applies if a building is moved from one site to another, regardless of distance.

Relocated buildings Table 1 International Existing Building Code [5]

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2.2 INTERIOR SPACES 2.2.1

Space

Space is a prime and ideal element in interior design. Through the volume of space we not only move; we see forms, hear, feel, smell, etc. Space inherits the physical and aesthetic characteristics of the elements in its field.

Space is not a material substance. It is characteristically formless and turgid. Universal space has no defining borders. Once an element is placed in its field, however, a visual relationship is established. As other elements are introduced into the field, multiple relationships are established between the space and the elements, as well as among the elements themselves. Space is formed by our perception of these relationships.

The geometric elements point, line, plane, and volume can be arranged to articulate and define space. In architecture, these fundamental elements become linear columns and beams, planar walls, floors, and roofs.

TWO COLUMNS DEFINE A SPATIAL MEMBRANE THROUGH WHICH WE CAN PASS.

A COLUMN MARKS A POINT IN SPACE AND MAKES IT VISIBLE IN THREE DIMENSIONS.

WHEN SUPPORTING A BEAM, THE COLUMNS DEFINE THE EDGES OF A TRANSPARENT PLANE.

A WALL, AN OPAQUE PLANE, MARKS OFF A PORTION OF AMORPHOUS SPACE AND SEPARATES HERE FROM THERE.

Figure 1

A ROOF PROVIDES SHELTER FOR THE VOLUME OF SPACE BENEATH IT.

A FLOOR DEFINES A FIELD OF SPACE WITH TERRITORIAL BOUNDARIES.

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10 | P a g e Upon entering a building, we sense shelter and enclosure. This perception is due to the bounding floor, wall, and ceiling planes of interior space. These are the architectural elements that define the physical limits of rooms. They enclose space, clear its boundaries, and separate it from adjoining interior spaces and the outside.

Figure 2 2.2.2

Interior Design

The interior is bound to its situation; it is enclosed within a building. The particular location of the interior has an influence upon the design that often far outweighs other considerations.

It is an interdisciplinary practice that is concerned with the creation of a range of interior environments that articulate identity and atmosphere through the manipulation of spatial volume, placement of specific elements and furniture, and treatment of surfaces.

The reuse of existing buildings is a subject that is central to the evolution of the urban environment and issues of conservation and sustainability have become vital to the development of cities.

As the approach to the design and the use of the urban environment has changed, so the prevailing attitude towards building reuse has also altered.

Interior decoration is the art of decorating interior spaces or rooms to impart a particular character that functions well with the existing architecture. Interior decoration is concerned with such issues such as surface pattern, ornament, furniture, soft furnishings, lighting and materials. It generally deals with minor structural changes to the existing building.

2.2.2.1

Criteria concerned

1. Function and purpose: it should satisfy the function thus meeting the purpose.

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11 | P a g e 2. Utility, Economy and Sustainability: this is required during selection and appropriate use of material.

3. Form and style: design should be aesthetic and proportional.

4. Image and meaning: character of design should be defined once the users utilize the space.

2.2.2.2

Shaping the interior spaces

Although a building’s structural system sets up the basic form and pattern of its interior spaces, these spaces are ultimately structured by the elements of interior design.

The term “structure” refers to the selection and arrangement of interior elements such that their visual relationships define and organize the interior space of a room.

Non-load-bearing partitions and suspended ceilings are often used to define or modify space within the structural framework or shell of a building.

The color, texture, and pattern of wall, floor, and ceiling surfaces affect our perception of their relative positions in space and our awareness of the room’s dimensions, scale, and proportion.

Figure 3

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Figure 4

Within a large space, the form and arrangement of furnishings can divide areas, provide a sense of enclosure, and define spatial patterns.

Lighting, and the light and dark patterns it creates, can call our attention to one area of a room, and thereby create divisions of space. Even the acoustic nature of a room’s surfaces can affect the boundaries of a space.

Finally, space is structured by the way we use it. The nature of our activities and the rituals we develop in performing them influence how we plan, arrange, and organize interior space.

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Figure 5 2.2.3 2.2.3.1

Structural Systems Introduction

IT IS THE VERTICAL EXTENSION OF THE FOUNDATION SYSTEM AND CONSISTS OF THE COLUMNS, BEAMS, AND LOADBEARING WALLS THAT SUPPORT THE FLOOR AND ROOF STRUCTURES.

IT IS THE SUBSTRUCTURE THAT FORMS THE BASE OF A BUILDING, ANCHORS IT FIRMLY TO THE GROUND, AND SUPPORTS THE BUILDING ELEMENTS AND SPACES ABOVE

Figure 6

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14 | P a g e Figure 7 These systems must work together to support the following types of loads:

IS A STATIC VERTICAL LOAD IS COMPRISING THE WEIGHT OF ITS STRUCTURAL AND NONSTRUCTURAL COMPONENTS, INCLUDING ANY EQUIPMENT PERMANENTLY ATTACHED TO THE STRUCTURE.

WHICH IS A MOVABLE OR MOVING LOAD COMPRISING THE WEIGHT OF ITS OCCUPANTS AND ANY MOBILE EQUIPMENT AND FURNISHINGS.

DYNAMIC LOADS

Figure 8

A building’s structural system is formed according to the geometry of its materials and the way they react to the forces applied to them. This structural form and geometry, in turn, influence the dimensions, proportion, and arrangement of the interior spaces within the building volume.

The two basic linear structural elements are the column and the beam.

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A BEAM IS A HORIZONTAL MEMBER THAT TRANSMITS FORCES PERPENDICULAR TO ITSELF ALONG ITS LENGTH TO ITS SUPPORTS. IT IS SUBJECT TO BENDING AND DEFLECTION, WHICH RESULT IN AN INTERNAL COMBINATION OF COMPRESSIVE AND TENSILE STRESSES. THESE STRESSES ARE PROPORTIONALLY GREATER ALONG THE UPPER AND LOWER REGION OF A BEAM’S CROSS SECTION. INCREASING DEPTH AND PLACING MATERIAL WHERE STRESSES ARE GREATEST OPTIMIZE A BEAM’S PERFORMANCE.

A

COLUMN

IS

A

VERTICAL

SUPPORT

THAT

TRANSMITS COMPRESSIVE FORCES DOWNWARD ALONG ITS SHAFT. THE THICKER A COLUMN IS IN RELATION TO ITS HEIGHT,

THE

GREATER

ITS

LOAD-BEARING

CAPACITY AND ITS ABILITY TO RESIST BUCKLING RESULTING

FROM

OFF-CENTRE

LOADING

OR

LATERAL FORCES.

Figure 9

2.2.3.2

Linear Structural Systems BEAMS MAKE STRUCTURAL AND VISUAL CONNECTIONS

ACROSS

SPACE

BETWEEN THEIR SUPPORTS. COLUMNS MARK POINTS IN SPACE AND PROVIDE

A

MEASURE

FOR

ITS

HORIZONTAL DIVISIONS.

A LINEAR STRUCTURAL SYSTEM MAY SUGGEST

A

GRID

LAYOUT

REPETITIVE SPACES.



OF

Figure 10

A linear structural system may consist of a grid layout of repetitive spaces, but floor, wall, and ceiling planes are necessary for the support and enclosure of interior space. Floor and ceiling planes may consist of planar slabs or an arrangement of girders and beams and joists.



Walls and partitions need not always be load-bearing and do not have to be aligned with the columns of a structural frame.

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Figure 11



Linear structural systems are extremely flexible. They allow for growth, change, and the adaptation of individual spaces to their specific uses.

