Thesis

An I nqui r yi nt ot he Possi bl e Par al l el s Bet ween t he Rul es of Language Gr ammar and Ar chi t ect ur alLanguage i n Ol d Ci t y ofAhmedabad S hwe t aM. J os hi 1507 Gui de:Neel k a nt hChha y a

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0 Introduction I am fascinated with the idea of Sanskrit grammar being such a strong frame work for forms to evolve, though I never studied Sanskrit in a systematic manner or in depth, but it has always held a strange enthrallment in me. I have enjoyed listening to its sounds even if I do not understand Sanskrit, it compels one to pay attention and often brings an inexplicable joy. I wondered why it was so and how Sanskrit came to acquire such a power.

The sentence formation and its rules fascinated my curiosity as a student of architecture led me to examine the places which can probably have grammar as inherent in the process of the making of forms.

Having grown up with some background of traditional rituals and a little knowledge in Sanskrit strengthens my belief that there can be some relation between Architectural built form and rules of Sanskrit grammar.

That need for order is a universal human tendency since people need to orient themselves. Various scholars have studied Rules of Architectural grammar as well as Sanskrit grammar in depth. But here one is trying to find a relationship in interpretations of grammatical rules which may be seen in Form making of architecture.

Where one is not dealing with stylistic aspects or poetic descriptions of the place, but one is trying to understand various scales of operation macro to micro both in architecture as well as grammar

Ilus 0(1) The sea

Introduction

Il.1 City on a lagoon Klee’s pictures for the most of the part carry many meanings, a canal, a lagoon or a sea. If one starts from and the form formal “terminations�, the result can be this or that. What matters is not the metaphor of the title but the effectiveness of the pictorial idioms._ Will Grohmann .

Bright colours of varied width construct the picture, starting from the bottom; in the lower third they are broken and overlap, as in his parallel line work (classical garden) and thus can be interpreted as buildings.

The black strip separates the sky, the lower part is more brilliant and lighter. The rhythmic strongly articulated pattern suggests an austere architecture; while the colours thinly put on evoke a red morning sky.

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Ilus 0 (2) City on lagoon

Introduction

0.1 Grammar and the need for order.

The need for order is a universal human tendency since people tend to orient themselves and try to make sense out of it. In mental constructs how one perceives the image is and order which is fundamental base of its grammar.

Here one can easily perceive Sanskrit grammar being most systemized probably understood to be fixed, complete unified, stable, hierarchical and probably primarily perfect structure.

Whereas in the old city of Ahmedabad one can sense the complex order which does not have a formal geometric or visual structure as an overall unity that can be easily comprehended. Nonetheless when one experiences these houses , it has an order which is not immediately apparent. This order is brought about by very subtle devices which people of other cultures may not even notice. The old city of Ahmedabad has been chosen as an appropriate vehicle to study the grammar of architecture and later for establishing connections with Sanskrit grammar.

This order is by definition never complete but always in the process of becoming and can be added or removed without detracting from the whole. This incompleteness is not seen to be disturbing.

It is an integration which orders parts so that they contribute to the whole without losing their individual identities. Here part and whole are dependent on each other and can not be understood as separate entities. As a whole it is a moving entity but the order makes contextual modifications according to the condition in which they arise.

0.2 Aim and Goal: The aim of the study is to , 1. Find out weather the traditional architecture of Ahmedabad can be seen as grammar 2. Compare the principles of orderly to the rules of Sanskrit grammar to speculate upon possible parallels.

0.3 Methodology •The process of study proceeds through a series of exercises aimed at revealing the nature of relationship between rules of form making in architecture as well as language. •The study is based on the assumption that a perticular architecture

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which is built by certain people in certain period of time follows one particular language of architecture.

•The Study will simultaneously look at various different examples of a particular type which will follow an hierarchical comparison at certain level.

0.4 Process: 1.Examination of Panini’s Astadhyayi. The search will include basic formation of syntactic and morphological rules. In syntactic one looks at nouns and verbs as essential ‘padas’ for sentence formation.

2.Examination of above in terms of representation in Architectural grammar. This includes spatial and tectonic analysis.

3.Analysis of architectural work and firsthand experience of the detail, unit, cluster level formations which reflects rules of grammar as underlying base.

4. Process divides the house into different elements for study purpose. Each element has been divided into further parts which participates in creating the bigger whole.

5.Description of the observed order in existing buildings of old city Ahmedabad as diagrams or in terms of bodily and mental experience.

0.5 Scope and limitation: •The study is restricted to the particular house forms of old city of Ahmedabad which are not dramatically altered by modernization.

•The theoretical part of the study which will include Sanskrit grammar are based on secondary resources and library research.

•The house analysis part has been studied through documentation of drawings and sketches. I am aiming to look at patterns visible in Ahmedabad, I am not claiming their existence ‘only in Ahmedabad’.

•The study borrows liberally form various other context. However in some cases I have not read the original text nor I do have in depth knowledge of that fields sited.

•The language of expression used i.e. English also proves to be restrictive since it cannot always adequately express many Hindu and Sanskrit concepts.

Introduction

Contents Chapter-1 Grammar in Language and Architecture9 1.1. Concept of order in Language and in Architecture: 1.2. Grammar in language:

1.2.1. Grammar

1.2.2. Syntax

1.2.3. Semantics

1.2.4. Morphology

1.3. Grammar in Architecture

1.3.1. Syntax analogy to architecture:

1.3.2. Semantics: analogy to architecture

1.3.3. Morphology: analogy to architecture

Appendix- A

Chapter-2 Syntactic Rules of Old City Ahmedabad 2.0 Syntax 2.1. Introduction Appendix - B 2.2. Syntax in Architecture

2.2.1. Tectonic rules as “Syntax” in Architecture

2.2.2. Method of studying tectonics in Architecture as Syntactic rules:

2.3.1. The wall as a characteristic element

2.3.2. The column

2.3.3. The plinth/floor

2.3. Categorization of elements to study “Syntactic” rules

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2.3.4. The roof

2.4. Possible parallel at syntactic structure

Chapter-3 Morphology 77 3.1. Morphology: the rules of producing and joining sounds.

3.2. Patterns of experience Appendix- C

3.2.1. Spatial understanding in architecture

3.2.1.1.  Spatial experience

3.2.1.2.  Sensorial experience In old city of Ahmedabad

3.2.2. Primary experiential qualities

3.2.3. Special remarks on pol house in relation to human body 77

Conclusion

Glossary Bibliography

Illustration credits

Acknowledgments:

Introduction

An Inquiry into the Possible Parallels between the Rules of Language Grammar and Architectural Language in Old City of Ahmedabad

CHAPTER 1- Grammar in Language and Architecture

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Chapter-1 Grammar in Language and Architecture 1.1. Concept of order in Language and in Architecture: 1.2. Grammar in language: 1.2.1. Grammar 1.2.2. Syntax 1.2.3. Semantics 1.2.4. Morphology

1.3. Grammar in Architecture 1.3.1. Syntax analogy to architecture: 1.3.2. Semantics: analogy to architecture 1.3.3. Morphology: analogy to architecture

Appendix-A

Ill 1 (1) Word cascade

Basic introduction to role of grammar in language as well as looking at a possibility to examine architecture through same parameter. List of selected grammatical elements in broader context. Categorization of grammar into two categories. One dealing with overall structure of syntactic relation which is abstract and mental. The other one being connected with bodily physical experience and “meaning” part of it.

Chapter-1 Grammar In Language and Architecture

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1.

Chapter-1

1.1. Concept of order in Language and in Architecture: In simple terms with language and architecture are culturally shaped phenomena. So perhaps both “make sense” can be understood by those who are in such cultures.

In that sense they both are conceptually based on order.

However a readable language requires knowledge of the language, whereas an architectural environment would be basically “readable” even to an outsider.

So, are there fundamental categorizations of order, irrespective of cultural speculations? Does that apply both to language as well as to Architecture?

What makes text readable? What makes an environment understandable?

Do we have to learn an alphabet in order to sense the existence of an order? Can we sense that an order exists even when we can not decipher the word?

These were some early questions that arose in my mind.

In order to study this, some simple experiments were carried out.

Chapter-1 Grammar In Language and Architecture

1.1.1. Experiment 1 and 2: A randomly typed page is generated next to it, an extract in English using the same alphabet is displayed. Let us assume we do not know the language in which the text may have been written.

In the random text, it is not easy to see any regularities of formation. Very few combinations of letters which repeat. The other text shows a far greater reoccurrence of same “words�.

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If we know the pronunciation of the alphabet, and difference between consonants and vowels, then we can also see that, the random text is fairly impossible to pronounce.

The experiments perhaps indicates that even if we disregard specific knowledge of a language, we can perhaps drive the existence of a grammar-- A set of rules of combination --by observing regularities or similarities as well as by observing classification into categories (in this case vowels and consonants).

Chapter-1 Grammar In Language and Architecture

llus. 1(1)  Different plans at same scales

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1.1.2. Experiment: A randomly selected groups of plans are placed side by side.

Plans can be seen as a form of abstract notation for punctuation of space. In this sense they can be compared to alphabets and words. We observe again certain kinds of reoccurrence: certain groups of points or lines reoccur.

Then, we also observe patterns forming out of the further grouping of such clusters. It appears that architecture too has a “grammar� of patterns rules of linking such patterns.

Chapter-1 Grammar In Language and Architecture

1.2.

Grammar in language:

1.2.1. Grammar: To understand the word “grammar” I started with looking at different dictionary meanings of the word. Noticeable words: “rules” and “system” frequently occur in most of the definitions. To understand the deeper meaning of it I looked at dictionary meanings of “rules” and “system” as well.

Oxford:

McgrawHill

Study or science of rules for forming words and combining them into sentences.

Set of rules governing the order of words in a communication, clauses or sentence

Person’s knowledge and use of the language.

Longman:

A book containing a description of such rules for a particular language.

Study of the arrangement of words in the sentence of language

Merriam Webster: 1)a)The study of the classes of words, their inflections and their functions and relation in science.b)A study of what to prefer and what to avoid in inflection and syntax.

2)a)The characteristic system of inflection and syntax of language.b) A system of rules that defines the grammatical structure of a language.c) Speech or writing evaluated according to its conformity to grammatical rules.

4)The principles or rules of an art, science, or technique <a grammar of the theater> a set of such principles or rules.

Here, in most definitions grammar is always considered as an organized functioning system which is commonly understood by a fixed set of user groups. Every grammar has a vocabulary where words are classified into categories which are connected according to rules. These rules specify the sequence in which different kind of words make a correct sentence. These rules are common conducts derived by grammarians and accepted by certain groups using a particular language. In some languages by using one set of rule one can generate many possibilities which belong to a particular set.

My understanding of definition has been derived specifically through these definitions.

Grammar can be referred as a system of rules for arranging words into sentence to create meaning.

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1.2.2. Syntax: Syntax, semantics and morphology are essential parts of any grammar structure. These words or concepts are understood as follows:

Syntax: Merriam Webster:

Dictionary.com:

Oxford:

1.a:The way in which linguistic elements (as words) are put together to form constituents (as phrases or clauses) b).the part of grammar dealing with this

1.Linguistics .

It is an orderly or systematic arrangement of parts or elements, constitute (of body) a connected order of system of things.

2 a). connected or orderly system : harmonious arrangement of parts or elements <the syntax of classical architecture> 3: syntactics especially as dealing with the formal properties of languages or calculi

a).The study of the rules for the formation of grammatical sentences in a language. b). The study of the patterns of formation of sentences and phrases from words. c) The rules or patterns so studied: English syntax. d). A presentation of these: a syntax of English. e). An instance of these: the syntax of a sentence.

2. Logic. a).That branch of modern logic that studies the various kinds of signs that occur in a system and the possible arrangements of those signs, complete abstraction being made of the meaning of the signs. b). The outcome of such a study when directed upon a specified language.

3. A system or orderly arrangement.

Concerning the syntax and disposition of study that men may know in which order or pursuit to read 1)a) physical connection junction b)Connection, congruity arrangement c)It is a branch of mathematics which deals with permutations, combinations and alike.

2)a)The arrangement of grammar which deals with the established usage of grammatical construction and the rules deduces therefore: distinguished form-accidence which deals with inflection-forms of words. b)The arrangement of words in phrases to create well formed sentence in a language.c)A set of rules or analysis of this.

Syntax is concerned with the structure of the language where it is a matter of logical or grammatical form of sentence. In syntax we are not concerned what it refers to or what is the actual meaning of it.

The word â&#x20AC;&#x153;syntaxâ&#x20AC;? indicates the study of the rules for the formation of grammatical sentences in a language. Words are classified into different categories depending on their function in sentence. Commonly we talk of these categories as nouns, verbs, adjectives, adverbs, preparations etc. Syntax is the body of the rules which says how these various categories can be joined to form grammatically correct sentences.

Chapter-1 Grammar In Language and Architecture

One considers language as a source of communicating which is expressed by sentences.

Syntactic structures are instructions of assembly of the concepts expressed by words.

