CONTESTED SITES

CONTESTED SITES

EXPLORING THE NATURE OF CULTURAL INSTITUTIONS HAMPI, KARNATAKA (INDIA)

DESIGN STUDIO 8 (4TH YEAR)

SCHOOL OF ARCHITECTURE, CEPT UNIVERSITY, AHEMDABAD (INDIA) AUGUST - NOVEMBER, 2012 INSTRUCTORS: SHUBHRA RAJE MANASI PANDEY

©Gethin Chamberlain for the Observer

©2013 Shubhra Raje

0 Š 2013 Google Maps

2mi 2km

The Project and Site: Routes & Roots

A historic site is a contested site, pitting efforts to preserve a nation’s ancient treasures against its modern pressures on land for shelter, commerce and even leisure. The ideal of shared heritage clashes with claims on private ownership (“my father grew up here, this is our land…”).

Each side views the other as a threat. The wall demarcating the antiquities precinct from its surroundings becomes a prominent experience at sites of historical significance, be it in an urban or rural situation. At its most obvious, it is an element to counter encroachment, one that seeks to draw an unambiguous line between preserving the past from a messy present and unpredictable future; a decisive, and singular, act to maintain the integrity of the archaeological site.

In the wake of the recent Hampi bazaar evictions (May 2012), our studio will be located in Hampi amidst the landscape of scattered monuments and granite boulders. As with many monuments in India, ancient ruins coexist with living temples and bazaars attracting tourists, researchers and pilgrims. The 2.7km (30 minute walk) section of Highway 131 and boundary wall system, along the western edge of the UNESCO World Heritage Site, between the Sri Krishna Temple to the North, and the Queen’s Bath Complex to the south. A 40m wide zone along the boundary wall, including the highway, is designated to be zone in which building is permitted. Students are permitted to divert the existing highway within this zone to alter the relationships between the wall, the road and the programmatic elements. Hampi is a fair weather place, with intense summers and brief rains. Tourist season is from October through March.

BUILDABLE ZONE 40M WIDE

The studio will seek to accommodate and articulate notions of the past and present, and the coexistence of the two. The investigations will utilize a system of interconnected programs, in the form of sequential exercises, as the tools. The resulting grammar, composition and relationship between these programmatic elements will be seen to express each student’s particular understanding of the studio’s objectives. Attitudes to connection, and character, are encouraged to take into account the experience marked by slowness, distraction and economy of expression, thereby acknowledging both the surrounding monuments, the unique landscapes as well as the lush vegetation.

“seeking to preserve the past, but stumbling on the present” Built Environment

Natural Environment

Archaeology Structural Rehabilitation Conservation Tourism

Agriculture Water-Irrigation Geology

©http://www.bellary.nic.in

©Ana Draskovic / http://whc.unesco.org/

The Context

Cultural Landscapes

Economic Landscapes

Rituals Piligrimages Festivals

Local Tourist Regional-Industrial

Šhttp://hampiheritage.wordpress.com/

Šwww.hwhama.org

The Wall The wall as the most basic of human gestures. To demarcate (mark). To secure. To claim. To protect.

To keep out the unwanted. To begin an enclosure. But this first act is rarely the last. The instinct to enclose is soon followed by the desire to extend. To reconnect. An opening appears to look beyond.

A ramp to climb atop. A niche to introduce a direction. A ripple (parallel wall) to extend space. A bend to contain space.

The Museum Complementing the main archaeological museum in the town of Kamalapur, south of the site, the museum will reflect the shifts in the fields of archaeology and conservation from an object based to a context based approach. A rotating exhibit system reflects history, and therefore heritage, as inclusive and evolutionary, with multiple discourses, rather than a fixed sequence of events or identity.

To that end, the mission of the museum will be to reflect the ongoing work and contemporary practices conducted at Hampi, as well as the region, including sites such as Badami, Aihole, Pattadakkal etc. through curated exhibitions (as opposed to permanent collections, typical of most archaeological museums and archives). Outdoor connectors are encouraged Research & Education House For any conservation effort to be relevant and socially sustainable, outreach and engagement with local communities is an essential partner to the research and fieldwork. The field house is intended to house research and administrative activities of visiting scholars and research teams (excavation, documentation & conservation) as well as outreach and educational programs for the local community such that they can participate in on-site work along with the visiting expertise. Outdoor connectors are encouraged

Tourist “Depots�

Hampi does not have any hotels near the archaeological site. The nearest popular accommodations are either in Hospet, Kamalapur or across the Tungabhadra river. Most visitors therefore come to Hampi either by car, taxis or tourist buses. Most cars (and of course, buses) are taxis, and day accommodations for drivers should be a consideration.

Local guides are available for the entire day (often grouped with visits to nearby sites such as Badami, Aihole, Pattadakkal), or by the hour. The guides are generally from the local community and nearby towns, and arrive to the site in the morning by local/regional transportation. A few have motorcycles and bicycles.

Toilets are an important convenience, as the archaeological site does not have any public restrooms.

Places to eat, picnic style, is another facility desired within the tourist experience, as the trip to Hampi normally is a day-long affair, and many tourist groups get their own food.

Tourist depot(s) maybe consolidated into one centralized facility, or be broken up into upto a maximum of three smaller facilities.

The Programme

a site for social encounters, functional juxtapositions and spatial segmentation Gallery – 200sqm Gallery – 200sqm Gallery – 200sqm Lobby – 200 sqm

Lecture / Media – 150 sqm Chair / Equip. Sto. – 150sqm Offices – 100 sqm

Shop (Production) – 150 sqm

Restrooms – 100 sqm

Lab / Studio – 200 sqm Lab / Studio – 200 sqm Lab (Outreach) – 200sqm Photo Documentation – 100 sqm Object Conservation – 100 sqm Storage/Archives – 400sqm

Dining / Common Area – 100 sqm Kitchen – 100 sqm

Rooms for Researchers - 150 sqm (2 single rooms, 8 double) Common showers (4) – 15 sqm Restrooms (4WCs/4Basins) - 15 sqm Common Washing Area – 10 sqm

Laundry Delivery – 10 sqm Staff Quarters – 150 sqm

Meeting point for guides

Wait Area for drivers Parking (Total) Cars: 45; Buses: 9

Eating / Picnic Area

Restrooms (12 stalls)

Guest Lecturer: Prof. R J Vasavada, Director, School of Conservation Conservation practices in India • the notion of “heritage” conservation beyond the physical rehabilitation of monumnets.

• UNESCO guidelines • historical overview of the Archeological Survey of India, its current concerns and activities in the Hampi region, including the Kishkinda Trust.

Guest Lecturer: Prof. Snehal Shah Expressions of power in architecture with the Vijayanagara site as a case study

Week 2 Week 1 Movement & Movement & Mapmaking Mapmaking Site Visit Hampi

Week 3-5 The Wall 1:20

Exploring the expectations and opportunities in a boundary condition for a heritage precinct.

Architectural discourse is problematized by notions of insides and outsides: Its productions, institutions, disciplinary boundaries, geographical alignments, and social milieu all raise questions of interiority and exteriority.

How do we frame our investigations so as to delimit, dissolve, and reconstitute these edges within the context of Hampi?

Guest Lecturer: Radhika Pandit, Graduate Student, School of Conservation Internship with the Kishkindha Trust with a focus on generating walking tours and maps for the HampiAnegundi region

Week 6-9 The Masterplan 1:5000

The exploration of an architectural programme through an overall attitude to the site. Locating and developing programmatic elements and their relationships into a comprehensive site design, with clearly defined formal attitude.

The Process

Overlapping Scales of Operation

Week 10-13 The Building[s] 1:500 1:200 1:100

The development of an architectural vocabulary that gives formal expressions to the architectural programme, and defining the nature of the cultural institution.