2.2.3.3 Planar Structural Systems The two principal types of planar structural elements are the load-bearing wall and the horizontal slab.

A BEARING WALL ACTS AS A LONG, THIN COLUMN IN TRANSMITTING COMPRESSIVE FORCES TO ITS SUPPORT OR FOUNDATION. ANY OPENING MUST BE SPANNED BY AN ARCH OR A SHORT BEAM CALLED A LINTEL TO SUPPORT THE WALL LOAD ABOVE AND ALLOW COMPRESSIVE STRESSES TO FLOW AROUND THE OPENING TO ADJACENT SECTIONS OF THE WALL.

Figure 12

Advantages of planar systems over linear systems: Linear structural elements only outline the edges of spatial volumes, whereas planar elements such as bearing walls define the physical limits of space. They provide a real sense of enclosure and privacy as well and serve as obstacles against the elements.

A slab is a horizontal, rigid plate. It supports both concentrated and distributed loads because the resulting stresses that can fan out across the plane of the slab.

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Figure 13

2.2.3.4

Volumetric Structural Systems

A VOLUMETRIC STRUCTURAL SYSTEM CONSISTS OF A THREE DIMENSIONAL MASS THAT OCCUPIES THE VOID OF SPACE.

INTERIOR SPACE

Figure 14

At a small scale, stone and clay masonry units can be seen to be volumetric structural elements.

2.2.3.5

Spatial Form

Interior spaces are defined by a building’s structural system, containing wall and ceiling planes, and related to other spaces by windows and doorways.

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18 | P a g e Either the structure or the space can dominate this relationship. Whichever appears to dominate, we should be able to perceive the other as an equal partner in the relationship.

IT NOT ONLY OCCUPIES SPACE, IT ALSO CREATES A SPATIAL RELATIONSHIP BETWEEN ITSELF AND THE SURROUNDING ENCLOSURE

Figure 15

2.2.3.6

Spatial Dimensions

The dimensions of interior space, like spatial form, are directly related to the nature of a building’s structural system—the strength of its materials and the size and spacing of its members.

Wood or steel beams and concrete slabs can span up to 30 feet (9 m). Wood or steel trusses can span even farther, up to 100 feet (30 m) or more.

Longer roof spans are possible with space frames and a variety of curved structures, such as domes, suspension systems, and membranes supported by air pressure.

2.2.3.7 Human dimensions Our body dimensions, and the way we move through and perceive space, are prime determinants of architectural and interior design.

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Figure 16

Figure 17

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20 | P a g e 2.2.3.8

The Vertical Dimension of Space

THE THIRD DIMENSION OF INTERIOR SPACE, ITS HEIGHT, IS ESTABLISHED BY THE CEILING PLANE.

THE RELATIONSHIP BETWEEN THE HEIGHT OF A SPACE AND OUR OWN BODY HEIGHT CAN BE SENSED.

Figure 18

2.2.3.9

Spatial Transitions

OPENINGS CREATED WITHIN THE WALL PLANE FOR WINDOWS AND DOORWAYS RE-ESTABLISH CONTACT WITH THE SURROUNDING SPACES FROM WHICH THE ROOM WAS ORIGINALLY CUT.

Figure 19

THE WALL PLANE, BEING PERPENDICULAR TO OUR NORMAL LINE OF SIGHT, HAS THE GREATEST EFFECT AS A SPATIAL BOUNDARY.

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INDIVIDUAL PLACES ARE DESIGNED AND FORMED AS THEY ARE FUNCTIONALLY RELATED TO ONE ANOTHER WITH COMMON PEOPLE AND ACTIVITIES.

Figure 20

Interior spaces are related to one another is determined not only by their relative position in a building’s spatial pattern, but also by the nature of the spaces that connect them and the boundaries they have in common.

2.2.3.10 Modifying Space The architectural planning and design for a new building take into account the nature of the activities to be housed; the spatial requirements for form, scale, and light; and the desired relationships among the various interior spaces.

Whereas an existing building is to be used for activities other than those for which it was originally intended, however, activity requirements must be matched with the existing conditions. Where there is a mismatch, an alteration of the existing spaces is required.

Two major types of alteration can be considered: 1. It involves structural changes in the boundaries of interior space and is more permanent in nature than the second.

2. The second type of alteration involves non-structural modifications and enhancement accomplished through interior design.

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Figure 21

A structural change may involve removing or adding walls to alter the shape and rearrange the pattern of existing spaces, or to add on new space. When doing so, it is vital to understand the distinction between load-bearing walls and non-loadbearing partitions. [6] DOORWAY MAY BE MOVED OR ADDED FOR BETTER ACCESS TO A ROOM SPACE OR TO IMPROVE THE MOVEMENT PATHS WITHIN THE SPACE. A LARGE DOORWAY MAY BE CREATED TO MERGE TWO ADJACENT SPACES.

WINDOWS MAY BE ENLARGED OR ADDED FOR BETTER DAY LIGHTING OR TO TAKE ADVANTAGE OF A VIEW.

Figure 22

WHEN ADDING A STAIRWAY, SKYLIGHT OR CREATING VERTICAL RELATIONSHIP BETWEEN LEVELS, STRUCTURAL CHANGES NEED TO BE DONE.

Figure 23

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23 | P a g e 2.3

CLASSIFICATION OF BUILDINGS: [7]

INDUSTRIAL

RELIGIOUS

SEMI-PUBLIC BUILDINGS

RESIDENTIAL

MILITARY

COMMERCIAL

Factory Warehouse Barn Granary Mills Brewery Mining site Railway station Church & Chapel Convent Presbytery City Hall Museum School Hospital Observatory Court House Office Library Theatre Hotel & Hostel Post Office Castle Country house Farm Town house Fortress Barrack Gate Craft shop Department store Exchange Bank Market Boutique Passage

Table 2

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2.4 AGE CRITERIA FOR A BUILDING TO BE LISTED AS AN OLD BUILDING 

Age and rarity: most buildings built before 1700 which survive in anything like their original condition are listed, as are most of those built between 1700 and 1840



The criteria become tighter with time, so that buildings built within the last 30 years have to be exceptionally important to be listed, and under threat too. A building has to be over 10 years old to be eligible for listing



Architectural interest: buildings which are nationally important for the interest of their architectural design, decoration and craftsmanship; also important examples of particular building types and techniques.



Historic interest: this includes buildings which illustrate important aspects of the nation's social, economic, cultural or military history.



Close historical association with nationally important people or events.



Group value, especially where buildings are part of an important architectural or historic group or are a fine example of planning (such as squares, terraces and model villages). [8]

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3 INTRODUCTION TO SITE 3.1 HISTORY•

Ahmednagar is a city of Ahmednagar District in the state of Maharashtra, India, about 120 km northeast of Pune and 120 km from Aurangabad.

•

It was the seat of the Ahmednagar Sultanate of late medieval period and was founded by Ahmad Nizam Shah (1496–1636 CE). This district is known for the town of Shirdi associated with Sai Baba.

•

The

neighboring

districts

to

Ahmednagar

district

are Solapur (SE), Osmanabad (SE), Beed (SE), Aurangabad (NE), Nashik (NW), Thane (NW), and Pune (SW). It consists of fourteen talukas.

3.2 ARCHITECTURAL STYLE•

Persian Architecture was the main influence on all buildings present in Ahmednagar-

•

Use of abundant symbolic geometry, using pure forms such as circles and squares, and plans are based on often symmetrical layouts featuring rectangular courtyards and halls.