Sentences have meaning, but syntactic structures in which sentence fits do not themselves contain any meaning.

1.2.3. Semantics: To understand the meaning of semantics I looked at different dictionary definitions and noticed frequently coming words “relation”, “meaning”. Semantics is concerned with meaning of words and sentences. It is a matter of content associated with meaning of the sentences,often in relation to their truth or falsehood.

Semantics is the study of meaning. It is a wide subject within the general study of language.

An understanding of semantics is essential to the study of language acquisition (how language users acquire a sense of meaning, as speakers and writers, listeners and readers) and of language change (how meanings alter over time). It is important for understanding language in social contexts. It is thus one of the most fundamental concepts in linguistics. The study of semantics includes the study of how meaning is constructed, interpreted, clarified, obscured, illustrated, simplified negotiated,contradicted and altered.

Merriam Webster: 1. The study of meanings: a : the historical and psychological study and the classification of changes in the signification of words or forms viewed as factors in linguistic development b (1) : semiotics (2) : a branch of semiotic dealing with the relations between signs and what they refer to and including theories of denotation, extension, naming, and truth 2: General semantics 3a : the meaning or relationship of meanings of a sign or set of signs; especially : connotative meaning b : The language used (as in advertising or political propaganda) to achieve a desired effect on an audience especially through the use of words with novel or dual meanings

It is thought that the meaning of words, the connections between a set of sounds and what they signify is arbitrary or conventional. Every language began with certain sounds, for certain signification and words have evolved through this process.

Dictionary.com Linguistics . a.The study of meaning. b.The study of linguistic development by classifying and examining changes in meaning and form.

2.Also called significs. The branch of semiotics dealing with the relations between signs and what they denote.

3.The meaning, or an interpretation of the meaning, of a word, sign, sentence, etc.

Oxford: noun The branch of linguistics and logic concerned with meaning. The two main areas are logical semantics, concerned with matters such as sense and reference and presupposition and implication, and lexical semantics, concerned with the analysis of word meanings and relations between them. the meaning of a word, phrase, or text.

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1.2.4. Morphology: Morphology is a part of linguistics that deals with the study of words, their internal structure and partially their meanings. This is also related to lexical studies as the patterns examined by morphology are used to create new words. Furthermore, it is also linked with semantics as it deals with meaning of words which are at times inflected forms. Morphemes in morphology are smallest units of sound that carry meaning or fulfill some grammatical function.

Various sounds can be pronounced by human beings. A language can similarly select some of them for forming words. Morphology is the study of the rules by which basic sound units are joined to create word.

Merriam Webster: 1)a : A branch of biology that deals with the form and structure of animals and plants b : The form and structure of an organism or any of its parts 2)a : A study and description of word formation (as inflection, derivation, and compounding) in language b : The system of wordforming elements and processes in a language 3)a : A study of structure or form 4) The external structure of rocks in relation to the development of erosional forms or topographic features

Dictionary.com

Oxford:

Linguistics .

•1 [mass noun] The study of the forms of things, in particular:• the branch of biology that deals with the form of living organisms, and with relationships between their structures.

a.The patterns of word formation in a particular language, including inflection, derivation, and composition. b.The study and description of such patterns. c.The study of the behavior and combination of morphemes.

•Linguistics, the study of the forms of words, in particular inflected forms: grammar is organized along two main dimensions: morphology and syntax generative approach to morphology •2 Particular form, shape, or structure

Chapter-1 Grammar In Language and Architecture

1.3.

Grammar in Architecture

In order to consider architecture as grammatically formed, it would be useful to see Syntax, Semantics and Morphology might be reviewed in Architecture.

1.3.1. Syntax: analogy to architecture: Like a language, a particular form of architecture evolves in a culture, and is shared by members of that culture.

We can therefore study architecture as consisting of shared meanings, using commonalities of elements and rules of combination.

It is possible to analyze a work of architecture as a combination of certain categories of elements. These elements are combined according to certain rules. This can be called a syntax.

Such an analysis could be done in terms of structural, formal or spatial aspects, as Paul Frankl has done.

1.3.2. Semantics: analogy to architecture Generally speaking, every culture adapts certain conventional meanings of the various words in the language. In the same way, specific meanings may be attached or associated with definite architectural elements or configurations.

This study deals with attempts to bring out the semantic aspects of architecture of Ahmedabad old city.

1.3.3. Morphology: analogy to architecture In language, morphology is a way of organizing sound and this creates certain effects when heard, and requires certain bodily action when the sounds are produced of.

In a similar way, the sensorial intention and experience in architecture might be studied as based on a system of rules.

In architecture fully belonging to earth, sky, mass, ground is core essence. Same way we have â&#x20AC;&#x153;vernâ&#x20AC;? in Sanskrit from where alphabets originate. Articulation of going from solid to void, light to dark,from simple to complex is morphology in architecture. These transformations bring into action the rules of morphology. The original

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character of being on earth or sky, being in dense or light, dark-light the primary physical experience are regulated by the pair in their connection. They always occur in pair. They are qualitatively experiences associated with the human body.

The rules of making and operating together gradually show all their manifestation form.

These are the rules of morphology. The morphology of how one move from light to dark, solid-void occur in specific manner and that reflect certain meaning or a cluster of meanings. These are peculiar ways not general.

This are core experiences which occur with opposites and architecture shows the relationship.

Chapter-1 Grammar In Language and Architecture

Appendix - A Elements: Elements of architecture can be the vocabulary of Architecture. Elements can be walls, columns, floors, roof etc. These basic elements combine to create the basic structure of form. Vocabulary can also be seen as the basic signs and words of architecture where each one is assigned certain meaning. There are certain rules through which they are combined. This combination gives birth to the other set of meanings which is a subset of basic vocabulary.

Vocabulary can also be seen as a set of limited alphabets which can generate different permutations and combinations of words. For example in English we have only 26 alphabets but the entire language springs out them. In architecture also we can generate innumerable possibilities of creating structures.

This vocabulary has direct relation to time period and region. And since it is a variable, there is a possibility of change over a period of time. But we can assume that at one particular time period in one particular region there is a common vocabulary in practice. So, if we fix the time frame, it is possible to study the vocabulary and structures which emerged out of that vocabulary.

If in architecture we take such components which are original and uninflected position, there is a possibility to generate a tremendous amount of meaningful structures. These can be considered as a subset of the lexicon.

Rules of putting together: The way language has its own grammar which systemizes the rules of combining from micro to macro level, it is also possible to look at architecture from a grammatical perspective and rules of coming together can be seen from the same angle. In language most of the time there are elaborated rules which define how signs, words and sentences can come together to create meaningful formations. By using them one can clearly express the structure of it. In the same way in architecture we can consider the possibility of having archetypes which are governed through certain sets of rules.

Walls are not words, nor vice versa(except perhaps when we write â&#x20AC;&#x153;KEEP OUTâ&#x20AC;? by a gate. It is enough to suggest tentatively that just as we use language composing words according to syntax into sentences to

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convey meaning- we seek to communicate and make sense of words verbally so, we use architecture to compose walls (and other elements) in particular arrangement to identify places. We seek to situate ourselves in and make sense of the word spatially.

Mainly these rules have direct relationship to the overall structural formation which acts as syntactic rules of architecture. These rules have many variables just like vocabulary but overall they obey forces of nature.

Structure: The grammar of a structure is based upon the elements and relations it admits. Every object is capable of transferring forces thus represents a structure in the architectural sense. The capability of transferring forces is determined by shape, material and type of loading.

The typical element of the system has to be emphasized and the foreign ones repressed. An element is emphasized through isolation and by framing. When framing an opening, the independence of the elements is defined.

Such a treatment of space-element is not admitted by the free plan which aims at a fusion of spaces. The spatial continuity is emphasized through the employment of individual concentrated masses, whereas intervals are used. This state of affairs is basic to the formal grammar, and could be called the ‘complementary- principle’ of architectural form.

Morphological Comparison: Form: “Visible form” is based on the sensuous experience that emerges only as one move around and through a building that changes with every step, and the experience is also affected by position and intensity of the light source. We interpret as three dimensional every single image of an object that we receive from any one point, but what is essential in viewing architecture is that we accept these isolated images as merely preliminary to draw together into a single mental image the series of three dimensional interpreted images that are presented to us as we walk through interior space and around their exterior shell.

Simultaneous – successive form: Ilus 1 (2a) Form

This concept corresponds to our categories ‘row’

Chapter-1 Grammar In Language and Architecture

and ‘group’. A row is by definition formed through a succession of elements, while the elements of a group have several ‘simultaneous’ relations to each other. Rows and groups may be combined, for instance by ordering a part of a cluster relative to an axis. A group can thus be more or less homogeneous. That dependence of the structure on illumination and the changes of the seasons also form an interesting problem. The elements demand an adequate illumination to be effective and the same holds true for a complex structure where it is of particular importance that the primary elements are clearly perceptible. It is often interesting to investigate the changes in illumination a certain structure can support.

Spatial form: Under this category, Frankl tries to build up a ‘mentally clear’ picture of spaces in buildings. He does so by carrying out an intellectual analysis of the abstract “The Theoretical Background” diagrams of the ground plan. Such abstractions are used to identify geometrical relationships between individual units which combine make up the complete form. Thus, by schematizing the arrangement of spaces, he tries to trace out the fundamental structure of the organization. The concept is developed as a quantitative and a pattern seeking one where space is treated as something that can be measured, added and divided. The spatial units come together in various logical combinations and give rise to different types of formal structures. Concepts like groups and series are introduced to describe the spatial arrangements; terms like interpenetration and fusion are also used in order to express the melting together of volumes; which may result from operations like addition and division. A comparative classification of diagrammed spaces; depicting their separate units, the rhythm of their bay structure, their interconnections, and potential movements between them, is made. Such a rigorous exercise of abstractions is carried out to be able to get clear cut theoretical understanding of the spatial organization.

Corporeal form In this section, Frankl refers to the tangible part of architecture. It is a concept that looks at buildings as evocative forms and surfaces; makes an in-depth enquiry about the way they have been articulated.

Ilus 1 (2b) Form

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Corporeal form is regarded as the tectonic shell which forms a continuous boundary enclosing the spatial form; it refers to the articulation of walls, columns and other elements. The spatial form is indeed determined by its corporeal boundaries. And therefore, ‘spatial transformation, when it occurs, is only a phenomena parallel to physical transformation’. Architecture is looked upon as a molded object which has weight and comes under the influence of exterior forces. The tectonic body is classified into different polarities according to its divergent reaction to the permeating forces; it cannot be grasped geometrically like spatial form. A description restricted solely to geometrical properties will miss the essential point.

Visible form The rational reading of plans is neutralized by a perceptual one. In the category of visible form, Frankl talks about the visual aspect of space which depends a great deal on the conditions of light, color and finally the kinetic experience of space. The optical appearance is primary with regard to effect produced by a completed building. Therefore, it becomes important to study the conditions of light and color as well as the effects they have on the perception of the built form. There is an attempt at understanding the relation between the mutually dependent corporeal form and optical form.

In his explanation of the visible form, Frankl points out, “To see architecture means to draw together into a single mental image the series of three-dimensionally interpreted images that are presented to us as we walk through interior spaces and round their exterior shell.

When I speak of the architectural image, I mean this one mental image.”1Frankl tries to reconstruct the sensuous experience of the 3-dimensional space that emerges only as one moves round and through a building that changes with every step and is affected by the position and intensity of light. Through each of these concepts based on senses, gets manifested the intention behind work of architecture. Therefore, it is best that all of them follow a parallel direction, so that their effect is unified and they all point towards the same meaning.

Chapter-1 Grammar In Language and Architecture

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Chapter-2 Syntactic Rules of Old City Ahmedabad 2.0 Syntax 2.1. Introduction Appendix-B

2.2. Syntax in Architecture 2.2.1. Tectonic rules as “Syntax” in Architecture 2.2.2. Method of studying tectonics in

Architecture as Syntactic rules:

2.3. Categorization of elements to study “Syntactic” rules

2.3.1. The wall as a characteristic element 2.3.2. The column 2.3.3. The plinth/floor 2.3.4. The roof

2.4. Possible parallel at syntactic structure level:

Ilus 2 (1) Make ‘sense’ sentence

Chapter- 2 Syntactic Rules of Old City Ahmedabad

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2.

Chapter-2

2.0 Syntax: We have observed that syntax in language is the act of classifying words, and making rules of putting them together to form grammatically correct sentence.

2.1.

Introduction

Sanskrit has an elaborated syntax which clearly lays down the rules by which sentences are formed. This is outlined in Appendix-B It is sufficient to note here that the classification of sounds, actions, the variations gender and singularpural cases etc. form a matrix of these rules.

If one were to apply a similar approach to architecture, perhaps the best way would be the study of tectonics.

Tectonics procceds by classifying parts of a structure and setting out the rules of thei joining.

