The story of freedom 'a paseo' by Spandan Das

â&#x20AC;&#x2122; ap a s e o â&#x20AC;&#x2122;

ad e s i g nt h e s i sd i s s e r t a t i o n s p a n d a d a nd a s . s c h o o lo fa r c h i t e c t u r e , v a d o d a r ad e s i g na c a d e my

The Story of Freedom - a paseo at Pragat Maidan, New Delhi

A Design Thesis Submitted to the GUJARAT UNIVERSITY By SPANDAN DAS

In Partial Fulfillment of the Requirements For the Award of Degree of

Bachelor of Architecture (B.Arch)

August 2013

SCHOOL OF ARCHITECTURE VADODARA DESIGN ACADEMY

Bil,Vadodara,Gujarat , India - 390 001

School of Architecture, Vadodara Design Academy, Vadodara,Gujarat,India

The present Design Thesis is hereby approved as a creditable work on the approved subject, carried out and presented in a manner sufficiently satisfactory to warrant its acceptance as a pre-requisite to the Bachelor Of Architecture Degree for which it has been submitted. It is to be understood that by this approval the undersigned does not necessarily endorse or approve any statement made, opinion expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfy oneself as to the requirements laid down by Gujarat University, Ahmedabad.

Thesis title:-

THE STORY of FREEDOM - â&#x20AC;&#x2DC; a paseoâ&#x20AC;&#x2122;

Name of the student:-

SPANDAN DAS

Roll No.:-

AR 0407 [Batch 2007]

Internal Guide :- CHAITALI BABAR

Prof. Nirav Hirpara Director School of Architecture , Vadodara Design Academy , Vadodara

TOWARDS THE END, THERE WAS AN AWAKENING, AN AWAKENING WITHIN SELF, TO REGATHER SELF, AND BOW UPON THE PATH AHEAD WITH ALL THAT WAS LEFT WITH ME, OR SAY INSTILLED IN ME, WHILST I HAD ALREADY ENVISAGED UPON A TREK, A JOURNEY FULFILLING ME, MY VOIDS, MY URGES, A JOURNEY WHICH HAS FILLED ME WITH WISDOM AND ALTRUISM OF SELF ...

ACKNOWLEDGEMENTS In loving memory and gratitude of Gaurav Raghavani (gulu) To all my understanding and wellbeing today in life and in architectural discipline, I accredit contributions from a lot of persons . . .

Firstly I would like to pay due respect and gratitude to the BARODA city, who have been caring guardian & lovely school for me, through which I have not only enjoyed my life but also learnt a lot from indirectly every now and then.

To begin with I had like to extend my deep love & gratitude to all my childhood friends Muktish (Chud's), Arijeet (Tobu), Robin, Anurag, Nandi, Manyu, Ekta, Channa, Don, Sahil, Vaibhav, Peush and many more who have always given me the greatest memories to cherish upon and have always believed in meâ&#x20AC;Ś THANK YOU people..

To Minaxi Khemka & Dutta mam who have taught me some most cherished lessons of life. . .

To all my fellow mates at the school . . . To Ravi. V for his company in many strides and events during the learning years. . . To Vijay, Ankit, Hitesh, Ravi. P, Aniruddh, Smruthi, Naziya, Ashish, Karnav, Amit, Bhagu, Brijlaa for being a great company at Chokdi sessions . . .

To Brinda for being a patient listener and a great friend, and tolerating me and my egoistic lamentations..

To Richa, Mayuri, Abhishek Patel, Pritam, Suny Da, Khirod & Zamyang for being great companions during my apprenticeship..

A big thanks to Ar. Prashant Pradhan, who has been instrumental in my life and transformed me into a better learner and also helped me rediscover my liking for architecture . . .

To Anagha, Bhavin, Jigar, Tarisha, Anay . . . To my dearest juniors Hardik, Chintan, Manan, Astee, Ishita, Tushar, Kaival, Kuldeep, Anand..