Week 14 R e v i e w s & Exhibition

Week 1: (30.07.12- 03.08.12) The studio will work on constructing personal architectural narratives in preparation Assignment: for next week’s site visit to Hampi. The intention is to get familiar with methodological concepts each student will be required to use while documenting their individual experi- We will use the CEPT University campus as a test site. The student will construct three ences in Hampi, as well as a warm-up exercise to start the semester. narratives, using each of the three concepts.

Three concepts will be investigated: a) The notion of the Promenade Architecturale or the ‘architecture of movement’ b) The notion of Walking Tours – the thematized experience of a landscape or city c) The notion of reimagining– the reimagining of the theme, elements or concepts that

the student explored in the first two exercises (a & b)

Movement & Mapmaking: Exercise #1

Any textual citing will be integrated within larger visual connotations. The presentation will be an A2 sized panel, poster, folded brochure, folded structure appropriate to the student’s narratives. Hand-drawing, illustrations, digital photography, collages, cut-outs, pop-ups, typography… are all encouraged. The objective here is to dive into articulating experiences visually.

Student : KrushnKumar Khasiya

Student : Max Weidacher

Student : Bhavin Shukla

Week 2 – Site Visit The objectives are to get a sense of the place and document the site in order to form personal narratives (building on the lessons observed and learned through the exercise in the 1st week) which will become the basis for the existing context/ conditions that each student will refer to for the rest of the studio.

The schedule for the week is as follows: 6th August- Monday-

Bus from Mumbai to Hospet

7th August- Tuesday-

Arrive at Hampi

Hampi- Day 1: Wander Hampi without a guide The focus should be on exploring the site.

Document the strategies of exploration. These are the first encounters.

8th August- Wednesday- Hampi- Day 2: Guided Tour of Hampi The Guides’ perspective as one possible narrative.

Observe and document the beginnings and endings; the path, the stops, the rhythms and the emphasis.

10th August- Friday- Hampi- Day 4: Visit Badami, Aihole and Pattadakal Apart from the built environment, observe the ways in which the tourist experience is structured (or the lack thereof).

11th August- Saturday- Hampi- Day 5: Representation/ Documentation of the Site The objective is to begin articulating experiences of the site visually 12th August- Sunday- Hampi- Day 6:

Representation/ Documentation of the Site Return Journey

Other things to do during the visit: Visit the restaurant Mango Tree – the approach through irrigated fields, the siting along the river, the food. Visit the villages around the ruins which has been there since before the Vijayanagara empire

9th August- Thursday- Hampi- Day 3: Tour Hampi on one’s own/ Visit Kamalapur Museum A second day of explorations in the context of the first wanderings, as well as the encounter with a guided tour. Document what changed from the first day, what was reinforced.

Kamalapur Museum – an ‘official’ narrative. Observe its structure and choreography, as well as its contrast to the guide’s version of the site; where are the overlaps, and what are the distinctions.

Movement & Mapmaking: Exercise #2 - Site Visit

Student : Lola Mulledy

The institution as “event-fields�

Max Weidacher Pablo Diz Lola Mulledy Garcia Rima Lunagariya

Hampi - Lifecycles [in]Formal Mixtures Hampi - Frame_in[g] Space Institute of Agriculture

Population 3 000

2 550

1 Hampi

2 000 1 000 1981

1991

2001

2011

bus stop 4

HAMPI LIFE CYCLES (2012) Wall. The current preservation policies of the ASI have shaped a landscape of devastation. Local inhabitants and waste material are dumped in the same manner ‘out of sight out of mind’. In a first step the project attempts to reveal the potential that is not buried under but rather lies within Hampis 21st century ruins.

Once a brick has been fired, its clay cannot serve as a binder for a second time - in order to manufacture blocks out of brick rubble, a new material hast to be added.

Process. To allow for a large scale recycling process, an assembly line will be established along the main road to Hampi. Trucks collect brick rubble from Hampi Bazaar and transport it to Site#2, close to Sister Stones. There the waste material is crushed/grinded and mixed with cement, the adjacent river provides required water. After hardening the blocks are further transported to Site#3 (south-west orientation) where they are stacked along the main road for curing and drying. An envelope, consisting of 2 layers (inner:jute,outer:plastic) has been developed for the following reasons. While curing the envelope collects water (rainfall and night time) and preserves humidity (sunshine hours). Wet jute moistens the blocks and plastic hinders evaporation - during rainfall the envelope unfolds to increase surface for water collection. While drying the envelope prevents moisture in times of rainfall. Annual rainfall reports show that the last heavy monsoon rainfalls are to be expected throughout the month of October. Ideally the curing process is launched by mid October (two weeks), followed by four weeks of drying in November.

Collective. Throughout rural India, a surplus of manpower compensates what is generally achieved by machinery in the western world. The primarily manual process described above, aims to directly involve local inhabitants in the recreation of their future living environment (required machines and infrastructure will be provided by the government). Once all waste material is recycled, the concrete blocks shall serve as a building material for the evicted.

Life Cycles. Sunshine throughout the year but unbearable heat in March and April; heavy rainfalls during monsoon (July to October); various holidays and festivals attracting large numbers of tourists (spiritual and non-spiritual) periodically; altering landscapes due to agricultural landuse (...)

Museum and Research. Considering a relatively small population and drastically changing number of visitors trough out the year, as well as understanding the ruins of Hampi as a coherent entity, lead to the decision of reducing the amount of built mass to a necessary minimum. Among the numerous temples, bazaars, baths, etc. potential hosts for variable program (the museum) can be found temporarily.

At a junction connecting the three villages of Kamlapur, Kaddirampur and Hampi, in the midst of plantations, appearing and disappearing with agricultural lifecycles, a building of two characters is located. Partly subterrean, the buildings foundation (solidity/ permanence), encloses archive- and workshop spaces as well as a water purification tank. An array of different lightweight typologies (pavilion, accommodation, sanity), allowing for a variety of configurations and capable of traveling, rests on top of the foundation.

bus stop 3

lotus mahal bus stop 2

2+3

underground m u lt i m e d i a t e m p l e

Kardirampur

4+

5

k i n g s Platform t h e at r e

Population

queens b a t h gallery

3 000 1 600

2 000

bus stop 1

1 000

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Nearby Villages Population Tourists Statistics / Festivals

1981

Annual Temperature Bellary Annual Rainfall Bellary Gregorian Calendar

< to Hospet

1991

2001

2011

to Hampi

*

< to Kaddirampur temple

water tank

stepwell

research unit

tourist

INFORMATION

(bananaleaf roof)

type 3 - residence

ARCHIVE CONSERVATION STORAGE

mobile crane

1:100

section a-a

type 2 - sanitory

type 1 - pavillon

* (STEEL STRUCTURE)

SECTION A-A 1:100

(20 meters)

TYPOLOGIES isometric

to Kamlapur

I TOOK THE ROAD THAT LEADS FROM KAMLAPUR TO HAMPI AS MY MAIN SCENARIO. THE GOAL OF THE PROJECTS IS TO BRING A CLEARER VIEW AND UNDERSTANDING OF THE . ALSO, TO PROVIDE A SHELTER AND FACILITIES TO THE VISITORS AND LOCALS. WITH THAT PURPOSE, I INTEND TO CREATE A

THE SIMPLE

OF PLAINS, SERVING AS PLATFORMS AND ROOFS THAT WOULD GUIDE THE VISITOR ALONG THE WAY, MAKING IT POSSIBLE TO STOP AND GAZE AT THE UPCOMMING SITE. HOPEFULLY, THE CONTINUOUS APPEARANCE OF EITHER THE PLAINS OR THE EXISTING TREES AND OTHER NATURAL COMPONENTS OF THE PATH TO HAMPI, WOULD BE SENSED AS A WHOLE WOULD BRING

TO THE COMPLEX.