Chapter- 2 Syntactic Rules of Old City Ahmedabad

Appendix-B

Syntactic rules in Sanskrit Grammar Introduction to Panini’s “Vyakaran”: Panini wrote his book on Vyakarana after receiving the 14 basic sutras from Lord Shiv. Tradition says that Lord Shiv, while performing the celestial dance called the Tandava, sounded the drum in his hand 14 times. Each of those 14 sounds became a sutra. Thus 14 sutras were formed. They are called Maheshwara Sutras. They are as follows

अइउण् ऋऌक् एओङ् ऐऔच् हयवरट् लण् ञमङणनम् झभञ् घढधष् जबगडदश् खफछठथचटतव् कपय् शषसर् हल् Use of Maheshwara Sutras 1.The Alphabets of Sanskrit Language are derived from these Maheshwara Sutras.

2.Maheshwara Sutras are used to do define new names such as अच् through Pratyahara.

1.Derivation of the Sanskrit Alphabets Vowels : अइउण् ऋऌक् एओङ् ऐऔच् = अ इ उ ऋ ऌ ए ओ ऐ औ Consonants: हयवरट् लण् ञमङणनम् झभञ् घढधष् जबगडदश् खफछठथचटतव् कपय् शषसर् Semi-vowels: य् र् ल् व् Sibilants: श् ष् स् Aspirate: ह्consonant of each varga : ञमङणनम् -> ञ् म् ङ् ण् न् म् 4th consonant of each varga : झभञ् घढधष् -> झ् भ् घ् ढ् ध् 3rd consonant of each varga : जबगडदश् -> ज् ब् ग् ड् द् 2rd consonant of each varga : खफछठथ -> ख् फ् छ् ठ् थ् 1st consonant of each varga : कपय् चटतव् -> क् प् च् ट् त्1

Ilus 2 (2) Position of sound source in vocal structure, 1

Vaidhyanath Karthik,Introduction to Sanskrit Grammar-1,PDF,2011

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Varna: only vowel or only consonant(without vowel) is known as verna.

Varnas are divided into different categories, one is depending on the position of the origin of that verna in body.

Syntactic rules in Sanskrit Grammar : In Sanskrit there is a possibility of changing position of the word in sentence.

Words follow comparatively different structure. There is a fix set of rules in terms of nouns and verbs. Form selection is completely based on that matrix.

They are affected by gender, tense,case etc.

Chapter- 2 Syntactic Rules of Old City Ahmedabad

Sanskrit is a highly word-order free language ? What does this mean ? It means that you can take a Sanskrit sentence, jumble its words the way you wish and there is good probability that the resulting sentence would still mean the same as the original one.

Don’t believe ? Here is an illustration. All the sentences given below mean exactly the same.

य य

य

॥ ॥

य

॥

य

य

॥ ॥

॥

and so on…till thousands of permutations are exhausted!

The above sentence(s) mean(s) “A man abandons worn-out clothes to wear other new ones.“ Try to change the position of even a single word in the English version and you will see the sentence become meaningless. What feature of Sanskrit makes such tremendous word-jumbling possible ?It is our same old vibhakti!

From a literary point of view, flexible word-order makes creating poetry, slokas and other forms of literary art easier. No wonder, a large part of Sanskrit literature is thrown in the form of poetry. In fact, mahAbhArata which is the world’s longest poem (1,00,000 slokas!) is actually a story! Writing a long story like mahAbhArata.

The concept of vibhakti (which is a type of inflection) is the single main feature responsible for all the sophistication that Sanskrit possesses. In fact, any language that makes extensive use of vibhaktis is bound to be more robust than the one that does not use it (meaning of robust is given in the next para).

Vibhakti reduces the need of using unnecessary verbs and, above all, provides the support base for creating new words. virtually everything in Sanskrit can be broken down into dhAtus.

Yes! you got it right, virtually everything. We will also see that words in Sanskrit not only represent properties and objects but they also represent ideas, which is the base from which all the other words are derived.

The most basic units of English grammar are the 8 parts of speech viz. Nouns, Pronouns, Adjectives, Adverbs, Verbs, Prepositions, Conjunctions and Interjections. But the most basic units of Sanskrit grammar are not the parts of speech, but dhAtus. Typically,

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every word in a Sanskrit sentence, be it a noun, an adjective or a verb, is nothing but a different form of one of the 2012 dhAtus that pervade the complete Sanskrit literature. A typical Sanskrit sentence is merely a collection of various forms of these dhAtus. If a Sanskrit sentence is comparable to a house, then the dhAtus are comparable to the essential building construction materials like brick, wood or lime..

Let’s take some sample dhAtus for further illustrations. Here we have taken 3 out of total 2012 dhAtus. Those 3 dhAtus are.. कृ = to do भू = to be Given below are some derived words for illustration purposes.

Don’t bother yourself about deriving them. The method of deriving them requires an advanced study of Sanskrit grammar.

Nouns derived from these dhAtus कृ can be used to derive nouns like.. कार्य = work उपकरण = instrument कर्मन् = deed प्रक्रिया = process and many more.. भू can be used to derive nouns like.. भवन = a civil structure प्रभाव = effect वैभव = prosperity भूत = past उद्भव = source भविष्य = future and many more…

The way we derive Nouns out of these dhatoos one can also derive verbs and adjectives also.

From the above, we see that the seemingly unconnected nouns, adjectives and verbs in English, actually have common derivations in Sanskrit! The common thread connecting them are the dhAtus.

Hence, the dhAtus are even more basic units than the parts of speech. Therefore any study of Sanskrit that builds upon the parts of speech and not dhAtus is misleading!

Chapter- 2 Syntactic Rules of Old City Ahmedabad

2.1.1. Syntactic rules: “Vibhakti” delineates different ways of connection noun to verb. In sentence nouns are differently connected to verbs. ‘vibhakti’ establishes relation between them. So, in this way VIbhaktis are links which connects differnt ‘padas(meaningful words).

Nouns are connected through six different ways with verb. And apart from that to address someone one uses seventh ‘Sambodhan’ vibhakti.

Sixth vibhakti describes relations of attachments between nouns. a. The participant which is independent bears the role of agent (kartr. ).

• b. When there is a separation, the participant which is fixed bears the source role (ap¯ad¯ana).

• c. The participant which is primary target of the action bears the goal/patient role (karman).

• d. Roots denoting recent past events (events which have occurred previously on the present day) are assigned Aorist tense (lu¯n).

• e. The suffix Ktv¯a is assigned (instead of aorist tense) to express to the root denoting the prior event if it has the same agent as the posterior event.

Sentence formation

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Properties, Objects and Ideas So as we understand that the nouns, adjectives etc are themselves derivable from the dhAtus, let’s look at the hierarchy of words in Sanskrit. There are 3 levels of Sanskrit words.

The words at each level represent different things. Words at the 1st level represent ideas, those at the 2nd level represent properties and those at the 3rd level represent objects!

Level

This level

The contents of this

Example

Meaning

Number

contains..

level represent..

1

dhAtus

Ideas

the idea of going

2

vyayas

Properties

the property of going in a particular manner

3

avyayas

Objects

a particular instance of going

a particular instance of going At level 1, we have dhAtus. dhAtus represent ideas. For example, कृ represents the idea of doing something by someone.

At level 2, we have vyayas. vyayas are nothing but those words whose vibhaktis exist. These words represent properties. For example, the word कार्य derived from the dhAtu कृ, represents something that has a property that it can be done.

At level 3, we have avyayas. avyayas are those words that cannot be further modified in any way. Hence, their vibhaktis do not exist. These words represent objects. For example, the word कार्यः which is the first vibhakti of कार्य, represents a particular work. And it is the words in the 3rd level that appear in sentences.

The words in the 1st and the 2nd level, never appear in sentences!

So first we have ideas (in the from of dhAtus). We apply certain transformations on these ideas to form the properties(vyayas). Then we further apply more transformations (called vibhaktis) on the properties, to form the objects(avyayas).

And finally these objects are used in the sentences!

So to decode the meaning of a sentence, one needs to break down the words in that sentence (which are already in level 3) to the words at lower levels!

Chapter- 2 Syntactic Rules of Old City Ahmedabad

Nouns: Nouns have two categories, one which ends with vowels, the other one which ends with consonants. â&#x20AC;&#x153;Nounsâ&#x20AC;? are divided into three genders. Male, Female and Neutral. Each gender has its own suffix included in noun. In Sanskrit all noun vibhaktis are categorized into singular, dual and plurals.

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Verbs: All verbs are derived from roots. Roots are known as â&#x20AC;&#x153;dhatuâ&#x20AC;? in Sanskrit. And all dhatoos are divided into 10 different groups.

Each group has its own suffix.

They are divided into three categories. Parasmaipadi, Aatmanepadi and Ubhaypadi. They are affected by tenses. (Future, Past and Present)

Chapter- 2 Syntactic Rules of Old City Ahmedabad

Mechanism of generating new words in Sanskrit: Since कृ is a dhAtu it means that its role in Sanskrit is akin to the role of, say, the element Al(Aluminium) in Chemistry.

With Al we can form its oxides, nitrites, sulphides etc. With कृ, we can make its कृदंत words. कृदंत words are those, that can be formed by adding a suffix to a dhAtu. For example, कृ + तव्यत् = कर्त्तव्य| Here कर्त्तव्य is a कृदंत word, तव्यत् is the suffix and कृ is the dhAtu. Given below is a list of (probably) all कृदंत words that can be formed from the dhAtu कृ.

Don’t bother yourself in trying to figure out how to derive these words. They require one to apply certain algorithms to the dhAtu कृ. Describing those algorithms is not in the scope of this series. Take home with youself only the fact that so many words can be directly derived from कृ.

List of कृदंत words derivable directly from कृ कृत = something that is done = completed or finished कृतवान = someone who has done कृति = an object obtained as a result of doing कर्त्तव्य = something that must be done = duty करणीय = something that should be done

These words can be derived using the rules of grammar by adding suffixes to the dhAtu. But this is only the beginning. Let’s look at the more advanced ones.

कार्य = something that can be done = doable कृत्य = something to be done/accomplished कर्म = work कर = something that helps accomplish something = a hand कार = author, composer, source कर्ता = doer क्रिया = activity

A metal and the smallest unit of Sanskrit Grammar can be modified and molded into different forms to generate new objects. We have seen that a dhAtu can be used to generate new words by varying its form. Similarly, even a metal can me molded into different shapes to form new objects.

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2.2.

Syntax in Architecture: The study of tectonic rules:

This part of the study looks at old city houses from a tectonic perspective by first fragmenting it into subdivisions and then analyzing each part in terms of ‘coming together’. Understanding relationship between part to part and part to whole. Tectonic part has been divided into three parts 1.

Identifying, classifying and describing characteristic parts:

2.

How those characterized ‘ come together’

3.

Patterns of rules of combination between elements

Horizontal

Vertical

In terms of syntactic structure in Sanskrit, the study looks at the fundamental elements of syntax formation, categorization of sub groups and implied relations among them.

Chapter- 2 Syntactic Rules of Old City Ahmedabad

2.2.1. Tectonic rules as “Syntax” in Architecture “Greek in origin, the term tectonic is derived from the word tekton , signifying carpenter or builder. The corresponding verb is tektainomai. This in turn is related to the Sanskrit “taksan”, referring to the craft of carpentry and to the use of the axe. Remnants of similar term can be found in Vedic poetry, where it again refers to carpentry. In Greek it appears in Homer, where it alludes to the art of construction in general. The poetic connotation of the first term appears in Sappho, where the “tekton”, the carpenter, assumes the role of poet. In general, term refers to an artisan working in all hard materials except metal”1.

In his 1963 essay Structure, Construction, and Tectonics (1963), Eduard Sekler distinguishes between structure as the fundamental ordering principle of a work and construction as a particular physical manifestation of this principle and tectonics as an expressive form representative of the other two modes.

“Tectonic architecture manifests and elucidates the constructive function of a building as a support for a spatial idea. It creates constructive readability.” (Engström 2004) Tectonic becomes the art of joining. With regards to the ancient understanding of the word, tectonic tends towards the construction or making of an artisans or artistic product. Tectonic also involve judgment over art production. So, in a way tectonic is not only about resolving the problem of wooden joinery or creating a mere solution for problem, it is about providing a visual percept. So that, the essence of the things and beauty remain intact. It is about providing tactile value and making the piece “crafted” instead of mass produced.

To study tectonic peculiarity of Ahmedabad pol houses in detail one can divide the house into different elements to be analized and establishing why they are relevant by referring to examples in Ahmedabad and by contrast to other places.

1 Kenneth Frampton, Studies in tectonic culture: the poetics of construction in nineteenth and twentieth century architecture, M.I.T. 1995, pg?

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2.2.2. Method of studying tectonics in Architecture as Syntactic rules: In a way this is a reverse process: taking an existing building and breaking it down into different elements to find out the fundamental rules . It is possible that the architecture may or may not have followed such rules while designing or constructing them but these are the rules which will make the fundamentals clear. These rules can be considered as fundamental rules of grammar of architecture. In this method some variables have to be fixed. The rules that emerge out of it are noted down which acts as “dhatoopad” which can have roots in grammar of old city Ahmedabad. One can generate infinite combinations out of this ‘root rules’ but it seems that Ahmedabad houses have selected rules out of all. In this exercise the focus is only on existing rules, One is not going into the reasons for selecting these rules and meaning/hidden meaning part.