To my respected seniors

Mrunal, Jignesh who have always held back at us. Janpreet for

being a great and a lovely pal and Shubhangi who have taught me a lot about work ethics, Abhishek and Neelesh for always being a great company .

A special thanks to Ankit Mistry who has been helpful in sharing his intellect and time during the Thesis project..

I would also extend my gratitude to Neil Patel, Varun Patel & Hitesh Suthar for being great friends and important fellow learners, who have taught & helped me in a lot of things during the learning years . . . A big thanks to my 'support system'

Shazaman Saiyed for sparking off great

discussions, Dashmeet Singh for being a great fellow mate and his intrinsic detailing skills which has helped at many occasions ..

A great amount of thanks to my whole helping team. Hardik Kakadiya, whose persuasion and presentation skills has been utmost valuable in my final work output; Umang, Varun, Neil, Wasim, Astee, Ishita & Manan for being such a great support.

A big thanks to Shruti Choksi without whose impeccable skills of model making I would have not thought of finishing my model/s.

A big thanks to Ar. Divya Menon, Ar. Juhi Mehta & Ar. M. Shahir, who have helped with a lot of providing a lot practical advices & for providing me relevant matters regarding my site & program during the early stages of thesis.

To Abhay Bhai, Nagin Bhai & Jayesh Bhai for their devotion of time for printing, and their skillful hand at their work during all these years.

To all the faculties under whom I have learnt..

A special gratitude to Ekbote sir, under whom I have been able to learn the very basics of architecture just fine . . .

A special thanks to V.C.Patel sir, Retash Desai sir & Falguni Mam for being great mentors & support during my foundation years . . .

A big thanks to Rahul Dalvi sir, who has not only guided me in the thesis project but also have taught me a lot in my earlier years as a student . . .

A special thanks to my internal guide Chaitali Babar, who have kept the nerves to tolerate my inept behavior at many occasions and have given me some valuable tips during the initial stages that has been really fruitful for the program formation & enhanced the final output of my thesis project . . .

I would like to extend my gratitude towards Prof. Jignesh Vyas, whose critical apprehension has always benefitted me and helped me produce a better quality of work..

A very special and a warm thanks to Prof. Neha Sarwate, who has been a school to me in my senior years and have developed me into a better learner, through her support and knowledge . . .

Thanks to Prof. Nirav Hirpara sir, for being an important figure in the school, through whom I have learnt a lot of things not only in architecture but about life . . .

To every staff personnel at the school, Venu kaka, Alpesh Sir, D.K, Bhavesh Bhai for being such a lovely support. . .

Lastly and the most rarest of all, I dedicate this to my parents, brother, uncle and all my extended family who have always given me immense love and support always . . . THANK YOU ALL . . .

“AS THERE WERE KINGS, KINGDOMS AND CIVILIZATIONS WHICH GREW AND SPREAD, THAT HAS NOW SHAPED AS THE WORLD FOR US, THERE THEY LEFT WITH US, A PART OF THEIR

ACHIEVEMENT AND REMEMBRANCE,

THE CULTURE AND

TRADITIONAL ROOTS THAT GIVES US

SHAPE TODAY” . . .

PREFACE All these years when we have seen things changing around us so rapidly and drastically, we have just thought about our well being precisely and about our short comings and methods to cope up with them to match up with the peers and other aspirational If we turn on to historical objectives. chapters of any great country or communities More importantly we have there ought to be, tragedies always we have always been a and violent stories of little self centered in our not to make rebellions and genocidal. lives, In the story there will be statement out of it, but it many parodies and elegies of is just an extrapolated many places, events and self assertion about the general populace in this valor of many persons. contemporary times. There are always some great exemplifications set by the history and its course of events, that we usually refer in our present being and foibles, which maybe outrightly resented by others. But the matter of the fact is that those inherited qualities and attributes are, but a long thread and set of values which transcends from centuries, from person to person, family to family and S w a d e s h i B o y c o t t m o v e m e n t r a l l y community to community, http://www.indianetzone.com/photos_gallery/69/1%20Swadeshi%20and%20Boycott%20Movement.jpg which are extracted out of Many a times it happens, the events of the past and that we usually refer to learnt lessons f r o m things and tales of the past but yet not connect with it. history. As there were times in the past, when the kingdoms, civilizations and larger human communities were under the process of organizations and country making; and there were times when wars were waged, lives were taken in the process.