•

Materials used – Heavy clay, moulded mud, heavy plastic earth, in conjunction with a tenacious lime mortar, brick.

•

Unique techniques of casting metal, carving stone, and painting were also done.

3.3 TOPOGRAPHY There are various land forms founds in Ahmednagar district. These different types of land forms in the region constitute its physical set-up. The physical of Ahmednagar district are the following divisions1) Western hilly region- The main Sahyadri range touches Akola Tahsil in the western area of Ahmednagar and forms this main range three spears viz. Kalsubai, Baleshwar and Harishchandragad. Kalsubai is the highest peak of Sahyadri (1654 mtr.).

2) Central plateau region- Parner, Ahmednagar Tahsil and parts of Sangamner, Shrigoda and Karjat Tahsils are included in this region.

3) Northern and southern plain regions- It includes northern Koperagaon, Rahata, Shrirampur, Rahuri, Newasa, Shevgaon and Pathardi Tahsils. This is the region of the Godavari and the Pravara river basins. Parts of the southern tahsils of Shrigoda, Karjat and Jamkhed are also

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26 | P a g e included in this physical division. This region covers basins of the Ghod, Bhima and the Sina rivers.

3.4 DEMOGRAPHY •

In the 2011 census Ahmednagar district recorded a population of 350,905. It has a sex ratio of 934 females for every 1000 males, and a literacy rate of 80.22%.

•

Language spoken: Marathi, Hindi

•

There are four visible festivals in Ahmednagar city- Ganesh Festival (Hindu, in August/September), Tabut festival (Muharrum, Islamic, month varies), Navratri/ Dasara (Hindu, in October),and Makar Sankrati (Kite-flying, in January).

•

According to census, Hindus were 82%, Muslims 9%, Christians 5% and others were 4%.

3.5 INDUSTRIES •

Small Scale Industries- Separating grains of rice from husk by pounding, and gathering medicinal plants, Weaving cloth on handlooms and power looms, Weaving rough blankets of sheep, Making ropes from agave and ambadi, Bidi rolling are some of the few. Kopargaon, Rahata, Ahmednagar and Rahuri are markets for selling jaggery. There are oil mills at Shrirampur, Sangamner, Ahmednagar and Vambori.

•

Large Scale Industries- Milk chilling plants, production of Ayurvedic medicines, manufacturing mopeds and T.V. sets are done. Pharmaceutical factories are located at Kopergaon and Kanhegaon. Industries making engines and pump-sets are located at Shrirampur.

There are spinning mills at Shrirampur, Haregaon and Rahuri. Ginning and pressing industries are also.

•

Sugar Industries- Ahmednagar district is called “Sugar Bowl” of Maharashtra. At present 17 co-operative sugar factories are operating with full capacity.

•

Agriculture- Farming is the main activity of the people in Ahmednagar district. Out of total workers 75.42% people were working in farming as farmers, agricultural labour, animal husbandry and allied agricultural activities. Agriculture in the district mainly depends upon rains, wells and dams, but the rainfall in district is inconsistent and irregular.

3.6 RIVERS •

Godavari and Bhima are the major rivers of the district.

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The Pravara is the tributary or Godavari. The Mula, Adhala and Mahalungi are the important tributaries.

•

The southern part of the district consisting of Parner, Ahmednagar, Pathardi, Shrigonda.

•

Karjat tahsils constitute the Bhima basin with the tributaries of Kukadi and Ghod.

•

Among the rivers, the Pravara, Mula and Godavari have been a boon to this district.

3.7 SOIL •

The entire district is occupied by basaltic lava flow, which is popularly known as the “Deccan Traps”. These lava flows are sometimes associated with intertrappen beds such as lime stones, sand stones, clay shales, red bole beds, porous thin mantle of black cotton soil present almost everywhere on the basaltic area.

•

The soils in the district can generally be classified into three groups, viz., black orkali, red or tambat, and laterite and the gray of inferior quality locally known as barad including white or pandhari.

3.8 ENVIRONMENT •

The climate of the district is characterized by a hot summer and general dryness during major part of the year except during south-west monsoon season, when the relative humidity is between 60% and 80% thereafter it decreases.

•

Ahmednagar gets rain mainly from south-west monsoon but the distribution is mostly uneven.

•

The average rainfall in the district was 579 mm during 2007-08.

•

The district can be divided into following agro-climatic zones encountered from east to west:

i.

Scarcity Tract- out of 13 blocks of the district 12 blocks and eastern one third part of the Akola tahsil fall in the scarcity tract.

ii.

Transition Zone I- Western part of Akola taluka and the limited area from south east portion of Sangmner taluka is covered by this zone. This part of the district receives rainfall of about 700 mm to 1,250 mm.

iii.

Transition Zone II- Area of the western side of the high rainfall zone comes under this zone.

This zone receives of about 1,250 mm to 2,500 mm.

iv.

High-Rainfall Zone- This zone includes the narrow strip of land west to the ghat zone and receives rainfall of 2000 mm to 3000 mm.

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Ahmednagar is home to the Indian Armoured Corps Centre & School (ACC&S), the Mechanised Infantry Regimental Centre (MIRC), the Vehicle Research and Development Establishment (VRDE) and the Controllerate of Quality Assurance Vehicles (CQAV). Training and recruitment for the Indian Army Armoured Corps takes place at the ACC&S.

•

Formerly, the city was the Indian base of the British Army's Royal Tank Corps / Indian Armoured Corps, amongst other units.

3.9 MEDIA AND COMMUNICATION •

Newspapers: Lokmat, Sakaal, Punyanagri, Samana, Loksatta, Nava Maratha, Nagar Times, Divya Marathi, Maharashtra Times, Samachar

•

Radio: AIR Nagar FM, Radio City, Dhamaal 24, Radio Nagar FM

•

Internet: Internet facilities are provided by several suppliers

3.10 ROADS •

Roads in old days were mainly earthen tracts which had to be made even and repaired very often so as to serve traffic needs.

•

A few roads were however surfaced with gravel and stones.

3.11 RAILWAY •

Daund-Manmad line of the Central Railway is the only railway line passing through the Ahmednagar district. It is a broad gauge single line covering a length of 197 k.m. and 24 stations in the district.

•

The railway line almost bisects this district vertically and traverses through Shrigonda, Ahmednagar, Rahuri, Shrirampur, Kopergaon and Parner talukas.

3.12 AIRWAY Ahmednagar district does not have the benefit of air transport service. However, an aircraft landing strip had been provided by the Indian Air Force near Ahmednagar town.

3.13 TOURIST PLACES IN AND AROUND AHMEDNAGAR•

The Ahmednagar Fort is one of the major attractions in the city. It signifies the Ahmed Nizam Shah’s victorious capture of the Daulatabad fort. The fort interestingly also served as a prison

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29 | P a g e for our noted National Leaders who fought the Freedom Struggle. The fort held a lot of noteworthy figures as prisoners including Jawaharlal Nehru, during the Quit India Movement.

•

The Salabat Khan’s Tomb, the Bagh Rauza and the Kot Bagha Nizam are a few other historical sites that must be paid a visit.

•

Ahmednagar also proves to be an excellent religious destination. The Mohata Devi Temple, The Siddheshwar Temple, the Shri Vishal Ganpati Temple and the Sant Dyaneshwar Temple are a few brilliant pilgrim spots that will evoke the religious and spiritual side in you.

•

The Shani Shinganapur village nearby is a major attraction, with the pious village of Shirdi – the abode of Sai Baba – a few kilometres away.