To study the rules of Ahmedabad one is looking at various original and uninflected examples of Old city houses and categorizing it into different elements which create the space. Elements are extracted to study the rules of tectonic at different level. To study the grammar one has examined emerging patterns in each element and checked weather it remains common throughout different houses or not. This study can lead to derive a rule which can be subset of that larger rule box. It is also possible that Ahmedabad houses may not have considered these rules while forming the space. That can be an underlying subconscious effort. But by using these rules one can understand the fundamental space making of old city Ahmedabad houses.

To study tectonic peculiarity of Ahmedabad pol houses in detail I have divided it into different elements and establishing why they are relevant by referring to examples in Ahmedabad and by contrast to other Situations. These elements are small components which can be referred to as parts.

In this method each element is categorized into a sequence of • Schematized elements • Implied relation Ilus 2 (3) Human Body in Relation to space

• Rules of combining The tectonic rules can be studied from micro to macro level but here the study focuses on some particular perceivable scales where rules are very dominant.

Chapter- 2 Syntactic Rules of Old City Ahmedabad

2.3.

Categorization of elements to study “syntactic”rules:

2.3.1. A wall- the wall The wall: The wall is a separator, completely or partially. It may also orient towards some other zone. The wall is a vertical element which defines enclosure. The words for wall in Sanskrit is “bhitti” which originated from word “bhit” which means divider or separator.

Primary role of wall is to support, barricade and separate. “In architecture the main purpose of the wall is to delimit a space and to support the roof”.1 The wall defines territories; it divides two spaces, each of which has a different content. The wall creates an expression of security from outside world and creates a visual and physical barrier which can protect interior. Because of this gesture the wall gains a very important position as a space making element.

Strength relation is associated with degree of penetration. The size of opening determines character of the wall either it is welcoming or rejecting. It has a potential to create different expressions by playing with a fixed set of archetypes. Height, width ,breadth and other dimension of time becomes pivotal factors in defining its character.

Wall being a virtual plane becomes a barrier. As mentioned above height, width and breadth play a very important roles in its modulation. A wall lower than knee height is notional boundary.

Because it is below eye level it allows visual connection but one has to use strength and energy to cross that wall so it gives the idea of threshold or barrier. This height is such that it acts as a seat.

A wall below eye level but higher than knee level presents itself as a physical boundary or barrier. It has a strong sense of divider but it allows visual adjacency.

A wall higher than eye level is a true enclosure and separator.

It prevents physical and visual spillover. It creates a notion of protective barrier from sides.

A wall with variations in thickness also creates gesture like flimsiness, density, porosity, transparency, modulation etc. A very thick wall creates a feeling of space within its thickness, whereas a very thin wall would be seen as a curtain or membrane.

1 Thomas Thiss- Evense, Archetypes in Architecture, Norwegian university press, 1987, pg-117

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Wall

Direction

Angle

Thickness Elevation

Here the wall acts like an Alphabet which has permutations in terms of direction, angles, thickness, elevation plane, angle of elevation plane, size and character of openings, character of wall itself. This possibilities are rules where variables are angle,a,b,c can be fixed to generate an elaborated spreadsheet.

Plane

Opening

Grid

Irregular

The height relative to the observerâ&#x20AC;&#x2122;s eye level is suggested by the height and width of lower walls are important characters of the perception of the wall.

Character of wall

Chapter- 2 Syntactic Rules of Old City Ahmedabad

A wall in Ahmedabad: In Ahmedabad old city there are mainly three kind of walls.

• Very thick walls which creates space outside as well as inside • Thin partition wall act as a curtain or membrane.

• Parallel walls between two houses.

Apart from this three types there are in between patterns which emerge in certain circumstances.

It is made out of lime, brick and wood. A great balance between static and flexible where the brick infill remains static in its character whereas wooden members are flexible to adapt to changes in character by allowing punctures and projections. As a projection of the space in front and behind the walls, the center section will be important in terms of accentuating transparency.

Wood always acts as a material to hold other members, for example, whenever wall ends and opening emerges, always wooden member comes on the corner to hold wall and even to emphasize geometry. The outermost piece visible in elevation is either molded at edges or crafted.

The outer members are embedded afterwards to emphasize clear horizontal lines . They are not taking any structural load. By doing so, one is hiding some of structural members, but they are not much concerned about being honest in terms of exposing structure. Here, horizontal lines grab all attention and defines spaces as geometrical and well structured. Different spaces have different ratio of wood to brick according to its requirement and usage pattern.

Entrance wall-outer most envelopeearthquake resistance • • • • • •

Entraps space Movement guide Barrier Display and storage element Enclosing volume Verticality

A)Thick walls: Thick walls help humanize the space. When a person is inside the house he is never away more than 6 feet from any immediate wall. So, the wall is one of the elements which is a constant reminder of the human nature of the space. One always keep precious things and belongings adjacent to it. Wall acts as a protective barrier. Thick wall has incredible potential of creating space within it. It is possible to carve that out and create generous Internal wall-in built storage

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storage inside it. A person can modify it according to her requirement. Here, in some cases people lived their entire life in these houses, so, many walls have impressions of its past.

Back facing walls have very thick base. It gradually becomes thin as wall rises.

A1)Grain Storage “kothar”:

Prime rule of making “kothar” is to build it in such a wall that it is in most inner part of the house. It is located in the thickest wall which has minimum weathering effect and well protected by its surrounding. Granaries are source of food which is considered as most important wealth and source of life. There are alcoves as well to preserve precious jewelry.

A2)Niche: It is a depression in its wall breaking its monotony and emphasizes heaviness and depth of the thick wall. It provides a multifunctional dynamic character to the wall. They are like ornaments of the wall which can be personalized and change according to time and requirement. Its size determines kind of things occupying that space.

A3)Built in furniture:

Thick, massive walls have mouldable character, So at times built in seats and small storage units also take place by curving out the massive chunk.

At times above lintel level , a wooden projection acts a an open shelve . People use it to display metal wares.

B)Parallel walls:

“Gravity will always draw objects and us down. That something stands up and against this force by rising up is therefore synonymous with survival and survival implies freedom from earth.”

Symmetry, according to Seven Henselgern, is “An image of fundamental order which we carry with us as a reference for all of our actions.” This order emanates from the interface between our body and the force of gravity. Horizontal division of the wall with its various fields of energy can be explained as a result of the wall’s function as a spatial boundary. As a projection of the space in front and behind the walls, the center section will be important in terms of accentuating transparency. There is a great balance between static and flexible where the brick infill remains

Chapter- 2 Syntactic Rules of Old City Ahmedabad

static in its character whereas wooden members are flexible to adapt to changes in character by allowing punctures and projections.

Charter of a parallel walls is also thick enough to provide a visual boundary as well as acoustic barrier between two houses. They provide a direction of movement and orientation to all the houses. They form the prime element to establish the relationship between the street and the house. These walls are supportive structures for all the partition walls on shorter sides. They have the potential to create alcoves as well as accommodate different amenities like water storage and other small cubicles.

“Paniyaru” defining hierarchy of water at different levels B1)Paniyaru: Paniyaru is the place where earthen pots and metal wares are being place. This element is mostly located in the central part near the courtyard justifying its importance in the house.

This place contains water which is given very high importance in this hot and dry region. The lady of the house cleans this part every day and offeres a “diya” to the deity of house. The Paniyaru is a simply supported structure which has bracket projected out at times. The size of the Paniyaru is determined by the size of its usage in relation to human body. Most of the times it does not exceed 1.5 meter width. This is a relatively small part compare to other parts of the house like “Ordo” or the courtyard.

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The Paniyaru has in built stand for the earthen pots, a drainage groove on the edge and molded corners. Articulated niches and carved door frames provide compliments to its importance.

The paniyaru is always lifted from ground defining hierarchy of water usage. Drinking water is always kept in the upper part. Water for other kind of use are placed below the platform.

B2)“Chulha” fire place:

The chulha conveys an instinctive feeling of being inside. The warmth of a fire is a perquisite for surviving. As a means of preparing food it is also one of life’s fundamental necessities. Secondly, fire as a phenomenon is associated with something which comes from below. In contrast to sunlight, fire is earth’s own light and consequently has different meanings.

C)Partition walls:

Thin upper floor wall

Partition walls act as a thin curtain. Here wooden columns create structural frame and brick acts as an infill. On the ground floor, partition walls are always placed on the shorter side of the house. On upper floors they act as an envelope, closing parts which are left open by thick wall and wooden frame structure. This walls creates visual barrier but one can sense the expression of its lightness through its openings. These walls have the potential to create transparency and rhythm in space by providing large openings at repetitive intervals. It creates aesthetic order in space. Partition walls are too thin to allow alcoves but they create small cubicles. They do not carry much load. They are made out of wood, brick and lime (earthly materials) so, they do provide some attachment to human body.

Partition walls differ in character from floor to floor as well as inside-outside. Partition walls on entrance wall have noticeably different character. The entrance wall which is higher than its width has a manifestation of the rising – it is victorious and free, emphasizing the experience which suggests that in order to live, we must defy gravity daily. The outer wall being the statement wall is rich in carved motifs of animals, flowers and geometrical patterns. Carved wooden doors cut down stark light into various gradients of

Chapter- 2 Syntactic Rules of Old City Ahmedabad

shadow. One can not miss the craftsmanship and small details like the place for “diya”, niches, projections on door frames, reflecting the humanized character of it. Here the carving and these interacte details are parts of the wall which contributes to the larger ‘whole’.

Elements associated with walls: a)Entrance steps: It is the first most important transition from outdoor to within, from unbuilt to built, from horizontal to vertical. They are mostly overlapped risers where the position of the riser allows a multiple usage and transform itself into a seating after a point. They are quite welcoming and reflects a generous nature of the street living.

They are mostly flexible according to nature of the street. Rough finished stone with treated edges and shelter above gives a shared space character. Their adapting nature also reflects in the houses which are placed first in rows. Most of the time those edges are moulded to express the welcoming gesture. The articulation is such that one can not define whether they are going upwards or coming downwards, they are fairly straight and neutral for this matter. This kind of formation allows “otla” (platform for sitting) to take place. This word has originated from : “osth” or “adhar” which means lips or the outer most part of face. b)The Openings: The Window is like an eye of the building. It provides visual linkage between inside and outside. Door is a facilitator for providing eccess to the building. These openings provide light and ventilation and makes the building livable. The word for window in Sanskrit is “vatayana” which means a place from where wind comes.

b1)Opening in old city of Ahmedabad:

Here the door and windows act as a source of light, it is a conscious effort of combining door and window in one qualitative principle, where the central part can be opened and top and bottom part can act as a viewing element. These

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Source of light

Door-Window combine

Viewing and sitting window

Balcony as buffer

Door with railing

Wall as grid for door window • Viewing, ventilating, • Source of light,

Wall as window

Framed view, Viewing window

• Framed, • Projections to cover window

• Overhangs elements are made to serve many purposes. The uppermost parts are placed above eye level, the middle part is largely for the view and breeze. Essentially an opaque shutter, with controls to open and close. The lower part is an extension of inside space outwards. It provides view and ventilation while sitting inside. This kind of tripartite arrangement with various permutation and combinations provides an opportunity to participate in the activities happening in the outside world.

b2)Deep opening:

A diagonally cut opening the whole itself appears to lie deeper in the wall than does the right angle cut opening. It gives added weight and substance as well, the thickness is perceived much more than actual one. They are mostly placed inside the ordo or on long parallel walls.

They are protected within walls but at times cantilevered extensions are provided. c)Stairs: Stairs show comparative strength in upward and down word motion. Our physical dimension determine a flight of stairs perceived as narrow. It follows that a narrow flight of stairs seems intended for the spectator alone or at the most one other person. It is the visualization of ‘private space’- it is personal space.

Stairs in the old city are the only diagonal member connecting two horizontal surfaces. Here, stair is more like a ladder, narrow, steep and at times a temporary structure. Stairs direct upwards which are usually private zone. Narrow and steep stairs creates a kind of fear, tension and person tries to move slower with great care. One becomes conscious about falling down because of the concious movement against gravity. This kind of stair increases transition time.

Chapter- 2 Syntactic Rules of Old City Ahmedabad

c)Door: The door is essentially a puncture through a plane allowing for a passage through it. The sanskrit synonym of door is “dwar” which is originated from word-”dwi” means two. It pertains to two realms-within and without. So the door is considered as an entry to the inside(darkness) and exit into outside(light). Door in Ahmedabad is an opaque shutter embedded into wall as movable plane to allow or disallow passage. The door here defines hierarchy and the threshold.

Intricately carved details enhance the importance of the entrance.

Doors are associated with different levels of rules.

One is at the level of pol, where the gate demarcates the boundary between street and outside. At ‘khadki’ level it delineate the boundary for a cluster for 3-4 houses. At house level it provides accessible entrance of the house. Different doors of house according to their size, location and form serve different purposes privacy, security, access of door defines patterns of movement and control of light. At times there are combinations of doorwindow in ‘tripartite’ form.