Rally

during

the

Quit

India

movement

http://cseindiaportal.files.wordpress.com/2012/09/quit-india-movement.jpg?w=620

Rally

during

the

Quit

India

movement

http://cseindiaportal.files.wordpress.com/2012/09/quit-india-movement.jpg?w=620

As there are more growing numbers of opportunities and aspirations each day, in todayâ&#x20AC;&#x2122;s modern context where the time is as fast the stormy wind which blows away and destroys many things on its way. We people as individualists refrain to modestly connect ourselves with our past and roots, but does that imply on to something that is lacking or creating a void within us ? ? ?

Or else about the supressed conditions of the African slaves under the colonial rule, and the Civil Wars of the USA during their earlier years of government formations. All the above are just some of the many examples which must have had happen, many are known yet many are unknown, but they remain captive in the places they had happened.

Well as a self assertion of the matter, it will not be an apt approach to state that people are not or don't want to connect to their roots and past. Rather there might not be more opportunities to let them connect themselves to the past.

There have been many causes and moments where there have been attempts to encapsulate these historical parodies in various of physical structure where there is an opportunity for people to connect themselves to the past tales.

As we have heard many stories about the kingdoms and kings, there are much more than a story in the recent paradigm of time frame, that inbounds much truth and real happenings than plain made up tales of the past.

The Holocaust museum, Jerusalem, Moshe Safdie

Some cases as far as are known, which encompasses tragedies, has heroics of real people and has true sentimental value attached to a set of people are rather more poignant in their nature. The Jewish museum, Berlin, Daniel Libenskind

To exemplify, we know about the story of the Jews under the time of Hitlerâ&#x20AC;&#x2122;s rule and his terrifying conduct towards them.

The images shown above are some of the exemplifying structures which are made to reorient such historical tales to the public today.

Thus in order to reconcile with the history with the public today there have been attempts and not that the people are not trying themselves to experience and be grounded to their roots, and learn from the lessons of the past. It is just that how well they are able to connect to themselves with the past, especially to important sagas and episodes of such importance like the for the Indians, the Indian freedom struggle is, but the most live example and the greatest of the stories they can refer to which has not even faded away with the time of its happening, but it just needs to be reinstated and reach out to the general mass, in a more experiential and a prodigious method.

Through examples shown previously about how such matters can be reconciled into physical being, which can help people to reconcile with such events are important. It is not merely a statement that is been attempted to brief or direct upon the importance of having such manifestations that are resolved architecturally to communicate about the such events of the past. The gestation is to reciprocate & deal with such important story, in context of a present day social & cultural realm and understand also how architecture can intervene upon such issues and portray them.

An artistic image of the 1857 SEPOY rebellion

image of the 1857 SEPOY rebellion soldiers

http://0.tqn.com/d/history1800s/1/0/r/A/-/-/Indian-mutiny-disarming-3000-gty.jpg

http://www.bbc.co.uk/history/british/victorians/images/indian_rebellion_parade.jpg

The alma matter is to reciprocate and rekindle with the base of our being, that is the roots from where we have got this life of today.

ABSTRACT This report is an assertion towards the proposition of an exhibition space to demonstrate the â&#x20AC;&#x2DC;Indian Freedom struggle', which is an instigation of the revolutionary phenomena of the Indian freedom from the Colonial rule, and hence the birth of India as a country.

The paper also attempts to encompass the chronicles of the freedom movement, contributions of the legends and the striking events during the course of the 'freedom struggle' that impacted in the political & social scenario of India and how it can be domiciled in an architectural envelope.

The report is intended to program & generate a study and enquire about the historical and sociological background of the pre republican India, its impact on the freedom movement and post independence till the year of 1950 A.D, when India became a republic state in true sense.