AND

THE GOAL IS TO BE ABLE TO PLACE A SET OF WHAT I CALL PAVILLIONS, ALONG THE ROAD. THESE INTERVENTIOS ARE MENT TO GIVE A SENSE OF UNITY TO THE PROMENADE ALONG THE COMPLEX, AS WELL AS TO OFFER A SERIES OF POSSIBLE USES EITHER TO THE SPORADIC USERS, OR SO TOURISTS, OR TO THE LOCALS THAT USE THE SPINAL CORD THAT IS THE ROAD, EVERY DAY.

THE PLAINS WOULD BE SET ALONG THE ROAD AS PAVILLIONS, CONSIDERING THE DIFFERENT SITUATIONS OF THE TOPOGRAPHY LINES, SHADED AREAS HERITAGE SITES AND COMMON SPACES ALREADY USED BY THE LOCALS.

THE CORRUGATED STEEL PLATES ARE AS POPULAR AND CHEAP, AS THEY ARE EFFICIENT AND EASYLY REACHABLE. THEY ARE USED FOR A MORE DURABLE TYPE OF ROOFING.

USED TO DEVELOP

THE FLOORPLAN IN AN WAY WITH THE POSSIBILITY OF ADDING PROGRAM AND FUTURE GROWTH, IS INSERTED IN THE SURROUNDING AS A THAT BRINGS COHERENCE TO THE COMPLEX. THE INTERVENTIONS ARE MEANT TO BE BUILT IN THE MOST SIMPLE BUT AT THE SAME TIME, SOLID AND WELL JUSTTIFIED WAY POSSIBLE, INSPIRED BY THE LOCAL STRATEGIES OBSERVED. THE PLASTIC SHEETS FOR THE ROOF, ALTHOUGH NOT ALWAYS VERY POLISHED, COULD BE USED ALONG WITH A MORE ORGANIC MATERIAL TO CREATE A VERY USEFULL REMOVEABLE COVER.

LOLA MULLEDY GARCÍA

THE BAMBOO STICKS ARE FOUND IN MENY DIFFERENT SIZES, ALL VERY APPROPIATE IN TERMS OF FLEXIBILITY AND RESISTANCE.

THE MORTAR BRICKS USED AS RESISTANT WALLS AND SUPPORT FOR A MORE VERSATYLE TYPE OF CONSTRUCTION COULD BE BROUGHT UP TO THE BUILDING AS AN EFFICIENT RESOURCE AND A SPACE DEFINING TECHNOLOGY

THE REMOVEABLE OUTTER LAYER OF THE LOCAL CONSTRUCTIONS ARE OFTEN BUILT OUT OF PALM TREE LEAVES, AFTER A PROCESS OF DRYING AND MANUFACTURING.

THE WALL BUILDING TRADITION CAN BE EASILY OBSERVED IN THE LOCAL CONSTRUCTIONS. THE DOUBLE LAYER OF STONE, ALONG WITH COMPACTED EARTH, HAS BEEN USED OVER THE YEARS AS BOUDARIES. THE PIECES OF STONE ARE ALREADY ACCESSIBLE TO THE USER. THEY CAN BE FOUND ALL OVER THE COMPLEX, IN DIFFERENT SHAPES AND SIZES, THAT CAN BE ADJUSTED TO THE VARIETY OF CONSTRUCTION USES

THE LOCAL STONE IS DIFFICULT TO MANNIPULATE, BECAUSE OF ITS CONSISTENCY AND RESISTANCE, BUT IS THEREFORE APPROPIATE TO BUILD LOAD BEARING WALLS, AND STRONG FOUNDATIONS

NO ROOF

4000

358

3500

3000

2500

2000

318

1500

1000

349

500m

Student: Lola Mulledy Garcia

100 200

300

400

500

PERMANENT ROOF

SEMI_PERMANENT ROOF

TE

ALL THE MATERIALS ARE CHOSEN BY THE OBSERVATION OF THE LOCAL ARCHITECTURE. THE GOAL IS TO USE THE SOURCES ATTEINABLE TO THE LOCALS, SO THAT THE BUILDINGS CUOLD BE CONSTRUCTED IN A PROCESS OF MAKING, POSSIBLY DEVELOPPED DURING ONE OF THE WORKSHOPS PERIODS MENTIONED IN THE PROGRAM

THE PROGRAM IS SET ALONG THE ROAD IN ADDITION TO THE PREVIOUS INTERVENTIONS. THE SPECIFIC LOCATIONS AND SITES ARE TAKEN UNDER CONSIDERATION TO ADD THE PAT OF THE PROGRAM MORE SUITABLE FOR THAT PRECISE AREA

PROXIMITY TO THE VILLAGE NEAR HAMPI ENCLOSED SPACE// OPEN WORKING AREAS ACCOMODATION FOR RESEARCHERS LAB 1 WORKSHOP SPACE -6

COMMON SHOWERS // COMMON RESTROOMS DINING COMON AREA LAUNDRY DELIVERY // WASGING AREA STAFF QUARTERS KITCHEN

CLOSE QUIET SPACE GREEN SURROUNDINGS

-6

-6

-6 PURIFY -6

LIBRARY LAB 2 EDUCATIONAL SPACE MULTIMEDIA SPACE STORAGE SPACE COMMON RESTROOMS

TANK

-6

-6

VAST VIEWS SLOPED AREA

-9

AUDITORIUM /REPRESENTATIONS GALLERY CHAIR EQUIPMENT STORAGE STORAGE FOR HISTORIC PIECES COMMON RESTROOMS -9

NEAR HERITAGE SITE GALLERY WORKSHOP SPACE PHOTO DOCUMENTATION STORAGE FOR ARCHIVES STORAGE FOR HISTORIC PIECES

NEAR HERITAGE SITE PROXIMITY TO THE WALL GALLERY WORKSHOP SPACE OBJECT CONSERVATION STORAGE FOR ARCHIVES STORAGE FOR HISTORIC PIECES

ENTRANCE TO THE COMPLEX VAST OPEN AREA NEAR KAMLAPUR ACCOMODATION TOURISTS OFFICES -3

COMMON SHOWERS//COMMON RESTROOMS DINING COMON AREA STAFF QUARTERS GUIDE//TRANSPORTATION BIKE HIRE PARKING

-3 -3

-3

POOL

-3 -3

-3

-3

-3

-3

-3

-3

EMPORARY ROOF THE SPACES INTENDED TO BE SETTLED ABOVE THE GROUND ARE THOSE THAT ARELINKED TO MORE FLUENT AND CHANGING ACTIVITIES. THESE ARE TEMPORARY SPACES, ADEQUANT TO DIFFERENT PUBLIC USES.

LOBBIES//GATHERING SPACES WORKSHOPS EDUCATIONAL SPACES DINING// CELEBRATING POINT OF VIEW//LANDSCAPE FRAME

0

0

THE ACT OF CARVING THE GROUND REQUIRES A MORE INTENDED PURPOSE; THEREFORE, THE PART OF THE PROGRAM INSERTED UNDERGROUND IS THE MORE PERMANENT AND MORE FORMAL PART. THE TRANSITION BETWEEN ABOVE AND BELOW MEANS A CHANGING IN IMPORTANCE AND SOLEMNITY.

GALLERIES ACCOMODATION//PRIVATE SPACES AUDITORIUM//MULTIMEDIA SPACES HISTORIC PIECES STORAGE MANAGING OF WATER

0

0

0

0

0

0

The Ideas THE IDEAS

The Wall

The Minimum Expression

The Masterplan

THE WALL

THE MASTERPLAN

The Entity

THE ENTITY

THE MINIMUM EXPRESSION

THE TOURIST IS INTERESTED IN RUINS (WICH DOES NOT UNDERSTAND), NON-ACTIVE TEMPLES AND LANDSCAPE.