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Chapter- 2 Syntactic Rules of Old City Ahmedabad

2.3.1.1.

Archetypal variations of all possible patterns emerging out of wall

Types of wall

Space character of enclosed volume

Possibility of growth

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2.3.1.2.

Archetypal variations of all possible patterns emerging out of cubical

Showing possible patterns emerging in Old city. The upper most horizontal set is the character of â&#x20AC;&#x153;ordoâ&#x20AC;?, As we go down plan becomes more open and varying according to condition.

Chapter- 2 Syntactic Rules of Old City Ahmedabad

2.3.1.3.

Wall juntion with other elements Wall character

Column

Partition Wall

Load Bearing Wall

Here we are looking at two different kinds of walls: one being a load bearing and the other one is a partition wall. Here this chart is like a dictionary showing all different possibilities visible in old city house forms. Each element is being compared with all other elements to see the relation between them.

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Plinth

Floor

Roof

Chapter- 2 Syntactic Rules of Old City Ahmedabad

Column

Column Character

Relation with ground

Relation with Top

Relation with walls

Relation with Floor

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2.3.2. The column: A column consists of three zones: the shaft, the capital and the base.

The capital and its junction with beam conveys a sense of holding the floor above and transferring its weight to trunk. Articulation in this junction determines its visual reassuring support or vice versa by creating tension.

The column is essentially a slender, vertical supporting element, loaded from the top and transforming load to the base. The middle part is free standing, above part is like head carrying all the load and transforming it to the base which acts like foot. Sanskrit word for column is “stambh” and in Gujarati the word is “thambli” which is derived from Prakrit roots. It seems that it has direct relation to the human body also because when we speak the word “stambh” air moves out of the mouth. The character of the column resembles this action. Whenever we put columns we are actually creating void for air between two horizontal surfaces A Column: Columns in Ahmedabad play a very important role in space making. They are visible structural elements. Sometimes they are carved to emphasize their beauty and importance. Mainly it is made out of wood. In very rare cases the entire column is made out of stone. The essence of column is in the assembly system. The column is made out of various parts complementing each other and obeying rules of gravity. Columns in Ahmedabad provide a vertical direction to the house form. The height of these columns is around one and half of an average standing human The position of the column follows a structural grid. Wooden columns with moulded edges emphasize vertical and horizontal lines which human eye perceives as a geometrical space. A linear repitition of the columns in front facade imparts direction. When columns are repeated they get rhythm in space. Columns on each floor vary in scale which gives a sense of multiplicity. The column is a modulator of facade. Columns have intricate carving with motifs of geometry, leaves and flowers showing the excellence of the craft tradition. Columns on ground floor are articulated in such a way that they have a broad base and a broad capital which is reassuring and corresponding to visual weight and support whereas the upper floors do not have bases for its columns. They directly sit on floor , they have comparatively smaller proportions and the entire structure looks visually free and light.

Chapter- 2 Syntactic Rules of Old City Ahmedabad

1)

Lifting the floor

2)

Sitting on the plinth

3)

Framing walls

4)

Division of space

1) Lifting floor: Proportion of the column is such that it is almost one and half of the human height.

And the span is restricted to a maximum of 5 meters. In special spaces like temple courtyard the height becomes around double the human height.

2) Sitting on plinth: On ground floor, the Ahmedabad column always sits on wider base which is sometimes part of plinth and made out of stone or wood. Columns on upper floor are visually light and directly sit on floor.

3) Framing walls: There are three kind of junctions possible between wall and column: i)Column inserted inside wall ii)Column projected out of wall iii)Column as a case for brick in fill 4)Division of space: Division in two bays is not commonly seen. It is an incomplete unit which allows one other bay to fit. Divisions of 3 bays is commonly seen, where the central bay is the movement bay and two side bays accommodate windows . It is also a complete unit in itself. 4 bays also indicates an incomplete series. After around 7 bays division almost do not make much change in the character of stability.

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Alphabet

Rule Inscribed

Repetition

independent

Space

Expansion

Meaning

Chapter- 2 Syntactic Rules of Old City Ahmedabad

Position of column in plane

Spatial Patterns deďŹ ning diďŹ&#x20AC;erent space character

Column in the courtyard and the interior zones creates space by rythmic peripheral presence. Generation of various movements and spatial light quality which indicates coexistence of extremes.

Free-Strong

Creates space around it.

Emphasis on vertical direction

Inside-Outside Two columns in Proximity of eachother create sense of an opening or a defined plane.

Roof Lift

Object in Space

Ground

3-D Module repetition starts from here

Multiple variations are possible Strong sense of form

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POSITION OF COLUMN: 1.Column of the outer facade 2.Column in the courtyard 3.Column embedded in the ground floor walls 4.Column on the upper floor

Columns in courtyard and entrance are free standing columns.

They command volume all around them. In most cases the trunk part is circular allowing freedom of motion around it. Here, the column is independent from its surrounding and retains its identity.

Material for columns is mostly wood with a stone base. Even though they had to import wood from surrounding regions, it was widely used. Because in that period of time, wood was the only available material which was good in â&#x20AC;&#x153;tensionâ&#x20AC;?. To reduce effective span they used to project brackets out of the column.

Chapter- 2 Syntactic Rules of Old City Ahmedabad

Column Type

Column Character

Plinth

Here we are looking at two different kind of columns, one is circular and other is square. Here this chart is showing all different possibilities visible in old city house forms. Each element is being compared with all other elements to see the relation between them.

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Floor

Roof

Chapter- 2 Syntactic Rules of Old City Ahmedabad

2.3.3. The plinth/floor: The plinth has always been associated with the process of rising up, because it is situated hierarchically on the upper level. A man has to make the effort to reach at the plinth. And that involves his mind and bodily attachment. Plinth defines a boundary and that is a lifted mass which is different from the surrounding. Water and steps have direct relation with plinth. As the plinth rises it goes away from reach of water. It provides an honorable set for the building to sit on it.

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A Plinth : Here the houses are situated on the riverbank, so the inherent character of it is a plannar surface. The only rule that it indicates is to build higher then flood plain.

Here most of the plinths are till the elbow level of the average human. So, one has to climb around 3-4 steps before entering the house. Here the plinth creates hierarchy by changing its levels according to requirement.

People with power had higher plinths than ordinary people. Higher plinths also give visual privacy to the inside houses. the lowest level of the plinth inside the house is in the courtyard which is the welcoming place for water, but here the maximum drop is up to one riser.

Bare minimum punctures enhance appreciation of density. In the plinth steps are created in front to provide a humanize character to the street. One can feel the sense of order engraved in making of the plinth and just by looking at plinth one can predict what could be the character of the house. .

Character of plinth in old city

Chapter- 2 Syntactic Rules of Old City Ahmedabad

The Plinth/Floor: The floor has three main functions in relation to our action. It directs us from one place to other, it delimits a space from its surroundings, and it supports us by providing a firm footing. Sanskrit word for floor is “bhutal” where ‘bhu’ refers to the ground or earth, it also means existence, ‘tal’ means the bottom or base surface.

The floor defines an interior space affected by an exterior space which is both around and beneath the floor. Directing and delimiting may be done by both walls and roof. Thus what is most important for the expression of the floor is its vertical relation to the space beneath- the natural ground. The question therefore, is: what are our shared experiences with nature’s floor and how do these experiences determine our impression of the floor in architectural terms?

The floor is a horizontal surface provides the most stable and secure surface for human habitation.

It conveys a notion of stability, firmness and repose. Floor is one of the few elements which surely involves perception through touch, textural rendering, material variations to enhance the experience.

Character of floor • Demarcating boundary • Stability • Direction • Visual attention • Base for other elements • “Downward force”

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Floor

Floor Character

Relation with ground

Relation with floor

Relation with walls

Chapter- 2 Syntactic Rules of Old City Ahmedabad

A Floor/Plinth in Ahmedabad: The floor in Ahmedabad holds great importance. Since most of the houses are compact vertical houses it is obvious to have multiple floors in each house. Here the character of the floor changes drastically from ground floor to upper floors. It provides visual clues and so, it is overlaid with patterns and textures for impact and communication. By doing so, floor modulation defines different zones of circulation. Here one perceives floor from two sides ,, above and below. From below floor demarcates geometry and exist through the direction of wooden members.,From above it is a safe horizontal platform providing a datum , a resting plane for all objects in that space. The ground floor is most dense part of the house so, to study ground floor one will refer to plinth section.

At times the terrace also acts as a floor in this particular typology.

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Texture and layer effect in floor of pole hoses: In this type relation between above and below in a floor plane is defined the use of different combinations of course and textures.

The deepest layer is understood as the coarsest and the roughest zone which is mostly done by “limpan”( mud plaster with hand texture), while the levels as they rise become increasingly geometrical and delicate. Courtyards are mostly geometrically rendered with bright colors which are abstraction of ‘mandala’ and sky. The lower plane consist of a footpath made of rough un- cut paving stone. Pale in color and casually combined, they seem to ‘float’ over the dark background. The next layer is created by a gutter of natural cobblestones embedded in the lowest level, which is soil itself. These graduated depths must, at the same time, be seen as a part of greater whole. One is really not completely at bottom until one gets down all the steps, nor quite at the top before one enters the house with its geometrical carpet pattern. This conception is of the floor’s span from top to bottom, interpretation of the difference between inside to out. The outside bears the stamp of primeval nature symbolic representation of tree in form of “Chabutra”. The inside “ordo” is the seat of humanity and higher perfection, a place in which the spirit alone prevails.

Sunken floor in courtyard: Obeying the power of water, in which motion downward is a physical reality. When one is faced with such sunken floor a basic reaction occurs, a mental state dictated by two different experiences. Light coming from top and enhancing the geometrical patterns in the floor give visual pleasure.

First floor: Upper floors have comparatively more windows and a lighter plan. So the amount of light penetrating through windows is also more. Even the position of the windows is such that floor can get cross ventilation. But here light is equally spread which softens the drama of lightness and dark.

Top floor: Top floors mostly have two rooms with pitch roof on top which gives a very comfortable sense of space with an adjacent terrace overlooking the courtyard.

Chapter- 2 Syntactic Rules of Old City Ahmedabad

2.3.4. The Roof: In our environment roof is two dimensional. Roof projects an interior space against an exterior space, a space which is both over and around it. In relation to exterior space roof may direct motion towards a center and thereby close the space or outwards along a line and thus open the space. Both effects may operate simultaneously.

Type of roof:

Character:

Relation with wall:

Height Width Breadth Relation with floor Rules of putting together

Relation with ground

Arrangement

Exceptions

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Roof is a term signifying a shelter, denoting space and implying volume. Roof is something which provides shade, drains down water and gives a sense of security. It acts as an umbrella.

Chapter- 2 Syntactic Rules of Old City Ahmedabad

2.3.4.1.

A Roof in Ahmedabad

It has a combination of two gable roofs integrated with walls. Here the sinking and rising aspect are almost equalized. This effect relies a lot on the expression of wall and the projections coming out on the edges. It has sometimes two small bays of flat slab adjacent to the courtyard.

In Ahmedabad roof has a little ambiguous character. At times it is a floor with gentle slope.

A peculiar word for roof has emerged in this region â&#x20AC;&#x153;DHABUâ&#x20AC;?. This is to serve more than one purpose. The rainfall of this region is moderate allows a gentle slope in the roof. Roof edges are secured by parapet walls allowing kite flying. Here roof is perceived from three different viewpoints. One is from inside where a thin corrugated metal sheet which is supported by thick wooden members. These typical roof structures are quite flexible, easy in construction technique and good in earthquakes. The slope of the metal sheet allowing water to drain down directly. The expression of roof from outer side elevation plane is a very thin plane providing a covering to the house. Edges are projected out giving an expression of extended shelter. Here, providing a gutter was never given much importance. Sometimes , intricate carved details are made to direct the path of rain water. This roof provides shade, protection from water and it is high enough for a human to walk upright under. The part adjacent to the courtyard is mostly flat . This small bay is used for sleeping during summer nights, drying things and terrace festivals.

Here the individual roof does not hold much importance but the cluster creates a more vibrant and varied use of space. Since the height of the roof, their width and proportion differs from house to house giving variations in volumes and complex, ambiguous character. This is the part from where house interacts with outside sky. It is the uppermost part of the house which envelopes house as well as provides a platform for different activities to take place. This place is used for varied purposes like sleeping during summer nights, drying, eating at times, kite flying etc.

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Chapter- 2 Syntactic Rules of Old City Ahmedabad

2.4.

Possible parallel at syntactic structure level:

A. Overall sentence structure

A1 Sentence elements as nouns and verbs

A1.1Sub components of Verb

This explains overall syntactic structure of Sanskrit. Sanskrit has a specific origination for sentence formation. Nouns and verbs have sub elements which affect their existence in a sentence. Sub elements have further smaller factors which determine certain suffixes or some information containing meaning.