The report will also try to generate various layers of theories & reasons behind the events and extract the essence of legends like Mahatama Gandhi, Sardar Patel, Shaheed Bhagat Singh, Netaji Subhash Chandra Bose etc.[1] who belonged from various places of India, with different mindset, yet having a common aspiration of the 'Independent India'.

Through the progress of the journal and its supporting studies, which aims at forming a base for an architectural intervention towards the movement of 'Freedom'; it will be an appraisal towards bringing forth the events and the course of the struggle through the stories and legacies of the whole movement merged with a profound architectural sensitivity.

The paper will conjecture broadly towards the necessity of establishing such an institution or an exhibition space of public relevance, which will principally pacify towards the time pan of India's freedom struggle of about 190 years.[1]

[1] FROM PLASSEY to PARTITION by Shekhar Bandhopadhya

The primary inclination of focus will be towards showcasing the events which posed as major path altering events as the outcomes connected issues and events during the time of Independence, and also the legends of the freedom fighters through the medium of architecture & its prime elements.

The idea is to engage the whims of the general public towards one great, but yet a forgettable tale of a nation and its sacrifices at many stages of its Independence, through a substantial elegy of architectural intervention of thoughts and melancholy.

INDEX:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1 -2

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3 -6

Acknowledgment Preface

Abstract Index

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . .

9-17

Chapter 2. the proposal . . . . . . . . . . . . . . . . . . . . . . . . .

18-29

Chapter 1. statement of intent. 1.1 introduction 1.2 problem statement 1.3 project justification 1.4 project typology & user typology 1.5 theoretical premise

2.1 introduction 2.1 narrative of the theoretical premise 2. 2 major project elements 2.3 project emphasis 2.4 project goalâ&#x20AC;&#x2122;s

Chapter 3. inferential studies

. . . . . . . . . . . . . . .

30-95

3.1 the story of freedom ( from 1757 - 1950 ) A brief study about the INDIAN FREEDOM STRUGGLE so as to understand the relevance of the matter and generate a base to follow ....

3.2 live case studies to generate a basis for a more finer program document for the project

3.3 book case studies mainly to take relevant inferences for design

Chapter 4. the program formulation. . . . . . 4.1 program brief 4.2 functions & spaces 4.3 area statement of functions 4.4 identifying strategies 4.5 site brief & study

. . . .

96-117

INDEX:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1 -2

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3 -6

Acknowledgment Preface

Abstract Index

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . .

9-17

Chapter 2. the proposal . . . . . . . . . . . . . . . . . . . . . . . . .

18-29

Chapter 1. statement of intent. 1.1 introduction 1.2 problem statement 1.3 project justification 1.4 project typology & user typology 1.5 theoretical premise

2.1 introduction 2.1 narrative of the theoretical premise 2. 2 major project elements 2.3 project emphasis 2.4 project goalâ&#x20AC;&#x2122;s

Chapter 3. inferential studies

. . . . . . . . . . . . . . .

30-95

3.1 the story of freedom ( from 1757 - 1950 ) A brief study about the INDIAN FREEDOM STRUGGLE so as to understand the relevance of the matter and generate a base to follow ....

3.2 live case studies to generate a basis for a more finer program document for the project

3.3 book case studies mainly to take relevant inferences for design

Chapter 4. the program formulation. . . . . . 4.1 program brief 4.2 functions & spaces 4.3 area statement of functions 4.4 identifying strategies 4.5 site brief & study

. . . .

96-117

CHAPTER 1 statement of intent - 1.1 introduction - 1.2 problem statement - 1.3 project justification - 1.4 project typology & user typology - 1.5 theoretical premise

statement of intent

the proposal inferential studies the program formulation conceptual precedents

final outcome

1.1 INTRODUCTION India which has been one of the richest and acknowledged countries of the world, when it comes to the socio culture prospect, but it hasn't been ever one country, under one rule. Different rulers from different countries which formed different kingdoms, formed layers of various social-cultural backgrounds ruled different parts of the country and have made India a rich treasure of acculturation. [1]

Though they brought in systems & organizations like government, police, education etc.; but alma matter was that the Indians themselves couldn't enjoy the provisions, which was limited to only a few elite segment. [2]

Its primarily because of the legendary visionaries like Shaheed Bhagat Singh, Mahatma Gandhi, Sardar Patel, Jawahar Lal Nehru, Bal Gangadhar Tilak, Lal Bahadur Shastri, Netaji Subhash Chandra Bose etc. their realization & vision of a free Indian nation that has led to the e m e r g e n c e a n d establishment of a free republican country called India.