DEPPENDING ON THE LECTURE A PERSON DOES FROM A PLACE, HE GETS A PERSONAL NOTION FROM A CERTAIN PLACE. DIFFERENT PEOPLE WOULD GET DIFFERENT NOTIONS. IS IT POSSIBLE THAT DIFFERENT PEOPLE HAVE DIFFERNET NOTIONS OF THE SAME PLACE UNNOTICING THE REST OF OTHER'S NOTIONS? WOULD THESE NOTIONS BE COMPLETELY INDEPENDENT FROM EACH OTHER?

RESTROOM

FORMAL

THE TOURIST 10% OF THE VISITORS. 90% OF THE MONEY. DEPENDS OF THE SEASSONS.

PRIVATE

PUBLIC

ONE PLACE // DIFFERENT SPACES

STARTING POINT OF HERITAGE TOUR. END OF THE ROAD.

SHOWER

IN THE CASE OF HAMPI, THERE ARE CERTAIN ELEMENTS THAT CREATE COMMON-SPACES IN DIFFERNET PEOPLE NOTIONS OF THE PLACE, SUCH AS THE MAIN TEMPLE, THE RIVER, OR AN OLD BUT STILL ACTIVE TEMPLE.

PARKING AND TOURISM INFO.

THE INTEREST OF THIS PROJECT IS BASED ON UNDERSTANDING DIFFERENT LECTURES OF THE SAME PLACE AND TRY TO CONNECT THEM, EITHER USING EXISTING COMMON SPACES OR CREATING NEW ONES. THE PROJECT DOES NOT PRETEND TO CREATE A COMMON NOTION OF THE PLACE FOR EVERY DIFFERENT USER: IT PRETENDS TO CREATE A COMMON SPACE WHERE DIFFERENT NOTIONS MEET AND MIX, BUT STILL HAVING THEIR OWN INTERESTS AND PARTICULAR LECTURES OF THE SITE.

-TOURISTS WILL KNOW HOW TO EXPERIENCE THE SITE. -PILGRIMS WILL KNOW ABOUT RUIN TEMPLES. -LOCALS WILL BE ABLE TO SELL THEIR GUIDED TOURS.

LAUNDRY WASHING

3

STORAGE

MOVES FROM ONE POINT TO AN OTHER VISITING ALL THAT HE CAN IN THE WAY, BUT USUALLY GETS A SUPERFICIAL SENSE OF THE SITE.

LECTURE

OFFICE

ROOMS

GALLERY

KITCHEN

STUDIO

TOP OF THE HILL.NEAR IMPORTANT TEMPLES. VIEW POINT.

THE ELEMENTAL ELEMENT

WORKSHOP

THE PILLAR ALLOWS TO CREATE A LENGUAGE BASED ON IT'S DISPOSSITION, GIVING DIFFERENT CHARACTERS TO THE SPACE SURROUNDING.

WAITING

-TOURISTS WILL BE ABLE TO ENJOY VIEWS. -PILGRIMS WILL BE ABLE TO ENJOY VIEWS. -LOCALS WILL BE ABLE TO CREATE NEW BUSSINES.

A PILLAR AS THE MINIMUX EXPRESSION OF HUMAN ACTION IN THE LANDSCAPE.

DINNING PARKING

THIS SYSTEM ALLOWS THE USER TO READ SPACE IN AN INDIVIDUAL WAY, AND GIVES HIM THE FREEDOM TO UNDERSTAND DIFFERENT SITUATIONS IN THE SAME SPACE. THE TOURIST THE PILGRIM THE LOCAL THE RESEARCHER

INFORMAL

THE PILGRIM 90% OF THE VISITORS. 10% OF THE MONEY. DEPENDS OF THE SEASSONS.

THIS ALIEN ELEMENT ALLOWS TO PUT CLOSER THE DIFFERNT ELEMENTS IN HAMPI,SUCH AS TEMPLES,RUINS OR NATURE. IT OS A SEWING ELEMENT.

JUNCTION. NEAR ACTIVE TEMPLE AND HIDDEN TEMPLES.

THE PILGRIM IS INTERESTED IN ACTIVE TEMPLES AND NATURAL-HOLY PLACES. UNDERSTANDS THE RUINS BUT IS NOT INTERESTED IN THEM.

WHAT HE KNOWS

WHAT HE DISCOVERS

BUS STOP.

MOVES DIRECTLY TO HIS OBJECTIVE AND GETS A SUPERFICIAL VIEW OF THE SITE.

NON-ORIENTED SPACE

RUINS

THE FOREST OF PILLARS DOES NOT GIVE ANY CLUE OF ANY AXIS OR DIRECTION TO MOVE. THE RYTHM IS SLOW AND THE MOVEMENT IS CURVED.

THE WALL CREATES A SACREAD APROACH TO THE MONUMENTS, MAKING THE FACT OF ENTERING AN IMPORTANT THING.

-TOURISTS WILL KNOW ACTIVE TEMPLES. -PILGRIMS WILL FIND THEIR TEMPLES. -LOCALS WILL BE ABLE TO CREATE NEW BUSSINES AND PRAY.

TEMPLES.ACTIVE TEMPLE AND NOT COMMON TEMPLE BUS STOP. -TOURISTS WILL KNOW DIFFERENT TEMPLES. -PILGRIMS WILL BE ABLE TO PRAY. -LOCALS WILL BE ABLE TO CREATE NEW BUSSINES AND PRAY.

THE LOCAL DEPENDS OF TOURISTS AND BUSINESS WITH THEM.ALSO DEPENDS OF THE HARVESTING SEASSONS.

OPEN SPACE

TEMPLES

SEPARATED PILLARS SHOW A BIGEST PORTION OF SPACE, ALLOWING CIRCULATIONS TO GO FASTER.

THE PILLARS BECOME HERE PART OF THE TEMPLE AS THEY SHOW WITH THEIR COLORS THE ACTIVITY OF THE TEMPLE. YOU CAN NOTICE IT FROM FAR AWAY.

INTERESTED IN BUSINESS AND PLANTATIONS. DOES NOT REALLY CARE ABOUT THE CULTURAL HERITAGE IN THE SITE (BUT STILL HE LIKES IT).

TOP OF A HILL.SISTER STONES. ACTIVE TEMPLE. VIEW POINT.

KNOWS THE SITE AND HAS A COMPLETE SENSE OF IT.

-TOURISTS WILL ENJOY VIEWS. -PILGRIMS WILL ENJOY VIEWS OF HOLY PLACE. -LOCALS WILL BE ABLE TO CREATE NEW BUSSINES AND PRAY.

ORIENTED SPACE

LANDSCAPE

THE FOREST OF PILLARS SHOWS A CLEAR WAY TO MOVE THROUGHT, BUT STILL IS NOT MANDATORY AND THE USER CAN FEEL FREE TO CHOOSE A DIFFERENT PATH.

THE PILLARS SLOWLY FADE AWAY AS THEY ENTER IN THE NATURAL FIELD, TO GET THE IMPRESSION OF MELTING WITH IT..

JUNCTION.ROAD TO IMPORTANT COMPLEX OF RUINS. SHELTER.

THE RESEARCHER

INTERESTED IN MANY DIFFERENT FEATURES OF THE HAMPI SITE: MONUMENTS, TEMPLES, NATURE AND LOCAL LIFE.

PUBLIC//PRIVATE

-TOURISTS WILL GET THE WAY TO RUINS. -PILGRIMS WILL KNOW ABOUT RUINS AND WILL BE ABLE TO REST. -LOCALS WILL BE ABLE TO CREATE NEW BUSSINES.