•

The architecture enthusiast in you would love to explore the Historical Museum and Research Centre found here.

•

The Tank Museum is a marvellous spot to learn more about the different kinds of tanks used during different iconic wars through the chapters of world history.

•

Nature lovers will definitely enjoy the Mulla Dam and the Bhandardara Dam – two scenic places that will soothe your senses and help you indulge in a luxurious retreat. Whether you have come alone or along with your family, these sites are ideal for a bit of relaxation.

Figure 24 SALABAT KHAN’S TOMB

Figure 25 AHMEDNAGAR FORT

This building depicts the heavy influence of Persian architecture.

It is one of the major attractions in the city. It signifies the Ahmed Nizam Shah’s victorious capture of the Daulatabad fort. The fort interestingly also served as a prison for our noted National Leaders who fought the Freedom Struggle.

The fort held a lot of noteworthy figures as prisoners including Jawaharlal Nehru, during the Quit India Movement.

Figure 26 SHANI SHINGANAPUR- SAI BABA This village nearby is a major attraction, with the pious village of Shirdi – the abode of Sai Baba – a few kilometres away.

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4 SITE LOCATION AHMEDNAGAR DISTRICT

SITE WITH CONTEXT

SITE

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5 SITE ANALYSIS The selected building and site is located approximately 120km from Pune, in a desirable residential suburb. The area is rich in amenities with community and retail nodes within proximity with respect to the site. It is well served by public and private transport with the MH-SH 141 highway being within half mile radius from the site. The site is also connected to arterial road (that joins the highway) via a 3 metre wide access way.

The site is flat containing various levels due the formerly present moat around the building. This is the only remaining building (i.e. the palace) on the site and is centrally positioned on the square site.

Vehicular and pedestrian access to the site is available only from the north access way present. The immediate surrounding area is covered with barren land, shrubby ground and clumps of trees.

The site has been listed as a protected monumental site by the Archaeological Survey of India and all details regarding this monument is present in the ASI office - Aurangabad circle.

Years ago, during the frequent training sessions performed from the Cavalry Tank Museum present to the north west of the site, all the firing caused vibrations on ground surface that severely affected the palace and site thus leading to its present state. To avoid further damage to this monument, such activities have been stopped. But though listed under ASI, no concern has been given to the structure for the past 430 years in terms of preservation/ conservation to revive the building.

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Figure 27

SITE

PLACES OF WORSHIP

ROADWAYS

HOSPITALS

MH-SH 141

WATERTANK

HOTELS/RESTAURANTS

SCHOOLS/COLLEGE

•

MH-SH 141 is the highway heading to Sholapur situated to the south east of the site.

•

Within half mile radius around the site, barren land is present on all the sides except to the North West is the Cavalry Tank Museum, extreme North West and east are residential zones.

•

Temperature: 7°C - 29 °C

•

Annual rainfall: 501.8 mm

•

The site contains a 3m wide passage from the north.

•

Soil characteristics: Black soil

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Figure 28

Figure 29 PANAROMIC VIEW FROM ENTRANCE

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6 HISTORY Ahmednagar is situated about 2000 feet from sea level and is almost a barren piece of land surrounded on asides by the ranges of the Sahyadri Mountains. Hence the soil is not very rich and the area is void of mineral water. Therefore this district has to face drought and famines. However, efforts are on to supple the area with water irrigation, on the strength of dams built on the various small rivers. The Bhandardara Dam, The Mula Dam, The Ghod Dam, The Kukadi Dam, are the main sources of water system which tries to irrigate the surrounding lands through the network of canals.

A large number of beautiful and interesting monuments of all types of palaces, mosques, tombs etc. were constructed by the kings as well as some other nobles not only of the newly founded city of Ahmednagar but also neighbouring towns. Of the royal palaces, very little is left in Ahmednagar fort and changes were carried out to make them suitable for military offices and residences. [9] Farah Bakhsh is about 2 miles south east of the city and was built by Chenghiz Khan and Nyamat Khan for Burhan Nizam Shah (1508-1553).

The foundation of Farah Bakhsh garden was initially laid by Chenghiz khan. It was built under the supervision of Nyamat Khan and was completed in 1575.

When Murtaza Nizam Shah went to that garden for amusement, it did not appeal to him. He dismissed Nyamat Khan from the post as superintendent of that garden and instructed Salabat Khan to pull down the building on which immense sums of money had been spent, and construct in its place. Thus Farah Bakhsh was first built by Nyamat Khan in 1574-1575 and them rebuilt by Salabat Khan II in 1583-1584.

Nagabai and Shendi channels were used to supply to the Farah Bakhsh garden. Imampur and Pimpalgaon aqueducts were constructed to supplement the water supply of Farah Bakhsh garden which was expanded by Malik Ahmed Tabrizi. Later the Bhingar aqueduct was constructed to supply water to Farah Bakhsh garden. During the reign of Husain Nizam Shah, two channels were constructed. Bhandara duct for Farah Bakhsh garden was one of them. The Shendi channel was constructed to supply water to the Farah Bakhsh garden in 1506.

The pond and the palace on its bank are located on the higher ground. The water from the pond was led to the garden through a double row of pipes fixed in the mortar. The water supply through the conduits had been regulated through the underground reservoirs measuring 20 X 12 X 4 feet.

A seven feet deep pond is 150 feet wide on all the 4 sides of the platform which 130 sq. feet. The bottom of the pond is paved and plastered. The outer edge of the pond has a broad 30 feet wide step. The palace

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35 | P a g e is constructed on the square platform in the middle of the pond approached by a 10 feet broad passage from north. The palace is octagonal, 130 feet broad from one end to the other. The plinth is 96 feet long, while the octagonal sides are 24 feet each. 4 huge arches rise to a spectacular height of 25 feet covering the upper storey.

These arches on all the four facades give a picturesque appearance to the whole structure. On the either side of these arched entrances are a set of 12 feet high arches, one above the other, representing each storey. All the arches on the ground floor and upper floor have a semi domical curvatures adorned with different patterns in stucco relief, each pattern is different and reveals superb workmanship in stucco work.

5 rectangular doors lead into an octagonal hall having a small cistern in the centre. 2 antechambers on either side of this hall have entrances on all the four sides. 2 of them lead to the arched halls in the foreground of each side while 2 lead to the octagonal chambers. A set of 5 passages in each chamber, on 4 sides lead to a 20 feet square hall having a cistern in the centre. The central hall has a high domed roof about 30 feet high. The walls have a nest of niches to break the monotony.

The 5 rectangular entrances into the central hall in the upper storey had wooden railings. There are 4 staircases leading to the upper storey. The flight of stairs from the upper storey lead to the terrace. Except the central dome which is like a copula of ogee shape, the roof is flat. The walls are 5-7 feet thick. A 6 inches thick like covered the walls in stones and rubbles in mortar. Fine plaster was quoted over it.

Big quadrangular recesses are seen in each and every room. Recesses in the upper storey had compartmental shelves. The doorways and the recesses in the walls have thick wooden blocks fixed in the wall. This facilitated fixing the door frames and hinges. Since most of the wood had been stolen away, before the palace was protected by the central archaeological department. The structure with its huge arches and beautiful stucco work presents a beautiful sight and dominates the landscape. The massiveness and solidity of the structure are the striking features of this memorial of Murtaza Divana.

Architecture was of low domes, dressed stones and dry masonry embossed the local stamp.