With colonial rule in India, it came together as one nation. The British rule firmly held its place on the country, brought together the segregated rulers with their alliance, slowly and gradually made it a unified country, but for themselves and thus generated personal and administrative regimes.[1] Even though these leaders and men, who belonged from different backgrounds with different thoughts and methods towards the freedom, their ultimate goal was all same; a 'FREE INDIA'.[2]

An artistic image of the British soldiers http://www.militaryheritage.com/musket2.jpg

Image

Bhagat

Singh

http://www.indianetzone.com/photos_gallery/57/Bhagat%20Singh% 20Indian%20Freedom%20Fighter1.jpg

[1] FROM PLASSEY to PARTITION by Shekhar Bandhopadhya

statement of intent

[2] THE DISCOVERY of INDIA by Jawahar Lal Nehru

the proposal inferential studies the program formulation conceptual precedents

final outcome

introduction - problem statement - project justification - project typology & user typology - theoretical premise

Through the course of freedom there were many instances & events that took place and has taken a pose and made its impact then and faintly referred till now.

The slow but eventful phenomenon of India's freedom was never an easy accomplishment. It did take a lot of lives & sacrifices to hereby attain that freedom from the colonial and pronounce INDIA as a free state.

Through the medium of this dissertation it is no manner attempted to state or pronounce the relevance of such a conception towards the need of such kind of a programmatic architectural space but, it is rather an ideation, towards the conveying of such an important part of history that poses in our present day lives, to molded in a realm of architecture.

There were many events throughout the period of 190 years of solid colonial dominance whereabouts of many which are unknown and many are loudly known by us.

All such events in totality form a broader and a more holistic picture of the freedom struggle that is attempted to be encapsulated in this dissertation.

Image

Bal

Gangadhar

Tilak

http://img3.rnkr-static.com/list_img/1243/301243/C190/freedom-fighters-of-india.jpg

An artistic imagery of the Battle of Plassey http://www.britishbattles.com/first-sikh-war/ferozeshah/31st-foot.jpg

statement of intent

the proposal inferential studies the program formulation conceptual precedents

final outcome

introduction - problem statement - project justification - project typology & user typology - theoretical premise

But why importantly is it necessary to bring this historical parody in architectural intervention or else why is there n e c e s s i t y t o architecturally intervene in such kind of nature of a program.

Well not to undermine any importance of other mediums, but there is a definitely a self asserted view point towards the communication of such ideas and stories more better understood in a more interactive interface that shall enable the visitor to open up to the idea in a more profound manner.

Through this architectural discourse it will be an utmost attempt to understand and explore the galore of various individuals who sacrificed their lives and also comprehend the events and make a holistic narrative of the story in a more illustrative manner.

Thereby the dissertation paper attempts to understand and study the underlying principles and briefly tries to contemplate the contributions and retribution made by the great freedom fighters, the striking and eventful happenings during the trail of freedom, through a manifestation of concretized architectural enclosure.

Mangal

Pandey

http://www.indianetzone.com/photos_gallery/50/ Mangal%20Pandey%20Indian%20Freedom%20Fighter.jpg

Netaji Subhash Chandra Bose http://i1.squidoocdn.com/resize/squidoo_images/-1/lens17597652_ 1296804006Netaji_Subhas_Chandra_Bos

Sadar Patel & Mahatam Gandhi

. . . . .