SEASSON TO DEVELOP THEIR PROJECT.

WAY OF ACTUATION

KNOWS THE PLACE DEPPENDING ON THEIR OWN INTERESTS, BUT GENERALLY HAVE A DEEP SENSE OF KNOWLEDGE.

ENTRANCE.WAY TO PLANTATIONS. ACTIVE TEMPLE. FORMAL//INFORMAL

TOURIST INFO. -TOURISTS WILL KNOW ABOUT PLANTATIONS AND THE SITE. -PILGRIMS WILL HAVE THEIR FIRST HOLY STOP. -LOCALS WILL BE ABLE TO MAKE BUSINESS AND SHOW HOW THO HARVEST.

1-UNDERSTANDING OF PRE-EXISTING STRUCTURE OF THE SITE

2-FORCE NEW STRUCTURE

The Ideas

the tourist: 10% of the visitors. 90% of the money. depends of the seassons. the tourist is interested in ruins (wich does not understand), non-active temples and landscape. moves from one point to an other visiting all that he can in the way, but usually gets a superficial sense of the site. the pilgrim: 90% of the visitors.10% of the money. depends of the seassons. the pilgrim is interested in active temples and natural-holy places. understands the ruins but is not interested in them. moves directly to his objective and gets a superficial view of the site. the local: depends of tourists and business with them.also depends of the harvesting seassons. interested in business and plantations. does not really care about the cultural heritage in the site (but still he likes it). knows the site and has a complete sense of it. the researcher: seasson to develop their project. interested in many different features of the hampi site: monuments, temples, nature and local life. knows the place deppending on their own interests, but generally have a deep sense of knowledge.

Student: Pablo Diz

3-LET THE INFORMAL NEW STRUCTURE EMERGE

The Wall One Place // Different Spaces

The Masterplan

deppending on the lecture a person does from a place, he gets a personal notion from a certain place. different people would get different notions. is it possible that different people have differnet notions of the same place unnoticing the rest of other’s notions? would these notions be completely independent from each other? in the case of hampi, there are certain elements that create common-spaces in differnet people notions of the place, such as the main temple, the river, or an old but still active temple. the interest of this project is based on understanding different lectures of the same place and try to connect them, either using existing common spaces or creating new ones. the project does not pretend to create a common notion of the place for every different user: it pretends to create a common space where different notions meet and mix, but still having their own interests and particular lectures of the site.

The Elemental Element

a pillar as the minimux expression of human action in the landscape. the pillar allows to create a lenguage based on it’s dispossition, giving different characters to the space surrounding. this system allows the user to read space in an individual way, and gives him the freedom to understand different situations in the same space. this alien element allows to put closer the differnt elements in hampi,such as temples,ruins or nature. it os a sewing element

non-oriented space the forest of pillars does not give any clue of any axis or direction to move. the rythm is slow and the movement is curved open space separated pillars show a bigest portion of space, allowing circulations to go faster. oriented space the forest of pillars shows a clear way to move throught, but still is not mandatory and the user can feel free to choose a different path.

ruins the wall creates a sacread aproach to the monuments, making the fact of entering an important thing. temples the pillars become here part of the temple as they show with their colors the activity of the temple. you can notice it from far away. landscape the pillars slowly fade away as they enter in the natural field, to get the impression of melting with it.

i. starting point of heritage tour. end of the road. parking and tourism info.

-tourists will know how to experience the site.

-pilgrims will know about ruin temples.

-locals will be able to sell their guided tours. ii. top of the hill.near important temples. view point.

-tourists will be able to enjoy views.

-pilgrims will be able to enjoy views.

-locals will be able to create new bussines. iii. junction. near active temple and hidden temples. bus stop.

-tourists will know active temples.

-pilgrims will find their temples.

-locals will be able to create new bussines and pray. iv. temples.active temple and not common temple bus stop.

-tourists will know different temples.

-pilgrims will be able to pray.

-locals will be able to create new bussines and pray. v. top of a hill.sister stones. active temple. view point.

-tourists will enjoy views.

-pilgrims will enjoy views of holy place.

-locals will be able to create new bussines and pray. vi. junction.road to important complex of ruins. shelter.

-tourists will get the way to ruins.

-pilgrims will know about ruins and will be able to rest.

-locals will be able to create new bussines. vii. entrance.way to plantations. active temple. tourist info.

-tourists will know about plantations and the site.

-pilgrims will have their first holy stop.

-locals will be able to make business and show how tho harvest.

The Element THE ELEMENT

1/150

1/20

NATURAL GROUND

ELEVATED WOODEN FLOOR

FIXED METAL ROOF

UNFIXED CLOTH ROOF

GLASS WALLS

WOODEN WALLS

CONSERVATION/STORAGE 72 m²

OFFICE/STUDIO 140 m²

D.ROOM RESTROOM

Śś ŝ Pñ

38 m²

LECTURE/MULTIMEDIA 76 m²

KITCHEN 16.5 m²

LAUNDRY RESTROOM

9.5 m²

9.5 m²

S.ROOM 9 m²

D.ROOM 18 m²

CLEANING 12 m²

SHOWERS 9.5 m²

D.ROOM 12 m²

S.ROOM 14 m²

D.ROOM 23.5 m²

D.ROOM 20.5 m²

S.ROOM 12 m²

WATER SYSTEM

NATURAL LIGHT

VENTILATION

NATURAL LIGHT 2

Student: Rima Lunagariya

The institution as promenade Khushboo Shah Tarika Sajnani Shruti Desai Tijman Klipp

Hampi Axial Detour Hampi - The Mosaicked Fabric A Cultural Centre

Hampi: axial • Hampi , a heritage city, which consists one of the most beautiful context with stone boulders, river tungabhdra to the other extent of the landscape.The city which carries a long history from pampa sarovar to the period of king krishnadev .

• With this vast site for tourism, there are plenty existing routes whose usage varries from pilgrims to tourists to rock climblers to researchers.

• At this bigger scale , it was tried out to mark all the existing routes possible and how it varies like mainly 2 different kind of routes which is possible 1. Open ended: start at different point and end at different point.

2. Closed loop:like a circle which start and end at same point.

• The routes varies from royal route, natural routes, cosmic route ,temple route,spiritual route etc...

With a varing context of green fields ,boulders ,rivers.It becomes overall map of all routes where one pick a route to follow.

Zooming down to the royal route by parking the vehicle at underground shiva temple, you start your journey to the royal route.After coming to the queen’s bath,there is a dissolve wall which changes character as you move ahead and ends at the museum .There is a larger connection made through the queen’s bath to museum to the research centre with the continous void.From the window of lotus mahal ,you can see through and through till the research centre with the more public spaces like the dining space and the courts.

Following the wall and roof –line of museum ,you reach to the ramp which leads you towards the gallery .The multi-media space is on the other side of wall which is able to allow people from the outside and make connection to the other axis.

The research centre is the end of the route with a fragmented courts and labs as hand in the u-shaped building.

Student: Khushboo Shah

DETOUR This project started off with the idea of creating a DETOUR in Hampi and discovering and building new relationships with the main highway and the programmatic elements. The existing fort WALL of Hampi is used as a boundary to define the extents and later the same became a generator which accommodated and articulated the elements of the program.

It was a rare condition of a wall and the agriculture existing together, within which the architectural experience is created. The orientation of the agricultural fields and the existing routes in between the fields become the routes for the programmatic elements as well. The fields acted as a major tool, to give a character to the location and form of the elements.

The program is fragmented into three main clusters. One which houses the functions of The Museum, second which is The Research centre and third is the Living quarters for the visiting researchers. Two clusters out of the three are detailed out.