In architecture this organization can be seen as loose patterns which follow certain rules to create spaces. The overall schema shows how different elements participate in space making.

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A. Overall sentence structure

Chapter- 2 Syntactic Rules of Old City Ahmedabad

This is the secondary level which deals with essential parts which are known as ‘padas’. These elements are affected by tenses, gender and case. There are well generated matrices to organize thesse.. One has to pick a particular form of noun to convey one particular meaning in sentence.

In the same way in architecture, one can assume a wall as an equivalent to the noun in architecture. Wall can also generate a matrix regarding its possible variations. And one picks a particular variation which conveys ‘a particular meaning’.

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A1 Sentence elements as nouns.

Wall

Character

Wall

Direction

Angle

Thickness Elevation

Plane

Opening

Chapter- 2 Syntactic Rules of Old City Ahmedabad

Verbs also fall into the secondary category. Here, verbs are divided into different categories.

All verbs emerge from roots. Each vibhakti-form in the table carries 3 pieces of info with itself viz.

1.The number of objects (whether singular, dual or plural ?)

2.The number of the vibhakti (whether it is the first vibhakti or third or eighth ?)

3.The gender of the object (whether it is a male object or female or neutral ?)

Roots are divided into 10 groups and each group has its own suffix. Verbs are divided into three groups and each group is affected by tense.

Columns can be seen as circular, square or composite structures. The number of columns affects the character of space. Columns can be divided according to their functions. These functions have subcategories pertaining to their possible variations.

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A1Sentence elements as verbs..

Chapter- 2 Syntactic Rules of Old City Ahmedabad

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Chapter-3 Morphology 3.1. Morphology: the rules of producing and joining sounds.

3.2. Patterns of experience Appendix-C 3.2.1. Spatial understanding in architecture 3.2.1.1. Spatial experience 3.2.1.2. Sensorial experience In old city of Ahmedabad Analytical plates 3.2.2. Primary experiential qualities 3.2.3. Special remarks on pol house in relation to human body

Basic introduction to Selected Morphological elements of Sanskrit which will be compared with spatial organization in Architecture. Different case studies analyzing spatial organization at different scale.

Ilus 3 (1a) Thinking Senses

Chapter-3 Spatial Organization as Morphology in Architecture

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3.

Chapter-3

3.1. Morphology: the rules of producing and joining sounds.

Sanskrit presents detailed morphological rules which are based on the capacity of human being to produce different kind of sounds. See Appendix - C This physiological and material approach might be compared to the physical, experiential effect of Ahmedabad.

3.2.

Experience as â&#x20AC;&#x2DC;morphologyâ&#x20AC;&#x2122; in Ahmedabad

This chapter will begin by making a few general observations regarding spatial experience as a kinesthetic, bodily phenomenon.

There will then be an experiential description of the Ahmedabad Architectural environment. Some key experiential qualities will be described, and explored in schematized, diagrammatic notation.

In this way it is hoped to show that there is a pattern to the experience, and it has a comparable consistency to morphological rules in language.

Ilus 3 (1b) Thinking Senses

Chapter-3 Spatial Organization as Morphology in Architecture

Appendix-C

Categorization of elements in Sanskrit difficult) make rules what kind of sound come together to make easy possible pronunciation.

Consonants relate to the characteristics of the words.

Vowels make continuity possible .1. Sanskrit is a natural language. There is a direct link between the sound and signs; it is phonetic. We write Sanskrit and other Indian languages exactly as we say which means that the writing of Sanskrit language is based on the sound of the spoken form.

In other words, Sanskrit has no spelling; there are no silent letters either. In contrast to Sanskrit, you canâ&#x20AC;&#x2122;t read many English words properly unless you know or have heard English to a certain extent.

This means that a student is assumed to have known already the English language before one starts learning it!

Sanskrit coalescence (SANDHI) is yet another example of the natural flow in Sanskrit.

Word: Association of meaning A person with knowledge of Sanskrit grammar can guess the meaning of the word with reasonable accuracy, without looking into a dictionary!

This is because that new word which has been coined would represent a property that a car would possess. And using the algorithms of Sanskrit Grammar, one can decode and find out exactly what property a word represents. So a Sanskrit dictionary is really redundant (in most of the cases), if one is well-versed in Sanskrit grammar!

2. There is only one set of alphabet in Sanskrit. This avoids many complexities of writing capital / small and italic letters as they are in the Roman alphabet / European scripts.

3. There arenâ&#x20AC;&#x2122;t many punctuation marks found in Sanskrit (Devanagari) script.

4. Thanks to its phonetic scripts, there is an easy-flowing, natural and logical way to proceed while learning this language or to write this language after that.

To give a contrast example to this, one observes how difficult it is to learn the spelling-oriented European languages whose silent letters add complications.

5. There is a logic in its sound system, and a natural continuity in its word-making as well as sentence-making. Compare this with pronouncing and spelling of the languages of other countries than India. For example, unless one has visited England, one cannot guess the correct reading of the names/places like Reading, Gloucester, Leicester, Peugeot, Plymouth. Chaos.

6. Sanskrit sentence structure is flexible. The declensions and the conjugations have a wide range. Hence every student has more freedom in composing sentences in Sanskrit. In contrast to this, every 7. In Sanskrit, the order of words in a sentence does not matter.

Thanks to this flexibility, a Sanskrit sentence may well follow any language the student is familiar with.

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Pratyahara Pratyahara is a coding technique used by Panini to make the Sutras concise. This helps in defining new shorter names called Sangnyas(sign), thereby making the sutras easy to memorize.

Pratyahara Rules •Any character in the sutras joined with one of the ending characters of the sutra will become a Pratyahara.

•This Pratyahara will become a new name which represents all the characters which fall between the beginning and ending character of the Pratyahara, including the beginning character.

•The ending character is only a delimiter and should not be included while expanding the Pratyahara.

•A Pratyahara should not begin with a delimiting character.

Consider the अच् Pratyahara for example. This defines the अच् Sangnya. Here the first character of the first sutra is joined with the last character of the 4th sutra. This is a short form for all the vowels (अ-औ). Whenever Panini needs to refer to the vowels, he would just say अच् in his sutras.

This way the Sutra’s length will be very less. In this case it is reduced by seven characters.

Most Common Pratyaharas 1. अच् = अइउण् ऋऌक् एओङ् ऐऔच्

= अ इ उ ऋ ऌ ए ओ ऐ औ

2. इक् = इउण् ऋऌक् = इ उ ऋ ऌ 3. एङ् = एओङ = ए ओ 4. एच् = एओङ् ऐऔच् = ए ओ ऐ औ 5. ऐच्

= ऐऔच् = ऐ औ

6. अक्

= अइउण् ऋऌक् = अ इ उ ऋ ऌ

7. यण्

= यवरट् लण् = य् व् र् ल्

8. जश्

= जबगडदश् = ज् ब् ग् ड् द्

9. झष् = झभञ् घढधष् = झ् भ् घ् ढ् ध् • In Morphology how body actually produces certain sounds , (easy-

Chapter-3 Spatial Organization as Morphology in Architecture

Codification through Examples In Sanskrit the case-ending will differ according to the terminal phoneme of the nominal stem, as also by its gender and number (singular/double/plural).

Panini provides only one affix for indicating a singular genitive case relationship: ‘nas’ (Jas in HK Scheme of Transliteration).

Therefore, it is Panini’s job to formulate a number of rules that will account for all the ‘x’ number of inflections, the native speakers uses unconsciously.

In order to achieve this, he must first have an exhaustive listing of each and every known inflection– in our case the singular genitive – of the Nominal Stems. He has to study this list and discover the underlying phonological and morphological patterns. Once he has discovered the patterns, he creates rules. Every exceptional case (apavaada) has to be accounted for.

But ‘nas’ is only one of twenty-one affixes introduced in rule ‘suau-jas-am-aut-shas….”” which govern the Sanskrit case-endings.

All twenty one of these combine with nominal stems and each one of them generates hundreds of variant case-ending morphs as in the illustrated example of the affix ‘nas’ (Jas).

The case of the verbal roots and affixes is equally complicated. .

Consider the following in English, (1)

eat -> eats ,

(2)

gain -> gains,

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Conjugating a verb to imply present Continuous Tense is as simple as appending an ‘s’.

Now look at equivalent forms in Sanskrit.

(1)

‘at’ -> atti* (eats),

(2)

‘labh’ -> labhate(gains),

(3)

‘hu’ -> juhoti(offers [an oblation]),

(4)

‘pA’ -> pibati (drinks).

(5)

‘paTh’ -> pathati(reads)

*bold and italicized text indicates changes due to conjugation

Chapter-3 Spatial Organization as Morphology in Architecture

Sandhi (Euphonic Combination): In English, a statement like ‘Who is going?’ In the speech of some native speakers often becomes ‘Who’s going’. In Sanskrit, this tendency for phonemes to fuse when in close proximity is frequently found.. Their can hardly be a sentence where at least one instance of Sandhi is not observable, if not more.

Sandhis – given by Panini’s Sutra ‘paraH sannikarshaH samhita’ are morphophonological alterations that occur between terminal and initial phonemes of juxtaposed words (external Sandhi) or between morphemes within words (internal Sandhi). For example, in the sentence ‘aham Agachhami’ (I am coming), the terminal phoneme ‘m’ of ‘aham’ (I) fuses with the initial phoneme ‘A’ of Agachchhami (am coming) to become ‘ahamAgachchhami’.

Sandhis have been popularly classified into three types: (1)

Vowel Sandhi: between two vowels.

For example: tadA Agachhet (Come then) becomes tadA + Agachhet = tadAgachhet the two phonemes ‘A’ and ‘A’ fuse to become one phoneme ‘A’ (2) Consonant Sandhi: between consonants or between a vowel and a consonant.

For example: Tat + Shivah = tachchhivah phoneme ’t’ transforms into ‘ch’ and phoneme ‘sh’ transforms into ‘chh’ (3)Visarga Sandhi: between Visargas (roughly like the ‘h’ sound in English) and other phonemes.

For Example in Harih avadat (Hari spoke) Harih + avadat = Hariravadat The Visarga sound ‘h’ is transformed into the phoneme ‘r’.

Harih + avadat = Hariravadat

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Compound Words (Samaas) English has numerous compound words like class-room, football, frying-pan etc. These have chiefly evolved out of humanusage and are not the conscious coining of linguists.

However, Compounding is peculiar to the idiom of Sanskrit usage.

Writers freely use compound words of their own coining using Paniniâ&#x20AC;&#x2122;s Compounding rules without any fear of unintelligibility.

Excesses of usage for rhetorical purposes are as frequent as with Sandhi. Compounds are classified into the following four types: (1) avyayibhava (first term dominates in the final meaning of the compound) (2) tatpuruSha (the last term dominates in the overall meaning of the compound) (3)

bahuvrIhi (neither dominate)

(4)

dvandva (meaning of both terms dominates)

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3.2.1. Spatial understanding in Architecture Spatial volume and delimitation are mutually dependent, in that the design of the spatial boundaries will be able either to strengthen or to weaken the spatial form. The elements of the building balance the force between inside-outside. The battle between this forces is an essential prerequisite of mankind. Without shelter in broadest sense , man cannot live upon earth. In this context these delimiting elements embody a fundamental meaning and thereby a fundamental expressive potential lies in how the walls, columns courtyard relate to surrounding. In other words, the expression of the delimitation is visualized in the span between enclose and open. Each work of architecture somehow find itself between complete closure and complete openness.

Spatial qualities describe materiality of elements, whether they are cold, soft, hard, coarse, fine, dark. These qualities can be described as the existential expression of architecture. Existential expressions are characteristic of a form which is at the base of symbolic meanings with their stylistic and regional variations. 1

3.2.1.1.

Spatial Experience:

Sensory experience becomes in integrated through the body, or rather in the very construction of the body and the human mode of being. Psychoanalytic theory has introduced the notion of body image or body schema as the center of integration. Our bodies and movements are in constant interaction with the environment; the world and the self-inform and redefine each other constantly.

The percept of the body and the image of the world turn into one single continuous existential experience; there is no body separate from its domicile in space, and there is no space unrelated to the unconscious image of the perceiving self.

Ilus 3 (2) Human body proportional system

1 Thomas Thiss- Evense, Archetypes in Architecture, Norwegian university press, 1987

Chapter-3 Spatial Organization as Morphology in Architecture

In the experience eyes collaborate with body and other senses.

One’s sense of reality is strengthened and articulated by this constant interaction. Architecture is essentially an extension of nature into the man-made realm providing the ground for perception and the horizon of experience and understanding the world. It is not an isolated and self-sufficient artifact .

Every touching experience of architecture is multi-sensory; qualities of space, matter and scale are measured equally by the eye, nose, skin, tongue, skeleton and muscle. Architecture strengthens the existential experience, one’s sense of being in the world, and this is essentially a strengthened experience of self.

Instead of mere vision, or the five classical senses, architecture involves several realms of sensory experience which interact and fuse into each other.