Artistic imagery of 4th battle of Mysore http://www.indianetzone.com/photos_gallery/8/FourthMysore_18267.jpg

statement of intent

the proposal inferential studies the program formulation conceptual precedents

final outcome

introduction - problem statement - project justification - project typology & user typology - theoretical premise

1.2 PROBLEM STATEMENT It is obviously a predicament situation when one questions us about our history, traditions, culture and other aspects of our country's identity. It does impact us in some way or the other when someone asks us about these relevant matters of fact. It wouldn't be a fact unknown to us that complies or makes us realize something new about the country we belong to but it's just that quickness and the flaw of the moment that deceives us.

The cunning and shrewdness of the people with passing times has taken its toll, for their own private motives and goals, which is absolutely contrastive of the dreams of the great heroes of or freedom. Just like a routine we are taught and preached about our freedom story in parts and parcels through lessons on individual persons and their legacies, or through various events of freedom. But there were hardly any efforts towards telling the story in a more engaging, sensitive and a holistic manner.

Basically the question arises in our mind about our being if we really do know India which is ourselves and the rich I n legacies and legends of our acknowledged as one of the most diversified but a rich country. In order to fill that void within us, it is rather a wise option to know and experience ourselves the real time value of the struggle which our sires and legends have gone through. As the times in the modern era of today, there are many issues and dilemmas which one deals with.

mix of culture, was never an individual country with its identity, but came together as one nation under the colonial era.[1] But more precisely it gained its true value as a nation after it got its freedom, with many contributions of some national heroes and a series of eventful plights; but still the great story of this nation, is orally taught and then forgotten by the populace, but occasionally celebrated on a few days in a year registered as national holidays in a year.

Mahatama Gandhi leading the Dandi March. [1] FROM PLASSEY to PARTITION by Shekhar Bandhopadhya

statement of intent

the proposal inferential studies the program formulation conceptual precedents

final outcome

introduction - problem statement - project justification - project typology & user typology - theoretical premise

1.3 PROJECT JUSTIFICATION Great consequences of the struggle like the Jallainwala Bagh Kand, Kakori train Kand, civil disobedience movement and other small eventful happeneings are known and jsut forgotten by the general mass; the is no opportunity for the mass to have a more wide angle vista towards the real time experience of the events and the legends related to the struggle.

In order to create a paradigm for the public realm especially the young India to sensitively and more profoundly, know, learn and experience the l e g a c i e s a n d contingencies of our forefathers and national heroes and their legends, a centre declaring the stature of India's rich heritage and cult of freedom movement is indeed a need.

The story of Indian freedom is not merely a chapter which we learn in our growing up years that ultimately vapourises within us; it is rather an experience or an elegy of the turmoil, apathy and the quandaries which our forefathers and ancestors must have gone through, that we fail to understand. Inner view of The Jewish Museum, Berlin, Ar. Daniel Libenskind

- To validate the importance and the siginficance of the known and some unknown National heroes, who had relevant contributions towards the freedom.

http://cherilucas.files.wordpress.com/2011/03/walking-in-the-memory-void-jewish-museum-berlin.jpg

the jewish museum in Berlin is one fine example which can be referred as a physical manifestation of an architectural intervention to enunciate a historical parody through the medium of architecture.

â&#x20AC;&#x153;There is no collective effort that may show the entire movement of the freedom struggle.â&#x20AC;? [in cognizance with an article in HINDUSTAN TIMES,Sun,23 Sep 2012 â&#x20AC;&#x2DC;No memorial in India depicts entire freedom struggle: Badal In the following page an article related to emphasis having such a museum to be built on the lines of such a theme and a topic worthwhile has been published.