Cluster 3: LIVING QUARTERS for the researchers The outreach labs are situated along the main road and the tourist depot is located right across the road near the heritage precinct. The researchers that would come to this place for work would supposingly come along the main road and hence the living quarter becomes the first sort of a cluster as one moves in through the outreach labs. This cluster along with the rooms, has a common dining space for the people living there. It becomes a central sort of a gathering space for the people working in the outreach labs situated on end as well as people working in the research centre.

Practically it also becomes easier to bring in the goods required in the kitchen premises. In this way the needs are easily tied together. The open space of this cluster has more of a public character to it. The private semi open space for the rooms opens out to the banana fields and not the courtyard. The boundaries of private and public are hence clearly defined.

Cluster 2: Research and Education Field house Walking further into the fields, one encounters the next cluster which is the research centre. This is located at a shorter distance from the living quarters just as the need suggests.

It houses the working labs and a big semi open space which ties all these closed spaces together. The semi open space kind of bisects the open space of the cluster. The character of the open space is public but it can be seen differently in terms of the usage; as formal and informal.

One experiences a feeling of contraction and expansion as one moves along through the fields and the clusters. The pleasure of walking along the heritage and working and living in the serene environment of the fields is what sums up the design altogether.

Student: Tarika Sajnani

Student: Shruti Desai

The Wal Tijmen Folkert Klip Semester 8 Assignment 2 Shubra Raje & Manasi Pandey

//Themes/Exceptions///

The Wal

2/3

//Example/story/frame///

//Story/Narration///

Tijmen Folkert Klip Semester 8 Assignment 2 Shubra Raje & Manasi Pandey

//Situations//

Cultural Center Concepts and Principles

//Flowing/as/and/with/landscape/1:500//

3/3

//Parking/1:200//

Snakes head - ending line

Mass Concept by Wall Direction and Secondary Movement

Relation with landflow

Road entrance

//Moving/story//

Relation with landmark/monument

//Different/height/and/speed//

Parking facilities

1. Wall direction - initial line

~5 km/h -> ~0.7 fps ~60 km/h -> ~7 fps h =~1.65 m h = ~1.5 m

~50 km/h -> ~7 fps h = ~1.5 m

P P P

~40 km/h -> ~5 fps h = 2m - 2.5m

//View/from/road/to/monument/1:200//

Programmatic Blocks / 1:500

2. Round off wall movement Pressed by rock formations

3. Intro and extraversion space

4. Initial building mass

5. Secondary movement enviromental â&#x20AC;&#x2DC;intrusionâ&#x20AC;&#x2122;

6. Integration with environment Softened transition

Complex Guided Routing

//Entrance/site/1:200//

//Drawing/Area//

//Stories// max 6.6 m - Story of Hampi; history, finding, myths and legends - Educational purpose, getting familiar with history and legacy

0.3 m 0.3 m

Drawing extents

3.5 m Lev e

l2

Main drawing area 2.5 m - Spraypainted figures for the moving story, fast speed and distance - Spraypainted text for storyline, slow speed close traffic - Stories can be replaced overtime after wear and tear paint - Painting done by local artist(s), but guided by stories and concept

1.5 m

//Material/local/stone//

//6 meter Module/// //Isometric/closed/side/1:50//

Lev e

//Front/1:50//

Easy Acces Ground Floor Public Functions

l1

//Renders/Impressions///

Lab

4000 mm

//Isometric/open/side/1:50//

Lev e

Lab

Ou

Ge ne

ral

tre

ach

Wo rk

sh op

l -1

/2 Ga lle

Au rie

dit oriu

sE

Toil e

ts

m

xte

ns

ion

s

600 mm

Lev e

l -1

//Plan/1:50// //Height/Range// 0

30

6.6 m

m 25

3000 mm

00

m

m

m

2000 mm

2.6 m 0.6 m

//Profile/1:100//

-Private living quarters res.

-Common living quarters res.

-Staff living area -Offices -Workshop -Lab General -Lab Outreach -Bathrooms -Gallery extenstion -Auditorium -Archives -Photo documentation -Storage Story theme applied in the Hampi Cultural Center

- Narration/story telling workshops traditional and modern - Labs for object/archeology research and narration research - Auditorium stage for amateurs and experts - The entire building as a stage and podium

Formal and informal use of auditorium

Wall order transitioning into architectual order

Archi

tectua

l Ord

er

Transi ti

on Wall O rd

er

T.F.Klip / Studio 8 / Final Presentation/ 9-11-2012 2nd version - Cultural Center Design

Student: Tijman Klip

Context and Location

Technical Drawings

Isometrics and Impressions Unscaled Isometric + 3 1:500 Isometrics

Location

Building in context Level 1 1:200 DN

10

Level -1 1:500

4 11

A’’

A’ 3

12 5 Location 1:500 8

B’

B’’

1 2

Level 2 1:500

6 7 9

13

B’B’’ Section 1:200

A’A’’ Section 1:200

T.F.Klip / Studio 8 / Final Presentation/ 9-11-2012 2nd version - Cultural Center Design

T.F.Klip / Studio 8 / Final Presentation/ 9-11-2012 2nd version - Cultural Center Design

T.F.Klip / Studio 8 / Final Presentation/ 9-11-2012 2nd version - Cultural Center Design

The institution as threshold KrishnKumar Khasiya Amelie Mai Nguyen Bhavin Shukla Ripple Chauhan

Threshold Heritage Hub: Creating conditions to conserve history Wall | Museum Reinterpreting the past

Student: Krishnkumar Khasiya

HAMPI

PRAKASH NAGAR

KAIRAMPURA HOSPET

KADIRAMPURA HOSPET

MUSEUM

RESEARCH CENTRE

WALL ELEMENTS

PARKING / BUSSTATION KAMALAPUR

HOSPET

Student: Amelie Mai Nguyen

MASTERPLAN // SCALE 1:5000

CEPT UNIVERSITY // STUDIO VIII // 2012 SHUBRA RAJE // MANASI PANDEY STUDENT: AMELIE MAI NGUYEN // TU MUNICH

TEMPORARY PERMANENT

a / slope

connection to monuments

b / plateau - street level

ET

RE

ST

GROWTH

ZIPPER

f / watering place

for hawkers

Wall

UM

SE

MU

e / bridge

threshhold between street and monuments

Near Hampi there is a road that provides the physical link between the bazaar of town and the monumental area of the ruins. This road forms a route through the area around which certain qualities centre.

The studio revolved around the notion of the wall. A wall is also a linear element that crosses through space. The road near Hampi has been regarded as a wall containing nodes of qualities, these have been mapped according to their function and represented as elements of the wall.

MUSEUM EFFECTS GROUND c / plateau

shaded space

My proposal for the development of the wall is focused on these different activities and how to enhance their effectiveness and range as a node; as such enhancing the quality of the entire wall. From the existing place of certain elements requirements of the wall FDQ EH PDSSHG DQG VKRUWDJHV FDQ EH LGHQWL多HG $V VXFK my proposal for an enhanced wall with functional elements emerged.

The wall in my project is thus a functional strip, not a physical entity that block and separates; rather, LQ P\ SURMHFW WKH ZDOO ELQGV DQG XQL多HV WKH URDG ZLWK its surroundings.

VERTICAL CONNECTION THROUGH PAVILIONS

DRY SEASON

RAINY SEASON

GATHERING SPACE

STEPWELL

d / courtyard

vertical connection to museum

h / stepwell

LEXICON OF ELEMENTS

b

a

c

DRY SEASON

MAPPING ACTIVITIES AND THEIR PHENOMENOLOGY ALONG THE STREET FROM KAMALAPUR TO HAMPI

GROUND EFFECTS MUSEUM

g / pavillion

OPENINGS / COURTYARDS FOR LIGHT AND AIR

RAINY SEASON

NATURAL SHADOW

TOPVIEW MUSEUM // SCALE 1:500

THE MUSEUM // CONCEPT THE WALL // CONCEPT

Wall Near Hampi there is a road that provides the physical link between the bazaar of town and the monumental area of the ruins. This road forms a route through the area around which certain qualities centre.