The four centred arches of huge dimensions are apparent in the stupendous structure of Farah Bakhsh palace. The arch rises to a towering height of 25 feet. All the arches that appear on all the sides of the faรงade are of the same type. The archway in Farah Bakhsh palace leads to the portico which has a flat roof while the wall at the back has 5 rectangular doorways having arches windows above them. The same pattern is repeated, representing an upper storey. A band in relief having two niches in each block that appears between the set of upper and lower doorways demarcate the lower storey from the upper storey.

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36 | P a g e The arches that appear on either side of the lofty arch of Farah Bakhsh palace, are also given the same treatment (rectangular low doorway is placed at the back of the recessed opening which is crowned by a semi dome.-openings lead up to the high enclosing arch of the outer wall by an easy gradation giving all the size and dignity required for a noble portal without disturbing aesthetic qualities of scale). Interior of the arches are crowned with semi domes.

Excellent mahogany and acacia/catechu wood has been used. Apparently the frames and doorframes and the window frames and the railings in the upper floor were made of teak and mahogany. Wooden blocks were used in the construction. These blocks have been placed over the lintels and on both the sides of doorways and windows. The wooden blocks are approximately 10 sq. feet in size and 4 to 6 feet long, with chipped off surface to hold the lime plaster. Wooden blocks have been used on a larger scale on the upper floor. The technique of using wood in the construction is obviously an Indian innovation.

Wooden screens with jallis and carvings provided the necessary privacy. Satin curtains hanging from the ceiling was in common use. [10]1

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7 DOCUMENTATION DRAWINGS

Figure 30 GROUND FLOOR PLAN

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Figure 31 FIRST FLOOR PLAN

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Figure 32 ROOF PLAN

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Figure 33 CROSS SECTION

Figure 34 ELEVATIONS

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Figure 35 ELEVATIONS

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8 SURVEY STUDY

•

Majority of the population living in Ahmednagar comprises of armoured corps families and localities.

•

Most of them own individual houses, have average economic status and are governmentemployed.

•

Due to the absence of regular public transport facilities, people are forced to use private vehicles or go by foot.

•

Recreational activities are minimal as there are no spots present.

Memory/ importance of Farah Bakhsh to each - Historical monument of great importance - Picnic spot since childhood - Massive structure Most people felt that the historical importance of Farah Bakhsh should be made aware of, the building revived and brought back to its former glory and to turn the site into a tourist/recreation spot.

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43 | P a g e Relationship between old and new use•

By creating a museum in this structure it would contain historical information, findings and portray the Persian architectural influence of the structure during the Nizam period.

•

For the site, by creating garden spaces along with seating to enjoy light and sound shows that can take place reflecting the past on the palace’s façade.

•

Therefore, this new use to the building links to the old use as it brings people together for recreation purpose as well as making them aware about the importance of the structure.

9 NEW USE OPTIONS TYPOLOGY OF OPTION 2-STOREYED BUNGALOW

PROS • • •

OFFICE

• • •

EDUCATIONAL BUILDING

• • •

SHOPPING COMPLEX

• • •

CONS

THE CHAMBERS CAN BE CONVERTED TO SPACIOUS ROOMS CENTRAL HALL CAN BE USED AS A COMMON GATHERING PLACE FOR THE FAMILIES. PROXIMITY TO SCHOOLS AND WORK PLACES. CENTRAL HALL CAN BE THE COMMON RECEPTION AND LOBBY. THE CHAMBERS CAN BE CONVERTED INTO VARIOUS CABINS. THE SURROUNDING SITE CAN BE USED FOR PARKING SPACE IT CAN BE CONVERTED INTO A PRIMARY SCHOOL WHERE THE CHAMBERS ARE THE CLASSROOMS. THE CENTRAL HALL CAN BE USED AS AN AUDITORIUM. THE SURROUNDING SITE CAN BE CONVERTED INTO A PLAY GARDEN FOR THE STUDENTS. THE CHAMBERS CAN BE CONVERTED TO SHOPPING UNITS. CENTRAL HALL CAN BE THE FOOD COURT/ STAGE PERFORMANCES. THE SURROUNDING SITE CAN BE USED FOR PARKING SPACE

•

• • •

•

•

•

•

HOTEL

• • •

THE CHAMBERS CAN BE CONVERTED INTO SPACIOUS ROOMS. CENTRAL HALL CAN BE THE COMMON RECEPTION AND LOBBY THE SURROUNDING SITE CAN BE USED FOR PARKING SPACE AND GARDEN/PARK.

•

DUE TO WATER SHORTAGE, INSUFFICIENT WATER SUPPLY TO THE HOMES. EXCESSIVE HEIGHT OF THE CEILING. EXCESSIVE HEIGHT OF THE CEILING. TRANSPORTATION PROBLEMS

DUE TO WATER SHORTAGE, INSUFFICIENT WATER SUPPLY CHALLENGES IN PROVIDING ADEQUATE LIGHTING SYSTEMS. EXTENSIVE STRENGTHENING OF FLOOR NEEDED TO HOLD HEAVY APPLIANCES AND GOODS. DUE TO WATER SHORTAGE, INSUFFICIENT WATER SUPPLY DUE TO WATER SHORTAGE, INSUFFICIENT WATER SUPPLY

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MUSEUM (CHOSEN)

• •

OLD HOMES

AGE

• • •

HOSPITAL

• • •

THE CHAMBERS CAN BE USED TO PORTRAY THE VARIOUS IMPORTANT HISTORICAL EVENTS DURING THE NIZAM PERIOD IN THE FORM OF BOOKS/ARTIFACTS/ETC. THE CENTRAL HALL CAN BE THE LIBRARY WITH SEATING SPACES. THE SURROUNDING SITE CAN BE USED FOR PARKING SPACE, GARDEN, AND AN AMPHITHEATRE TO VIEW LIGHT AND SOUND SHOWS. THE CHAMBERS CAN BE CONVERTED INTO SPACIOUS ROOMS. CENTRAL HALL CAN BE THE COMMON GATHERING PLACE THE SURROUNDING SITE CAN BE CONVERTED INTO A PARK THE CHAMBERS CAN BE CONVERTED INTO WARDS/DOCTORS/NURSES CHAMBERS/DEPARTMENTS. CENTRAL HALL CAN BE THE RECEPTION AND WAITING AREA THE SURROUNDING SITE CAN BE USED FOR PARKING SPACE

•

CHALLENGES IN PROVIDING ADEQUATE LIGHTING SYSTEMS.

•

DUE TO WATER SHORTAGE, INSUFFICIENT WATER SUPPLY EXCESSIVE HEIGHT OF THE CEILING. EXTENSIVE STRENGTHENING OF FLOOR NEEDED TO HOLD HEAVY APPLIANCES AND GOODS. DUE TO WATER SHORTAGE, INSUFFICIENT WATER SUPPLY TRANSPORTATION PROBLEMS EXTENSIVE STRENGTHENING OF FLOOR NEEDED TO HOLD HEAVY APPLIANCES AND GOODS. DUE TO WATER SHORTAGE, INSUFFICIENT WATER SUPPLY TRANSPORTATION PROBLEMS

• •

•

• RECREATION SPOT

• • •

THE CHAMBERS CAN BE CONVERTED INTO VARIOUS GAMING ZONES. CENTRAL HALL CAN BE THE FOOD COURT THE SURROUNDING SITE CAN BE USED FOR PARKING SPACE AND GARDEN/PARK.

•

•

• Table 3

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10 CASE STUDIES 10.1 PRIMARY CASE STUDY: TIPU SULTAN’S SUMMER PALACE, BANGALORE

Figure 36 LOCATION

•

Tipu Sultan's Summer Palace was the summer residence of the Mysorean ruler Tipu Sultan.