Vision reveals what the touch already knows. We could think of the senses of touch as the unconsciousness of vision. Our eyes stroke distant surfaces, contours and edges, and the unconscious tactile sensation determines the agreeableness or unpleasantness of the experience. The distant and the near are experienced with the same density, and they merge into one coherent experience. A work of architecture incorporates and infuses both physical and mental structure. The visual frontality of the architectural drawing is lost in the real experience of architecture. An architectural space frames, halts, strengthens and focuses our thoughts, and prevent them from getting lost. We can dream and sense our being outdoors, but we need the architectural geometry of a space to think clearly. The geometry of echoes, the geometry of a room.

Deep shadows and darkness are essential, because they dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy.

Sight isolates, whereas sound incorporates; vision is directional, whereas sound is omnidirectional. The sense of sight implies exteriority, but the sound creates an experience of interiority.

We regard object but sound approaches us; the eyes reaches, but the ears receive. Buildings do no react to our gaze, but they do return our sound back to our ears. A space is understood and appreciated through its echo as much as through its visual shape, but the acoustic percept usually remains as an unconscious background experience. The sound measures space and makes its scale comprehensible. We stroke the boundaries of the space with our ears.

The experience of the home is structured by distinct activitiescooking, eating, sleeping, socializing, reading, storing, by intimate acts, not by visual elements. A building is encountered; it is approached, confronted, related to one’s body, moved through, utilized as a condition for other things. Architecture initiates,

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directs and organizes behavior and movement.

‘The sense of gravity is the essence of all architectonic structures and great architecture makes us aware of gravity and earth.

Architecture strengthens the experience of the vertical dimension of the world. At the same time it makes us aware of the depth of the earth, it makes us dream of levitation and flight.’ 1 3.2.1.2.

Sensorial experience in old city of Ahmedabad:

Main Street: The mind perceives these streets as noisy, chaotic, filled with people, vehicles, cows. One becomes very conscious about the fact that one is ‘walking’ on the street. It is filled with a plethora of activities and uncertainties, like one might encounter bash with a cow or a small shrine with vibrant colors. It seems that vehicles also do not follow any rules, the only rules is move to where you get space. During working hours these streets are filled with so many people that one may feel suffocated in enclosed space. But these streets surprisingly change their character from time to time.

In the early mornings the main street becomes wider and calm.

Few vehicles, some pedestrians. Mostly milkmen and newspaper vendors passing by. One might encounter poor homeless, ‘prabhatferi people’ or the mentally challanged person roaming around. But still the character of street remains allayed and peaceful. Yellow street lights illuminate some parts of the street.

These municipal lights provide another layer of order during dark nights. It transforms spaces into dark alcoves which are quite public during day time. It creates lit circles along the street which become new landmarks at night time. They lose their strength with the upcoming of sunlight.

During day time these streets are perceived as very narrow enclosed space. At times noise, pollution, crowd and commercial activities are so intense that one almost forgets where to focus.

One becomes very much involved in dealing with all different activities. One feels so much distracted that the eyes follow a random kind of pattern with momentary focus of attention. Eyes jump from one event to another. The crowd, traffic and noise almost dissolve the path-goal relation. Goals disappear for a moment because one feels like trapped in the meandering space like an Indian miniature paintings.

During working hours vehicles move in the middle of the road, 2 wheeler parking on two sides of the road, after that temporary structures of vendors; people walk on the footpath adjacent to the shop entrances. At times some shops are so small that almost all the time saver standards can go wrong.

1 Juhani Pallasmaa, Eyes of the skin, Architecture and the senses, John wiley and sons, 1996

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Experiential quality at street level, where there is a drama of light and when one moves inside the street the experience of Path-goal feds away and one is on a ride of light dark transitions. At times the street opens up wells of lights in some pockets and one is directed towards that source of light. Here the internal streets are narrow and shaded which almost feel like interior spaces. Changing patterns of sun movement create different qualities throughout the day. One can feel these perceptual qualities while moving around. Moving around itself creates another level of transition.

While walking one moves at certain speed and perceives different patterns of light and shadows on the street.

Sankdi Sheri, Munshi ni Haveli

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Thenga Vado

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At Khadki level 3 to 4 houses get together and create and open space. These pockets are commonly shared between them. A gate demarcates the boundary and emphesizes segregation of two different spaces.

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Entrance of the house

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Here seasonal shops and temporary vendors bring new color to the street. They are filled with colors of artificial flowers, multi color mouth fresheners, hung clothes, bags, plastic toys etc. People moving on the street add new layer of vibrant eye catching colors which are flowing in the street. One might encounter a ‘chowk’ or small shrine while walking on street. It may become a pause point since there are food vendors and benches next to it. Almost all shops are of more or less same size but they have real variety of sign boards. Hanging items, huts and colorful shades; vendors are temporary and transform its character at night and one experiences it in different ways. Just like Classical Indian dance here the space is vibrant and ever changing. Change in season, festival time also gives a great impact on experience of this street.

Internal Street: These streets have a changing character from its outer edge to the innermost edge. Outer edge is dedicated to public gatherings and activities along with small pan shop or chai ka galla. The innermost edge is an extension of outer living, intimate shaded area. These streets are like great carved out veins in the dense mass becoming the source of life. When one enters into internal street one comes across a pol gate. The huge gate often has a small house or shop on top of it. In the internal streets buildings are more or less of similar proportions. It has an aesthetic of engagement so a pedestrian moving in the street feels bodily attachment. Here, one feels release from the chaos of main street. It is little calm while moving but slight undulations of topography do get registered in the mind. One may find cows, dogs or orphans, mentally challenged person sleeping under shady tree. One is describing all these experiences just to make a point that here people are not escaping reality. People do not take ‘nature’ in very romantic way, they have grasped all the abstracts about nature by planting wild tress, bird feeder, stone platform for cows to eat. They have audacity to accept things the way they are. One can find Jain monks and other saints frequently visiting this place and adding one other layer of order to it. One may find the architectural gesture as overlapping, ambiguous boundaries and amalgamated space character.

These streets are interlinked and intricately woven in the dense fabric. The gali ‘escape routes’ allow a possibility to divert the path and ride on another journey. Much like Indian stories where it is possible to wander from one story to another since they are interconnected. Here sense of goal is not so strong so, one is not worried much about the goal; rather one enjoys the path like Indian stories. Here, it is not possible to perceive whole street at a glance just by standing at one point. One has to move inside the street to experience new discoveries. These streets are divided into visible pockets; one finds clues where to move by reaching one pocket and at times following light shaft.

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Elevation window

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Elevations: Elevations of pol house have an interesting gesture. The ground floor is expressed as a dense heavy floor on which upper floors can rest. Upper floors are ‘visually’ light and porous. Roof is expressed as a very thin member providing shade by projecting out. Upper floors have intricate wooden carving sometimes in Jain houses depicting the idea of ‘Pratikraman’ in the carving. It is also very interesting to note that they do not fill the entire plane with carvings. It takes place on edges and sometimes in the center of the border. Horizontal members between ground floor and first floor are visually broad. Havelis which do not get much street face do not have much choice but to fill the entire place, but Havelis with wide road face get an opportunity to choose what to carve. In that case edges of borders are always decorated. Intricate carvings make the facade porous and makes facade shades.

Experience of house from within Smell, shadows and texture have a major impact on the overall experience of pol houses. But, the experience is different from person to person and different for a traveller, a dweller and a foreigner. Smells like dung, overflowing gutters, heavy traffic (during day time), pollution, visually narrow crowded space and noise. Inside house the experience transforms. It is cool, peaceful and more humid. In the house we are likely to experience smells like “agarbatti”, “vaghar”, the smell of cotton, food. It is actually the smell of owned space which is humanized through years.

Near the “paniyara” one can feel more humid and smell the wet walls. Even the smell of old wooden doors and rustic attics also contribute to overall picture.

Shadow and light: During the day time some part of the street is shaded whereas some part is getting harsh sun. It creates the possibility of choosing where to walk. Inside the house mostly direct sunlight does not come. “Ordo” is the darkest place which creates magical moments during day time. In “Ordo” the“kothar” is painted white, which is like an embedded frame in darkness.

Windows are reasonably small which create strong contrast between inside and outside. It also maintains privacy level and respects the identity of wall. Terraces get harsh sunlight and become weather beaten. That is not a frequently used space of the house. Some festivals creates connection with the terrace and before using it entire terrace is washed and humanized.

Old houses have new traces of pipe lines. Electric pipes are routed through wooden members of the house. People tend to bury and stick pipes instead of hanging it in the courtyard because of love and ownership for that part of the sky. But terraces, inbetween terraces and streets do have hanging wires.

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View from â&#x20AC;&#x153;Ordoâ&#x20AC;?

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Otlo “Otlo” is the highly social space. It is the part of the house which can easily anchors itself with the street. This place is neither inside nor outside. So in a way it is an extended threshold. It is the epitome of ambiguity and that is the essence of its importance.

When one approaches it form outside, the sequence is plinth, steps, columns, wall and openings through which one can get glimpse of the inside. View of the inside gets framed by columns and creates a welcoming gesture. From inside one can view stark light and street. Here the frame is the wall itself with geometric punctures in it. This space is such that it feels like an extended threshold.

While sitting here, one can view inside as well as outside. This place is demarcation of a boundary for people like vendors and unknowns visitors. This place has tremendous visibility and is constantly in the public eye. All the new water connections from municipality are provided on street. So each house has individual water tap and small ‘chowkdi’. Which keeps this place humidified and cool during hot summer. During hot summer people sprinkle water on ‘otla’. Which spreads odor n atmosphere. Person coming from outside do not hesitate to sit on the “otla”. In fact one can get a glimpse of the ‘small inner world’ from outside. Entrance door is mostly biggest one in the house. Its depth increases transition time which is registered in the human mind. The door frame is embedded in wood from all four sides. The solace of our feet do register change in flooring, change from hard stone to gentle wood. Bent edges, abrasions on the sides, sounds coming from old heavy doors and the time that it takes to open them emphasize their heaviness and age.

First room: First room is an in-between space. One opens out towards otla and street and other one is facing towards the courtyard. It creates a possibility for the room to choose which face they want open or close. The two parallel walls are mostly blank. This place also feels like another layer of threshold because one can see the courtyard and the subsequent dark spaces. So, it feels like a pause in the journey. It is large enough to allow people to sit and gather. This space has more of skeleton and less meat, this means structure has a strong expression of wood as a geometry definer. Parallel lines in direction of movement and horizontal bands in the wall help shape this space. It is a more formal space than any other of the house.

Service spaces: Service spaces are narrow, enclosed, dark spaces. They hold great importance because they have a totally contradicting character to the courtyard. They are small alcoves emphasizing the greatness of the courtyard and other spaces. Probably they are intentionally made small, so that one can relate to and understand the size of

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â&#x20AC;&#x2DC;Courtyardâ&#x20AC;&#x2122; looking above

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other spaces. One never goes through it, one may pass by it, one can not miss it.Their making is such that at times they are one step higher than the courtyard defining level difference. This is the place where deity of the house lives. It is a dark alcove which is ‘garbhagriha’ of ‘griha’ but when one is praying one is continuously attached to sky, feet on ground and visually attached to upper floors. So, while praying one has a strong sense that one is not away from the world but inside and in the middle of the world.

And surprisingly one is standing in the ‘shunya’ empty hole. This spaces are so tight that one does not want to enter it but can’t miss it visually while observing the house.

Courtyard: The courtyard is like the heart of the house. It blends sun, air, water and fire in it. All four sides are different in character. One is a blank wall rising high. Other has services embedded in it like water storage, kundi, kitchen, place for worship etc.On two sides it has ‘osari’, one leads towards ‘ordo’ and other towards ‘chopad’.

The courtyard emphasizes the vertical direction. Vertical has always been considered the sacred dimension of the space. It represents a ‘path’ towards reality which may be ‘higher’ or ‘lower’ than daily life. A reality which conquers gravity. This is earthly existence, or succumbs to it.

Here in Ahmedabad old city, the courtyard gives a feel of private sky to the home. Courtyard makes home alive, takes out the solidity and makes the home visually porous. It allows see throughs which connect the home through one string. The space adjacent to the courtyard is mostly used for daily household chores. It has the lowest level of plinth in the house which allows water to pass through it.It has a potential to make one aware consciously or unconsciously the change in light. And the sun embeds the impression of its power on different surfaces. For example the place which has maximum sun during the day has more weather beaten windows. It seems as if the courtyard is giving the home its privately owned water during rain. Because of the courtyard central part becomes illuminated during day time, and it also spreads its light to the adjacent space which creates a buffer space between courtyard and internal “Ordo”.

‘Ordo’ is covered from three sides and one side has limited openings leading towards movement path. It is the strongest individual identity in house. It is like the womb of the house because it has bare minimum wood in the walls and that is molded in the walls. New births take place in this room. In this way it is the source of life. The last wall is heavy and very thick which has sometimes very small openings leading towards the service gully at the back and allowing cross ventilation in house. This room has much lower temperature compared to any other part of the house.

It has limited movement, visibility and sound. Even the floor is made out of ‘limpan’ allowing a very soft gesture to room.