The studio revolved around the notion of the wall. A wall is also a linear element that crosses through space. The road near Hampi has been regarded as a wall containing nodes of qualities, these have been mapped according to their function and represented as elements of the wall.

My proposal for the development of the wall is focused on these different activities and how to enhance their effectiveness and range as a node; as such enhancing the quality of the entire wall. From the existing place of certain elements requirements of the wall can be mapped and shortages can be identified. As such my proposal for an enhanced wall with functional elements emerged.

The wall in my project is thus a functional strip, not a physical entity that block and separates; rather, in my project the wall binds and unifies the road with its surroundings.

c

CEPT UNIVERSITY // STUDIO VIII // 2012 SHUBRA RAJE // MANASI PANDEY STUDENT: AMELIE MAI NGUYEN // TU MUNICH

Museum The museum that is supposed to convey the story of Hampi is now located in a village away from the route; I propose to integrate this museum with the route through the area as the collection it houses is an inherent part of the surroundings. The wall and the museum are now merging into one; because both are so deeply ingrained in the surroundings. The museum is seen as another; though unique; element in the wall.

The existing qualities of the wall have been preserved and enhanced. The informal activities are functioning on ground level with the new connections to the surroundings. The institution is to become an element of the wall; but not to diminish the qualities it already proposed; as such the formal activities of the museum have been placed on a different level: underground.

By digging into the ground the notion of permanence becomes tangible, a feeling which is embedded in the ruins themselves. Patios bring light and provide vertical connections between the informal and formal activities.

Walking down into the museum via long slopes during which the building becomes encapsulating, blocking out the external world and only focusing on its own inner world, is reminiscent of the qualities offered by the various temple complexes in Hampi themselves.

d

CEPT UNIVERSITY // STUDIO VIII // 2012 SHUBRA RAJE // MANASI PANDEY STUDENT: AMELIE MAI NGUYEN // TU MUNICH

e f

a b a

UNDERGROUND / SCALE 1:500

c

d

b

e f

c

d

c SECTION / SCALE 1:200

e

d SECTION

e SECTION

f SECTION

f a b a c

GROUND / SCALE 1:500

SECTION a

/ SCALE 1:200

SECTION b

/ SCALE 1:200

d

b

e f

Museum The museum that is supposed to convey the story of Hampi is now located in a village away from the route; I propose to integrate this museum with the route through the area as the collection it houses is an inherent part of the surroundings. The wall and the museum are now merging into one; because both are so deeply ingrained in the surroundings. The museum is seen as another; though unique; element in the wall.

The existing qualities of the wall have been preserved and enhanced. The informal activities are functioning on ground level with the new connections to the surroundings.

The institution is to become an element of the wall; but not to diminish the qualities it already proposed; as such the formal activities of the museum have been placed on a different level: underground.

By digging into the ground the notion of permanence becomes tangible, a feeling which is embedded in the ruins themselves. Patios bring light and provide vertical connections between the informal and formal activities.

Walking down into the museum via long slopes during which the building becomes encapsulating, blocking out the external world and only focusing on its own inner world, is reminiscent of the qualities offered by the various temple complexes in Hampi themselves.

THE MUSEUM // LAYOUT

CEPT UNIVERSITY // STUDIO VIII // 2012 SHUBRA RAJE // MANASI PANDEY STUDENT: AMELIE MAI NGUYEN // TU MUNICH

Student: Ripple Chauhan

Reinterpreting the Past Hampi is a place where movement and pause are defined in its architecture. In a vast landscape temple becomes the place of pause, bounded by the walls whereas the market is an idea of constant movement recreational and connected. This idea of movement and pause is taken further and reinterpreted for the given program.

The placement of the museum and the research centre are at different locations along the path. The museum is near the royal complex which is more like ruins and the research centre is near to the secular complex surrounded by the banana plantations.

The museum is located on the side of Underground Shiva Temple having rocky landscape on one side and temple on other side. Taking the idea of wall further the museum becomes the entrance to the pedestrian route that takes you to Royal complex, Hazara Rama Temple, Lotus Mahal. It acts as a series of portals that takes you inside and tells you the story of Hampi on that route. It becomes the place of temporary exhibition and the work done in research centre can also exhibit here. In a way museum becomes a place which suggests the movement and connectivity like an old market in Hampi.

The Research centre is located near the live temple and it becomes

like a point of interaction for locals. The research centre becomes the wall that is thickened to fit the functions in it. It becomes like a place of pause in landscape. The entrance is not monumental but accidental. The interior has two courtyards at different levels. The courtyard in the workshop and lab area becomes more like a spill over space of workshops and becomes the area for outreach to locals. The other courtyard serves as a living space for the researchers and the rooms for them are on the boundary of that courtyard.

Both the part of program are connected by the dining area. The edges in this program became very important. Sometimes there are hard edges, sometimes soft and semisoft according to the functions in the interior. The stay area for researchers merges with the banana plantation while the workshop area has a strong edge with the road.

Tourist depots are scattered along the road. The main parking is divided in two parts, one near the Queens bath and other near the Krishna temple. Small depots are provided near the museum and research centre. The places of rest are created at specific points along the route.

Student: Bhavin Shukla

The institution as coalescence Rahil Shah Leah Schaffer Anjani Parmar Alex Haemmi

Accentuating Ruins The Research & Community Centre Interlacing Systems

Accentuating Ruins With the introduction of program, I decided to connect all the function within the site with a meandering path between a heritage wall and the vegetation wall (can be fields or banana plantation) and house the program in it in such a manner that it will accentuate the existing heritage monuments.

Student: Rahil Shah

â&#x20AC;&#x153;STRATEGY â&#x20AC;&#x201C; The Master planâ&#x20AC;?

The placement of the museum is in-between the wall of the royal precinct and the landscape of fields and banana plantation, where the placement of the Research centre is in-between the complex wall of the Krishna Temple and the rough boulders situated on the site. The character of the museum was such that it is touching the heritage wall very lightly, where for the research centre it is more embedded to the ground. The positioning of the museum is more nearer to the monumental area of Hampi, where for the Research it is more nearer to the living part of the Hampi to get more local interaction.

And at the same Tourist Depots are placed in two separate units along with the museum and also with the research centre.

Detail Resolution â&#x20AC;&#x201C; The Museum By separating vehicles from the building and stopping it right on the road was to make a route by taking people into the plantations and giving them a new experience than the usual one. By making a meandering path from the main road to the building was first to give the glimpse of the building and letting the viewer to discover the whole.

For the function of the Museum the use of the geometrical forms to create gallery for the exhibition space and the non-geometrical forms to create administration department was the initial intention of the designing.

By dividing a space with a singular column in between each gallery bay was to give dominance to the curved gallery wall and also to make the movement of the viewer parallel to the wall.

The second concern of the design was to let viewer encounter an open exhibition space head to the exit point through meandering path-to the parking.

potential relationships

current relationships tourists

transporter

tourists

vendors

tourists

guides

program list

locals

shepherds archeologists

tourists

vendors guides

tourists pilgrim?

farmer?

locals shepherd?

the cultural + archeological center

farmers

researchers

pilgrims transporters

archeologist?

research

living spaces + + + + + + +

programic analysis

the research + community center is designed to create a more open interaction between researchers and others. the idea is to give archeology a purpose in the present.