•

Its construction was started by Hyder Ali within the walls of the Bangalore Fort and completed during the reign of Tipu Sultan in the year 1791. It is built within the fort walls of Bangalore, next to the Sri Ventakaramana temple.

•

Today it is a tourist spot located at the center of Old Bangalore near Kalasipalyam Bus Stand and maintained by Government of Karnataka.

•

The structure has been built entirely with Teak Wood along with stone mortar and plaster and stands adorned with pillars, arches and balconies. It is an example of Indo-Islamic architecture.

•

It is believed that Tipu Sultan used to conduct his durbar (court) from the eastern and western balconies of the upper floor. There are beautiful floral motifs embellishing the walls of the palace.

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Figure 37

•

The rooms in the ground floor have been converted into a small museum showcasing various achievements of Tipu Sultan and his administration. There are newly done portraits of the people and places of that time. There is a replica of Tipu's Tiger, which is presently in the Victoria and Albert Museum at London. The clothes of Tipu Sultan and his crown are present in silver and gold pedestals. The silver vessels given by a general to Hyder Ali is also displayed.

•

The space in front of the palace is developed as a garden and lawn by Horticulture Department, Government of Karnataka.

Figure 38 PLAN

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Figure 39 PLAN SHOWING FURNITURE

Figure 40 ELEVATION

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10.2 SECONDARY CASE STUDY: THE ALEXANDER PALACE, TSARSKOE SELO, ST. PETERSBURG, RUSSIA The Alexander Palace was built between 1792 and 1796, commissioned by Catherine the Great as a gift for the future Alexander I, her eldest grandson.

The World Monuments Fund (WMF) undertook a preliminary reconnaissance mission to the palace, in 1995. The purpose of this mission was to examine the feasibility of repairing the structure of the building, authentically recreating the interiors, and returning to the palace its original furnishings, including Faberge objects and other pieces now housed in various Russian museums, in order to interpret the life of the Tsar and his household during the era of the early twentieth century.

Figure 41

This project was undertaken to determine the feasibility of adapting the magnificent eighteenth-century Alexander Palace for use as a museum devoted to interpreting the history and lives of Russia's last Imperial Family.

Located approximately twenty-five kilometres from St. Petersburg, the Alexander Palace is situated on land granted by Peter the Great to his wife, the future Catherine 1. This estate later became known as Tsarskoe Selo or "Tsar's Village."

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Figure 42

Later the Director of the naval institute resident at the palace, expressed concerns about the difficulties of maintaining the property, especially roof repairs and high operating costs, and that the Navy had decided to relocate the institute to new facilities.

In July 1996 WMF conducted a third visit to the Alexander Palace. This mission accomplished the following: • A detailed survey of the palace exterior and roof; • A visual examination of additional rooms within the building and the exterior of the adjacent kitchen building.

• A review of archival materials in the offices of the St. Petersburg Commission for the Preservation of Historic Monuments which included pre-1917 photos of the palace and diagrams detailing the proposed post-war restoration; • A contract between the Museum-Preserve of Tsarskoe Selo and the Finish restoration firm IPR GroupPaanurakenne for the partial replacement of the roof over the southeast wing of the palace.

Further study of the architecture and structure of the Alexander Palace will be required to gain a complete understanding of its overall condition in order to make recommendations for rehabilitation and restoration.

•

Innovation in design and decoration returned to the Alexander Palace when Nicholas II and Alexandra renovated the southeast wing, which would become their private apartments.

•

After the war, amid heated controversy over the future use of the palace, the Soviet Ministry of Culture and the Leningrad Commission for the Preservation of Historic Monuments made

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51 | P a g e detailed plans to restore the palace and convert it to service as a museum devoted to Alexander Pushkin and other Russian literary figures.

•

The Alexander Palace has already undergone several interior and exterior improvement and redecorating campaigns. Some of these have been documented and are referred to in military archival records. The last substantial series of exterior improvements took place between 1946 and 1949.

•

Repairs caused by explosives and concussion damage by munitions.

10.2.1 Survey-exterior • Stucco has fallen away from the brick Substrate •

Fading and flaking of the pigmented stucco coat.

•

Green algae was growing between stucco layers and holding moisture against the masonry

•

The unevenness of recent exterior painting attempts indicate that surfaces were not properly prepared, or that the coating materials were not compatible with existing pigmented stucco.

•

It is also likely that a waterproofing sealant was applied to the stucco surfaces. Some of the surfaces have received dense cementitious coating products which served to seal the exterior skin of the building.

•

Beneath the eaves and adjacent to leader – cracks

•

The stuccoed exterior walls of the Palace appeared to be in poor to fair condition depending on orientation and proximity to storm drainage disposal piping. Only in the uppermost areas, directly beneath the overhanging cornice and at locations where the roof drains penetrate the overhang, are there signs of extreme damage to wall structure

•

The wooden ornamental balustrade surrounding the roof is in a bad condition

•

Small (approximately 60 cm. x 1.5 m) semi-circular roof vents with wooden louvers are mostly flattened on their top edges, though they appear to be sound at their junctures with the roof surface.

•

That is trusses, rafters, purlins, and flooring - appeared to be in relatively good condition.

10.2.2 The objectives of the visit to the museum was to: • Assess the present situation of the Alexander Palace collections stored or displayed off-site, determine the extent of those collections, and assess their immediate needs;

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52 | P a g e •

Assess the feasibility of establishing a centralized physical inventory and registration of the collections according to current museum standards; and

•

Suggest requirements, procedures and policies for the future.

•

Conservation issues at the Alexander Palace can be divided into the following components:

•

Restoration of the building exterior;

•

Rehabilitation of the building structure, including the insertion of upgraded mechanical, electrical and plumbing systems;

•

Restoration and rehabilitation of interior architectural details, furnishings, and

•

Fittings;

•

Reinstallation of decorative objects and furnishings and interpretation of the 'story' of the building; and

•

Restoration of the landscape at the entrance and rear garden.

10.2.3 Project Proposal • Visitors will see the palace and gardens as they were fashioned and maintained by the last Romanovs. As a museum collection, the palace, gardens and furnishings assumed their last significant form as a domestic setting in the 1890s and 1900s. The standard tour should be located within that period, and the principles noted will guide the way in which the story will be framed for visitors.

10.2.4 Utilization of Interior Spaces • The large scale of the palace, with about 70,000 square feet on the principal (ground) floor, comprises about forty-five rooms; of these, a little more than half - roughly 25 rooms or 40,000 square feet - can be used for museum facilities.

•

This includes, in the southeast wing, the private suite of Nicholas and Alexandra and in the northwest wing the formal neoclassical reception rooms, which the family also used.

10.2.5 Museum support facilities: Changing Exhibition Galleries, Video Interpretation Room/Auditorium, Exhibition Galleries for Historic Clothes, Museum Shop, Restaurant, Ticket sales, coat check, public toilet.

10.2.6 Museum details • Humidity

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53 | P a g e •

Temperature control

•

Light

•

Code compliance

Rehabilitating historic structures for modem building code compliance is one of the chief challenges in the building conservation field today. A number of special considerations must be made relative to the protection of the building, its contents and, of course, people using the building.

Three basic special standards should be considered in any upgrading of a structure such as the Alexander Palace to satisfy current building code requirements. These standards require that: • There be the least possible disturbance to the historic fabric of the building during the rehabilitation process, • The interpretive value of the house not be compromised by physical intrusions, and • The appearance of the palace during the tsar's occupancy be faithfully retained.