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B

D

A

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3.2.2. Primary Experiential qualities Transition between â&#x20AC;&#x2DC;Light-Darkâ&#x20AC;&#x2122; Here, this very experience lies in a pair. Transition from light to dark creates certain intermediate levels at house level. Here, light determines the degree of privacy and spatial character of the place. Source of light like doors, windows, courtyard determines the core character of light. One can identify that, these patterns carry perceptual qualities.

Plans of different buildings showing gradient of light:

A

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B

C

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E

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Transition between ‘SOLID-VOID’ Plans of different buildings:

A

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E

C

B

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Transition between ‘INSIDE-OUTSIDE’’ Inside and outside are the the notions that the human perceives as a mental phenomena. It is the human body’s experience which defines it as a sequential pattern. This itself becomes grammar of spatial experiences because they follow certain pattern of occurrence.

“The dichotomy between inside-outside space correspond to the opposition between subject and object. The outer space is considered to be ‘over there’ it is ‘objective’, even if all objectivity were to a projection of mind. For Kant, for instance space may be a category of mind, but it still refers to objects. The inner space or contrast is within us , it is subjective and it belongs to the inner structure of human being.”1

1

Vatsyayan Kapila, Concept of Space, Encient and Morden,IGNC1991, pg-15

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Upper floor: It has openings on two sides. Here all the thick walls disappear and they are replaced by infill thin screen walls. One side opens out towards main street and the other towards the courtyard.

These are spacious and well lit rooms. These are private spaces because they have lesser movement than the ground floor. Young couples and children of the house get their place here. Upper floors are light and airy. They are made in a way that they express lightweight structure. Windows are mostly identically same on both side of walls creating visual transparency. One can see through courtyard when windows on both the sides are open but they canâ&#x20AC;&#x2122;t walk in that part. Still the image is perceived as one space with layers of infill walls. Last room has openings facing one towards courtyard and other towards service gully. This room has potential to connect itself visually with the courtyard.

Roof:

Upper floor view

The roof here is the last destination of the journey. The nature of the sequence is not an orchestral. One leads from the introduction of the entrance steps, through first statement of courtyard and development to climax and conclusion through roof. But just like the journey of the street one does not feel the gratification of achieving the goal. When one reaches here one can sense the harsh texture of the floor and wall corroded throughout years.

This is the place which is a threshold between house and sky. One can grab maximum sky and stars from this part of the house. One

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can sense the reachable distance between two roofs. This roof has very ambiguous character between floor and roof. The gentle slope allows various activities to take place. Parapets on longer sides make it safer and delineates boundary between two houses. Roof is the only place which has maximum interaction with outside in vertical as well as horizontal direction. It is private part with less public movement which transforms its character during festivals.

One can see the plethora of activities happening on the street from a top view, and the facing windows of other houses. So, eventually this journey ends with another desire. Because one can see other goals which are at reachable distance.

MAKING PROMINENT JOINT

PARTLY OVERLAPPING

MERGING INTO EACH OTHER

TWO OPPOSITES COMING TOGETHER

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3.2.3. Special remarks on pol house in relation to human body Firstly of all the origin of the words for parts of the house or human body have same roots. For example the word used for “OTLA” has origin in “ADHAR”, “OSTH”, which means lips or the outer part of the body through which opening takes pace. Like the way “dwara” for opening has “dwi” (dual) in it, opening of the mouth also emerges from creating gap between two lips. In body, food travels from central part, same way in house movement path is mostly central, splitting house into tree like structure.

The way rib cage envelopes space for heart to fit within it, house creates a hollow wooden structure to create a courtyard. Here all the horizontal and vertical lines on edges have groves in it. It emphasizes geometry. It has maximum wood. Hollow center allow house to breathe. This part has bare minimum walls and they are also cooperating with wood to give an expression to the wall. The word used for both this has “khu” in it. This indicates that it is incomplete or open. Even while speaking “khu”, one has to breath out completely. In this process lungs becomes empty. Which is the gesture of “courtyard”.

“ORDO” has its origin in “UUR” or “UDAR” or “ANTAR”. It means the inner most part or stomach. This part is made out of flesh and quite indistinguishable one where all the fluid movement takes place. This part has bare minimum bone .This is the most sensitive and most important part. Here, geometry is not emphasized much, but massiveness and homogeneous character.

Similar to the mother womb, all new births take place in this part of the house. Grains and precious jwellery is stored here. This part is a “source of life”.

Its origin is in ‘kha’ the space that holds the mystery and sacredness of life.

“Cavity (khani) is a river of life flowing under a sunset free from the encasing rock. Kha is a plenum,its paradox, undimensional, incommensurability alike to that of hridaya akasha conveys the mystery of its deeply hidden secrets.”1

1 Kapila Vatsyayana,Concept of Space Ancient and Modern, IGNC1991, pg103

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Conclusion These thesis has applied to main categories of grammar, namely syntax and morphology, to the study of the traditional architecture of old city of Ahmedabad. We may infer and conclude as follows: 1) No direct or detailed correspondence can be observed between Sanskrit grammar and architecture of Old city of Ahmedabad.

2) However, certain interesting observations on architecture arise by comparison with language.

3) In the case of language( alphabet, words) as well as architecture (plans, drawings, diagrams) we are working with abstract system of notation comparing and analyzing them. This is distinct from the direct, unmediated, physical experience of sound or space.

The rules that we find perhaps relate to the system of notation.

4) It has not been possible to draw as much systematic clarity to the architectural analysis as there is in Sanskrit grammar. This might be due to the subject of study, or more probably the limited capabilities of the author at time.

We can look forward to further work elucidating the subject better.

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Glossary Agarbatti: Perfumed wooden sticks spared smoke when lite Akasha: Sky Astadhyayi: Eight books on Sanskrit grammar written by Panini Bhutal: Earth plane Bibhatsya: Vulgar Bramhand: Space, Infinity Chabutra: Bird-feeder Chajja: Projections for opening protection Dhatoopada: Root form of words Diya: Lamp Krodh: Anger Limpan: Mud plaster Pada: Unit made out of alphabets Panini: A great Sanskrit grammarian Paniyara: Water storage stand Prabhatpheri: A moving group singing holy songs in the morning.

Pratikraman: Balancing positive-negative Sutra: Formula Tandava: Dance by Lord Shiva Vaghar: A process in Indian cooking Vedic: Derived from vedas Verna: Core, essential part, wolves and consonants are pats of verna Vyakarana: Grammar

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Bibliography: Books •

Cole Emily, Grammar of Architecture, The Evy press Limited, United States,2002

• Gillion Kenneth, Ahmedabad: A Study in Indian Urban History, Uni. Of California Press, 1968 • Hardy Adam, Indian Temple Architecture: Form and Transformation, Indira Gandhi National Centre for Arts,1995.

• Kaulachara Ramchandra ,Shilp Prakasha- Medieval Orissan Sanskrit Text On Temple Architecture,1966.

• Kenneth Frampton ,Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture, M.I.T. 1995 •

Klee Paul, The Thinking Eye, Lund Humpries, London, 1964

• Kramrisch Stella, The Hindu Temple, Vols 1 & 2, University Of Calcutta, Calcutta 1946.

• Krier Rob, Elements of Architecture, Architectural design Publication, Great Britain,1983.

•

Norberg Schulz, Christian, Intensions in Architecture, M.I.T.1965

• Pillai Govind Krishna, Hindu Architecture-Shilp Shastra , Bhartiya Kala Prakashan, 2004.

•

Sampad, Vijay, Wonder That Is Sanskrit, Pondicherry and Mapin Publication, 2006.

•

Seth Maganlal, History of Ahmedabad( in Gujrati) Gujrat Vidhyasabha, 1908.

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Stall Frits, Ritual and Mantras,Delhi,1996.

•

Simon Unwin, Analyzing Architecture, Routledge, 2009

• 1987

Thomas Thiss- Evense, Archetypes in Architecture, Norwegian university press,

•

T.S.Joshi, Sanskrut Kaksha-8,GSRTC, 2011

•

Vasavada R,Jain K, Traditional Houseforms in Ahmedabad, CEPT Uni. 1981.

•

Vatsyayana Kapila,Concept of Space,Encient and Morden, INGS,1991

•

V.D.Shastri,Ajit Sinh, Sanskrit Vyakaran,Chandan Publications,Delhi,1997.

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Research Papers: •

Kiparsky, Paper on Architecture of Sanskrit Grammar, www.stanford.edu.

•

Introduction to The Technique of Paninian Grammar

•

Features of Sanskrit That Makes It an Extraordinary Language.

•

Parts of Astadhyayi, www.arshavidyacenter.org

Unpublished Thesis: • Arora Shalini, Urban Order As a Cultural Paradigm: An Interpretation Of The Order In Ujjain, School Of Architecture CEPT,1997 • Jain Meeta, Understanding Architecture its Significant Dimensions and Reflection of Complexities, School Of Architecture CEPT,1999 • Nanda Vivek, Urban Morphology And Concept of ‘Type’, A Thematic And Comparative Study of The Urban Tissue, CEPT Uni. 1989.

• Sethi Ajay, Architecture And Language structural Linguistics in An Architectural Context,1995 • Soni Sachin, Understanding Order And Play Through Grammar of Architectural Elements In Fatehpur Sikri, 2004

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Illustration credits: Ilus 0 (1) Klee Paul, The Thinking Eye, Lund Humpries, London, 1964 Ilus 0 (2) Klee Paul, The Thinking Eye, Lund Humpries, London, 1964 Ilus 1 (1) http://blueeyedennis-siempre.blogspot.in/2011/11/mapping-liturgical-sentencemust-read.html. 2013 Ilus 1 (2a),(2b) Frankl Paul, Principles of architectural history: the four phases of architectural style, MIT PRESS- 1968, pg?

Ilus 2 (1) http://philology.hse.ru/compling/cyn, 2013 Ilus 2 (2) http://www.subodhpgcollege.com/sanskrit.htm, 5/3/13 Ilus 2 (3) Simon Unwin, Analyzing Architecture, Routledge, 2009 Ilus 3 (1a,b) http://www.arvindguptatoys.com/arvindgupta/chomsky-beginners.pdf,2013 Ilus 3 (2) Juhani Pallasmaa, Eyes of the skin, Architecture and the senses, John Wiley and Sons, 1996

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Acknowledgments: Prof, Neelkanth Chhayya. Thank you for all your valuable critiques and feedback, for continuous encouragement and generosity. For all enlightening lectures, making things simpler and easier for me to understand. For your foresighted vision and designing those wonderful initial exercises. For your compassion while I was struggling with language.

Bearing with all my child like writing.

Prof. Sohan Neelkanth for timely discussions and opening up various possibilities.

All the extra-ordinary professors at CEPT, Thank you for helping me at various parts of this meandering studio life. Prof. Nitin Raje, Prof. Pratyush Shankar, Prof. Kashikar, Prof.

Jigna Desai, Prof. Meghal Arya, Sachin Soni, Sankalpa, Gauri Bharat for all your precious suggestions and discussions. Thank you all my teachers for molding my thoughts and bringing all new tangents to it.

CEPT institute itself for providing amenities like canteen and clay workshop - the fantastic workshop where whole new self-exploration took place. A place where all dream come true moments took place.

Paa and Maa for having faith in me. Absolutely wonderful Kothari and Joshi family for their love and enormous patience. Paa for understanding me in and out, for all crazy bike rides, for channelizing positivity and life and the special attachment that I share with you. I am proud to be your daughter and one day I will make you proud. Dr. Dhaval Patel and Paa for initial help with Sanskrit.

Priyank, no matter what I cast in words it is never enough and never complete. Thanks for being my real critique, my chaos and solace, my strength and weakness. Thanks for putting up with all my cribbing and consoling me when I would break down.

A special thanks to you all, •

Sneha(lily), for the special friendship , love and care that we share.

•

Ruchi, Hiral, Sejal, Shaily, Priyanka, Sneha P. thank you so much for almost everything and wonderful time that we spent together.

•

Gaytri for sharing lot common and charcoal life.

•

Entire 07 batch for making these six years of journey like a roller-coaster ride.

•

Vicky for all “fattas” and brotherly concerns.

•

Vignesh, Sivith and Manalee for your ‘virtual’ presence.

•

Mrinal, Gunjan, Shivani, Mihir, Sapto, Satyam, Mohit, Jitesh, Isha for being there.

•

Kartikeya for ardent friendship, being a wonderful person.

•

Hetu, Ish, Zalak for bringing C.N. all the way to canteen whenever I needed.

•

Rishabh for all your generosity. Foram for spreading ‘foram’ in my life.

•

Dearest brothers Purvesh and Rajan for all your on time help.

•

People of old city for allowing me to measure draw their houses.

•

Hiriyabhai and Kanubhai for flashing neon light on Red dark bricks.

Chapter-3 Spatial Organization as Morphology in Architecture

Name: Shweta M. Joshi

shweta7896@gmail.com

An Inquiry into the Possible Parallels between the Rules of Language Grammar and Architectural Language in Old City of Ahmedabad