+ “gallery” spaces 575 m2 + lecture/multimedia space 175 m2 + equipment storage 125 m2 + workshop 150 m2 + restrooms 50 m2 Â ±ýu Ï ·ôô m2 + general + outreach labs 400 m2 + researcher work areas 200 m2 + storage (interior + exterior)

travel

communication

the tourist depots bcome infrastructure at the intersections. in realization that the road still serves as the main mode to view the ruins. the program is split apart allowing small places of rest to exist along the road. these stops only enhance natural places of rest that already occur.

the research + community center serves as a meeting place for a mixture of people and events. creating a new center for events and an information hub for the hampi area. hampi currently has no true center, especially with the demolition of the central bazaar.

rooms for visiting researchers 150 m2 common showers(4) 15 m2 common restrooms 15 m2 common washing + drying area 10 m2 dining + common room 100 m2 kitchen 100 m2 laundry delivery 10 m2

tourist depots + + + +

parking restrooms waiting area for drivers eating/picnic areas

outreach/education the research + community center serve as a base point for outreach programs and education. striving to rengage both the tourist and the locals with knowledge of heritage, and culture

commerce while the center does not formally function as a bazaar. the space allows for an informal bazaar to be set up over time or can become a temporary venue for one.

many programed spaces overlap in their spatial needs, thus the same Ï»\u u\¬ l âÏ ~ ±Í «â¨Ú »¨ â¬uÚ ±¬ÏÀ Ú ~ ÿ Í ¬Ú Ï»\u Ï Ï» ¨¨ ±âÚ onto each other and most importantly serve as places of meeting. there is a recognition that places of community are usually structured around shade or water. the cultural + archeological center situated is around an abandoned water tank. the idea is to re-envison the role of ruins within hampi while at the same time bringing an element of community back.

the research + community center program analysis

Student: Leah Schaffer

the research + community center site plan scale 1:5000

places of intervention

brief

history

§\ͬ\Ú\§\ \Ï «±Í Ú \¬ ÝÕ| ô l \¬~ Ï«\¨¨ Ú\¬§ÏÀ ÚÍ\~ Ú ±¬\¨¨í Ú Ú\¬§Ï ê Í lâ ¨Ú ¬ \ u \ ¬ ϱ Ú \Ú ¬± ê\Ú Í ê\Ï ê\ÏÚ ~À «\¬í ± Ú ÏÚ ¨¨ â¬uÚ ±¬ ¬ Ú\¬§Ï \Í · ·Õ u ¬ÚâÍ Ï ±¨~À «±ÏÚ ± Ú Ú\¬§Ï \Í âÏ ~ ±Í l±Ú ÍÍ \Ú ±¬ \¬~ ~Í ¬§ ¬ ê\Ú ÍÀ ÚÍ\~ Ú ±¬\¨¨í ê\Ú Í Ú\¬§Ï ê Í Ï ¬ \Ï \ u±«â¬ Úí \ÏÏ Ú \¬~ ê Í «\ ¬Ú\ ¬ ~ lí Ú u±««â¬ ÚíÀ ~âÍÍ ¬ Ú ~Íí Ï \ϱ¬ Ú Ú\¬§ ê\Ï ~ Ï ¨Ú ~ \¬~ Ú Ï ¨Ú ê\Ï Ï»Í \~ ±é Í Ú ą ¨~ÏÀ ê\Ú Í Ú\¬§Ï ê Í Ï ¬ \Ï âÏ â¨ í \Í Í±â¬~À \ Ú Í ¬~ » ¬~ ¬u Ú ±é ͬ« ¬Ú l \¬ u±¬Úͱ¨ «\ ¬Ú\¬u ± Ú\¬§ÏÀ u±««â¬ Úí ¬é±¨é « ¬Ú ¬ «\ ¬Ú\¬u ~ uÍ \Ï ~ \¬~ ¬±ê Ú ±é ͬ« ¬Ú u\¬ ¬± ¨±¬ Í \ÿ±Í~ ⻧ » ϱ «\¬í ± Ú ê\Ú Í Ú\¬§Ï \é ~ Ú Í ±Í\Ú ~À

typical tank in bellarry region

combined horizontal roughing filter and slow sand filter

collection of rainwater from roof

¬\ÚâÍ\¨ ą¨ÚÍ\Ú ±¬ ÏíÏÚ « ± lÍ u§ Íâll¨  Ï\¬~

collection tank

the main tank \¬~ ì ÏÚ ¬ Íâ ¬

the installment Ú ~ \ Í Ï Ú± Í ¬ Í\Ú Ú ì ÏÚ ¬ Ú\¬§Ï Ú Í±â Í\ ¬ ê\Ú Í u±¨¨ uÚ ±¬ \¬~ \ Ï Í Ï ± ¬\ÚâÍ\¨¨í ą¨Ú Í ~ Ú\¬§ÏÀ Ú lâ ¨~ ¬ Ï \¨Í \~í uÍ \Ú \ u±««â¬ Úí u ¬Ú Í \¬~ Ú âÏ »Í±é ~ \¬ ±»»±ÍÚ⬠Úí Ú± Í ¬ÏÚ ÚâÚ \ ¨±ê u±ÏÚ ÚÍ\~ Ú ±¬ \¬~ Í ¬ \ Ú u±««â¬ Úí ê Ú Ú Íâ ¬Ï ¬ \ ¬ ê ê\íÀ

ÏÚ±Í\ Ú\¬§ ±Í ê\Ú Í âÏ ~ lí Ú ¨ é ¬ Í Ï \Íu ÍÏ ą¨ÚÍ\Ú ±¬ ÏíÚ « ͱ« the other roof

the research + community center water tanks

Ú Í \Í Ú Í Ú\¬§Ï ¬u¨â~ ¬ Ú ì ÏÚ ¬ ±¬ À Ú ąÍÏÚ Úê± \Í Ï«\¨¨ \¬~ ê ¨¨ ±é Í ±ê ~±ê¬ Ú± Ú ¨±ê Í Ú\¬§À Ú ê\Ú Í »\ÏÏ Ï Ú Í±â » ÚÏ ± lÍ u§ Íâll¨ ±¨¨±ê ~ lí Ï\¬~À Ú Úê± «\Ú Í \¨Ï Í «±é \¬í ÏâÏ» ¬~ ~ »\ÍÚ u¨ Ï \¬~ ą¨Ú Í ±âÚ «\¬í « uͱ±Í \¬ Ï«ÏÀ Ú u±¨¨ uÚ ~ ê\Ú Í Í±« Ú ąÍÏÚ Ú\¬§ ê±â¨~ l ÏÚ±Í ~ â¬~ Í Í±â¬~ Ú± l âÏ ~ lí Ú Í Ï \Íu ÍÏ ¨ é ¬ Ú Í À ¬±Ú ±¬¨í ~± Ï Ú ê\Ú Í Ï Íé \ »Í\uÚ u\¨ »âÍ»±Ï lâÚ l \¬Ï Ú± uÍ \Ú ±Ú Í Úí» Ï ± u±««â¬ Úí Ï»\u Ï \ͱâ¬~ ê u \ ¬ ê u ¬Ú Í ±Í«ÏÀ

C

7

8 6 5 3 4 B 2 1 - GALLERY 2 - GALLERY 3 - GALLERY 4 - LECTURE / SHOW / MULTI-PURPOSE 5 - ADMIN 6 - SANITARY 7 - STORAGE 8 - LOBBY / EXHIBITION SPACE

B

1 C

A

A

SECTION AA 1:200

MUSEUM RESEARCH & EDUCATION CENTRE RESTING & PARKING

Student: Alex Haemmi

SECTION BB 1:200

SECTION CC 1:200

WALL STRUCTURE IN BUILDING

WALL EVOLVING IN BUILDING

SHADING STRUCTURE

CENTRES OF BUILDING // MAIN GATHERING AREAS

WALKWAYS

SHADING CONCEPT

Student Exhibition