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Figure 43 SITE PLAN

Figure 44

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Figure 45 FIRST FLOOR PLAN

Figure 46 BASEMENT PLAN

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Figure 47 MEZZANINE PLAN

Figure 48 ROOF PLAN

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Figure 49 ELEVATIONS

Figure 50 ELEVATIONS

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Figure 51 ELEVATIONS

Figure 52 SECTIONS

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Figure 53

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Figure 54 INTERIORS VIEWS AFTER RESTORATION

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11 STANDARDS 1) Requirements for light and sound shows: Major sound Equipments consists of Main PA System(Speakers), Amplifiers, Crossovers, Mixing Console or Desk from where everything is controlled, Main Signal Cables, Stage gears like Guitar Amps, Keyboard Amps etc. and Stage Monitors (Speakers) for the artists to listen to themselves while performance.

•

Major Light Equipments: Convention Parcans, LED Pars, Moving Heads Wash & Spot, Special Effect Lights, Strobes, Smoke and Haze Machines, Lighting Mixer, Cables etc.

•

They deal with quiet heavy equipment where each equipment weighs an average of 80-110 kgs.

•

For outdoor concerts most of the light equipment are hanged on the truss while the main speakers are hung on truss and also on Scaffolding using motors.

•

The main PA could weigh between 1500-2500 kgs or more (One stack) depending upon what kind of sound systems are being used while lights could weigh between 3000-5000kgs or more depending upon inventory. So, Trussing is very important w.r.t the amount of weight hanged on them.

•

For Indoor venues like theatres the sound system is either hanged in open from the ceiling next to the stage or behind the screens as you find in multiplexes. Sometimes even a mesh is used to cover the speakers in front so as to look tidy. For theatre the acoustics play a great role for good sound. There should be a balance between absorbing and reflecting materials.

•

All cables from the speakers to console mostly run underground and that should be designed in such a way that there shouldn't be any wear and tear of cables and also keeping the rodents away.

2) Factors to choose right System:

•

Venue Size

•

Crowd

•

Stage design

•

Budget

•

Artist requirements etc.

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62 | P a g e 3) Mechanism, Technology & Science Involved: •

Everything in the event and live industry is technology based. All equipments that are used are of high standards. For sound one problem in the smallest of things can be a problem for the whole show. For e.g. a small cut in the cable can ruin the whole flow of sound even if the rest of the equipments are of highest quality and so I mentioned about rodents above specifically for theatre setups.

•

Similarly lights also play a great role in creating a scene and giving a visual delight for the crowd and technicians have to make sure nothing goes wrong.

4) Safety:

•

It is one of the most important things to take care off as the equipments used are quiet heavy and very expensive too. For open concerts where power comes from generators the connections have to be of high standards and regularly checked. Power leakage can cause serious damage to equipments as well as can be threat to life.

•

In open concerts technicians working on the truss are generally on a height of 30 to 50 ft. and safety harness, shoes, helmets etc. are important.

11.1 AS PER SPACE PLANNING BY BUILDING TYPE – TIME SAVER STANDARDS FOR INTERIOR DESIGN AND SPACE PLANNING Square feet per person for museum space planning = 15 Square feet per person for seating area- fixed = 7.5

11.2 AS PER MUSEUMS – TIME SAVER STANDARDS FOR BUILDING TYPES – 2ND EDITION •

A museum should be easily accessible from all parts of town by public transport/ walking distance.

•

TYPES OF LIGHTING: Lighting from above-

1. A freer and steadier supply of light, less liable to be affected by different aspects of the various room in the building and by any lateral obstacles which might tend by causing refraction or by casting shadows to alter the quantity or quality of the light itself.

2. The possibility of regulating the amount of light cast on the pictures or other exhibits and of securing full and uniform lighting, giving good visibility with a minimum of reflection or distortion.

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63 | P a g e 3. The saving of wall space, which this remains available for exhibits.

4. The maximum latitude in planning space inside the building, which can be divided without requiring courtyards or light shafts.

5. The facilitation of security measures owing to fewer openings in the outside walls.

Lateral lightingThis is provided by either by ordinary windows of various shapes and sizes, placed at suitable intervals in the walls or by continuous openings.

•

TYPES OF MUSEUMS:

1. Art and archaeology 2. Historical or archival 3. Ethnographic and folk museums 4. Physical and natural sciences, technological or educational SERIAL NO. 1.

2.

3.

4.

5.

FUNCTIONS

SPACE REQUIRED

CURATORIAL FUNCTIONS a. COLLECTION, PRESERVATION, IDENTIFICATION, DOCUMENTATION, STUDY, RESTORATION b. STORAGE OF COLLECTIONS DISPLAY FUNCTION THEMATIC AND CHARGING DISPLAYS OF SELECTED OBJECTS AND DOCUMENTS FROM THE COLLECTIONS ARRANGED TO TELL A STORY. DISPLAY PREPARATION FUNCTION THE PREPARATION OF EXHIBITS EDUCATIONAL AND PUBLIC FUNCTIONS THIS TERM HAS BEEN EXPANDED TO INCLUDE ALL PUBLIC FUNCTIONS. a. LECTURES, SCHOOL TOURS, SOCIETY MEETINGS, FIRMS AND SOCIAL FUNCTIONS. b. RECEPTION, INFORMATION, SALES, SUPERVISION OF DISPLAY GALLERY. c. PUBLIC REQUIREMENTS OTHER SERVICES a. MECHANICAL b. JANITORIAL

a. b.

OFFICE WORKROOM, WORKSHOP RESERVE COLLECTION

DISPLAY GALLERY

WORKSHOP, OFFICE-WORKROOM d.

f.

LECTURE ROOM, CHAIR STORAGE CLOSET, KITCHENETTE, LOBBY, SALES AND INFORMATION COUNTER CLOAK ROOM, WASHROOMS

a. b.

HEATING-VENTILATION PLANT JANITOR’S CLOSET

e.

Table 4

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Figure 55

Figure 56

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12 CASE STUDY ANALYSIS The case study analysis was done between the 2 case studies explained above along with the comparison with the standards thus arriving at the necessary inferences.

The Case Study Analysis sheet is attached in the thesis portfolio at the end of the document.

13 RESTORATION Standard restoration techniques were studied to understand the criticality of each damage. Based on every damaged element in the building, the various damages were noted. Then the agent for the damage was studied further thus leading to a few initial solutions.

The Restoration sheet is attached in the thesis portfolio at the end of the document.

14 CONCEPTUAL DESIGN PROGRAM The building and site was converted adaptively by: 1. Converting the building

Ground floor as a museum along with offices.



First floor as partial museum along with a Persian themed restaurant.

2. The site was developed with lush lawns, fountains, pathways as per the classic Persian garden theme. Along with this is the amphitheatre seating on 4 corners of the site.

3. For easier maintenance and services, the toilet and kitchen block is constructed to the rear side of the building.

4. Parking area is provided to the west and east of the site.

Amphitheatre 1. Seating Based on the survey, • • •

Daily no. Of visitors to monuments – 20 Weekly no. Of visitors – 100 Therefore no. Of people for an amphitheatre - 600

2. Projection room – it is controlled in the IT room located on the ground floor of the building.

Parking Considering for every 4 people – 1 car, therefore total no. Of cars = 400; total no. Of 2-wheelers = 120

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66 | P a g e Exhibition display 1•

Display of paintings in a self-illuminated stand where in the paintings act as touch screen for virtual learning and thus explaining the story of the nizams of the period.

•

The setting of the spaces will be adorned with islamic art wall paper with constant light mood regulator.

Exhibition display 2•

Display of artefacts symbolizing history of the time period by placing on different levels thus making using of the height of the room.

•

Use of the niches to display items.

Exhibition display 3•

Display of coins as flooring art piece in the centre and protected with glass covering.

•

Display stands present where users can view from all sides.

Exhibition display 4•

Sculptures on display stands at varying levels.

•

The setting of the spaces will be adorned with Islamic art wall paper with constant light mood regulator.

Virtual museum•

The main cistern will be the focal point of the museum – towering sculpture with lighting fountain and circular ornamented floor pattern.

•

Sculptures of the dancers displayed at the 4 corners of the hall.

Exhibition display 5•

Display of archaeological remains and pottery on a stepped display stand.

Exhibition display 6•

Display of clothing, furniture and cutlery of the period by creating the setting of bedroom spaces.

•

These space will contains doors and windows in teak wood with ornamentation.

Restaurant•

Islamic style setting containing spaces with furniture/ diwaniya/ private seating.

•

Mosaic tiles for flooring

•

Lanterns for lighting

•

Balcony overlooking the central square hall.

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67 | P a g e New building blockKitchen: •

Contains various divisions for workstations, washing, cooking and storage.

•

Storage is divided with veg and non-veg separately.

Toilets: [11] PUBLIC

MEN

WOMEN

WC

8

12

URINALS

38

-

WASH BASIN

8

12 20

DRINKING FOUNTAIN Table 5

STAFF

MEN

WOMEN

WC

4

4

URINALS

4

-

WASH BASIN

4

4 20

DRINKING FOUNTAIN Table 6

15 CONCLUSIONS Overall, this has been a very interesting thesis. The Farah Bakhsh Palace is a wonderful example of turn of the century architecture by the Nizams at that time.

With thorough research and analysis, the palace has the potential of housing an adaptive reuse that will ensure its preservation and enjoyment for the people of Ahmednagar and visitors.

With this design, the palace can be made aware of amongst the people, bring it back to its former glory, earn revenue and thus help future generations to understand the rich past.

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16 APPENDICES

Figure 57 ENTRANCE VIEW

Figure 58 SEMI DOME

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Figure 59 SEMI DOME

Figure 60 CENTRAL HALL

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Figure 61 NICHE

Figure 62 NICHE

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Figure 63 FRONT FACADE

Figure 64 DOME

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Figure 65 COLUMNS

Figure 66 STUCCO WORK

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CHECKLIST FOR SITE STUDY



General Features



Accessibility



Climatic Condition



Site zoning and given land use (as per the bye-laws or master plan) existing.

Site Study (about the site) 

Plot size



All Natural and Man-made features present



Topography



Contours/Slope present (if any)



Vegetation



Any existing structures (like: poles, electric poles, drains, water bodies)



Drainage Patterns of the site



Accessibility inside the site

Site Surrounding 

Surrounding building use and various land uses



Surrounding building heights and elevation



Surrounding building foot-print



Any specific feature or landmark in the surrounding



Views



Elevations and sections

Site Services 

Plumbing



Fire safety



Electrical

Building Bye-law of the city 

Maximum FAR

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Maximum Coverage



Maximum Heights & Set Backs



Maximum % of Built up area.

Building level study 

Prevailing climatic conditions



Detailed building documentation- (Floor plan, elevations, sections and details)



Planning concepts



Identification of spaces/ Bubble diagram (Amenities and facilities/ Multiple use/ Functional spaces)



Human scale proportions



Community interest/participation



Capacity/ Users in terms of types and numbers



Floor plans inclusive of areas



Foundation details



Circulation pattern of the interior



Users/ Activity/ Functionality



Services (Plumbing/ Electrical/ HVAC/ Light and ventilation/ Security/ Fire safety)



Aesthetics (Form/ Material/ finishes/ facades/ styles)



Structural systems (Columns/ Beams/ Roofing systems)



Interior views and documentation of interior spaces (through sketches/photographs)

QUESTIONNAIRE FOR SURVEY STUDY Name: 

Age group range of the family members0-15

16-25



Origin-



Ownership of the house-



Family income-

26-40

41-60

Above 60

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10000-20000

20000-30000

30000-40000

Above

Retired

40000



No. of earning members in the familyone



three

More than 3

none

Occupational statusPrivate



two

Government

Corporate

Self-employed

Retired

Time taken-

Workwalking

private

public

walking

private

public

walking

private

public

5mins 10mins distant

School/ colleges

5mins 10mins distant

Groceries-

5mins 10mins distant

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76 | P a g e Hospitalwalking

private

public

walking

private

public

5mins 10mins distant

Places/worship-

5mins 10mins distant



Vehicles ownedCars



Bikes

Weekday activities- (9am-5pm) Office



School/College

Retired

Occupied

Vacation

Social Gathering 1ce

a 1ce

year



Housework

Weekend activitiesHome



none

in 1ce

6mths

2mths

in 1ce month

a 1ce

in

2 Rarely

Don’t attend

weeks

Services Water supply Electrical-

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77 | P a g e  Gas Garbage Disposal

Problems faced Structural Environmental- heat/cold/rain  Amenities1. Security/Safety2. Parking3. Space/circulation in locality 4. Any other problems



How often do tourists come to visit this city? Which are the common/popular places for their stay? What is the proximity from places of visit?



How are old people taken care off in this area in case of no presence of family/friends?



Is there any form of structure/activity that you wish for to be present as a part of your surroundings?



What do you think of the Faria Bagh palace?  Importance/meaning/thought  Memory/location



If the building of Faria Bagh was to be converted, would you agree towards adaptive reuse, demolition or preservation of the structure without any changes?

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17 REFERENCES [1] Burchell, R.W. and Listokin, in The adaptive reuse handbook: procedures to inventory, control, manage, and reemploy surplus municipal properties, New Brunswick, N.J, Rutgers University, Center for Urban Policy Research., 1981.

[2] Loures, L. and Panagopoulos, in Sustainable Development and Planning III, Southampton, UK, WIT Press, 2007.

[3] Langston, C., Wong, F.K.W., Hui, E.C.M and Shen, in Strategic assessment of building adaptive reuse opportunities in Hong Kong. Building and Environment, 2007.

[4] C. o. Australia, in Adaptive Reuse: Preserving our past, building our future, Australia, 2004.

[5] I. C. Council, “2012 International Existing Building Code,” Third Printing, U.S.A, Third Printing: 2012.

[6] C. B. Francis D. K. Ching, in Interior Design Illustrated, New Jersey, John Wiley & Sons, Inc., 2012.

[7] S. Cantacuzino, in ReArchitecture: Old buildings/ New Uses, New York, Abbeville Press Publishers, 1989.

[8] in Principles of Selection for Listing , 2010.

[9] P. B. P. H. K. Sherwani, in HISTORY OF MEDEIVAL DECCAN (1295-1724)- Volume II, Andhra Pradesh, The Authority Of Govt. Of Andhra Pradesh 1974, 1974, pp. 261-268.

[10] P. B. Gadre, Cultural Archaeology of Ahmednagar during Nizam Shahi Period (1494-1632), Poona, 1969.

[11] National Building Code Of India 2005, Bureau of Indian Standards, 2005.

[12] D. D. Nagarkar, GLIMPSES OF AHMEDNAGAR, Shri N. N. Barshikar M.L.A, 1st Edition 1977.

[13] “CHAPTER VI- A PROFILE OF AHMEDNAGAR DISTRICT,” pp. 221-237.

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