The article is an interview by the Chief Minister of Punjab, P.S.Badal who has stated about the need and importance of Image of the Simon Go Back commision rally

such a museum, and has also announced a project of such kind to be built in Kartarpur, Punjab.

statement of intent

the proposal inferential studies the program formulation conceptual precedents

final outcome

introduction - problem statement - project justification - project typology & user typology - theoretical premise

Sun,23 Sep 2012

patialaNo memorial in India depicts entire freedom struggle: Badal HT Correspondent

Patiala, August 05, 2012

Punjab chief minister Parkash Singh Badal did not find any memorial in the country that fully depicted the freedom struggle. Badal, along with a team set up to conceptualise a memorial in the state, visited several museums in the country recently. He said Punjab will soon build such a memorial. The chief minister went to the Cellular Prison at Andaman and Nikobar Islands, the Sabarmati Ashram at Ahmedabad, the Teen Murti Bhawan and the Parliament Museum in New Delhi. "We have visited several places. I am impressed with them but I did not find any memorial, which completely depicted the entire freedom struggle," said Badal. The chief minister said a world-class Freedom Martyrs' Memorial (Jung-e-Azadi) would be constructed at Kartarpur at a cost of Rs. 100 crore. "It will be a complete memorial. It will show the remarkable contribution made by the freedom fighters of our country in general and that of Punjabis in particular.â&#x20AC;? A committee has been set up to conceptualise the new museum. Punjabi University's vice-chancellor Jaspal Singh, noted historians and educationists Prithpal Singh Kapur, KL Tuteja, Harish Sharma, Barjinder Singh Hamdard, JS Grewal and Kirpal Singh are members of the committee. "We will submit a report soon. We want to recreate the entire freedom history with a focus on Punjab. It should be a complete saga of the freedom struggle, which we failed to get in any memorial," said Jaspal Singh. ((ref. Http://www.hindustantimes.com/Punjab/Patiala/No-memorial-in-India-depicts-entire-freedom-struggle-Badal/SP-Article1-908730.aspx)

Thus with reference to the above statement of article, by the authorised committees and persons, who also feel the need of such a physical built form to depict the freedom struggle and its movement, it actually becomes an idea which we need to look forward to. A center declaring the stature of Indiaâ&#x20AC;&#x2122;s rich heritage and cult of freedom movement is indeed a need and at the same time legends and contingencies of our forefathers and national heroes gets valued. statement of intent

the proposal inferential studies the program formulation conceptual precedents

final outcome

introduction - problem statement - project justification - project typology & user typology - theoretical premise

1.4 PROJECT TYPOLOGY & USER TYPOLOGY PROJECT PROPOSITION – THE STORY of FREEDOM - ‘a paseo’ BASIC PROJECT OUTLINE – An exhibition space encompassing the story of freedom, the struggle and the plight of events which took place in the course of India’s freedom , through an engaging architectural insertion, that will do sole justifications to the great story of India’s freedom. It shall make a sensible identity of itself, in the modern public realm and also justify its purpose to the optimum level. The gestation of the insert shall be more expressive in its appearance and integrity. PROJECT TYPOLOGY - a public institutional domain USER TYPOLOGY The museum of freedom struggle that is envisioned towards recreating the great story of our freedom will be a multi faceted program that is oriented towards every user type and band of ages. ‘Anyone who feels truly towards the great plight of the freedom story is the user’. P R I M E

U S E R S

The main users or the prime users as identified are anyone of the general public, which can sprawl over anyone from a student or a group of school & college students, or it can be tourist from other states or country. statement of intent

A S S I S T I N G

U S E R S

As described about the primary users who can be anyone from any age band and any kind of public, but to serve them there is got to be steady line up of supporting users. These users will be mainly the staff people from administration to the maintenance and security staff, who are going to look after the proper functioning of the place.

the proposal inferential studies the program formulation conceptual precedents

final outcome

introduction - problem statement - project justification - project typology & user typology - theoretical premise

1.5 THEORETICAL PREMISE ‘Museums look after the world’s cultural property and interpret it to the public.’ (Running a Museum: A Practical Handbook, UNESCO, ICOM publishers)

The attempt is not only to make an enclosure or a public building having exhibits, but to rather create a hub or a center for understanding, experiencing and emancipating the hymns of the past that has shaped our present and by the virtue of which it will shape the future, through the examples and celebration of the story of freedom on a more wider panorama. The attempt is to generate an architectural antithesis that will intervene in a public domain or a forum that will open a direct vista to the past and sensitize it to the very best, so that it leaves a small but significant mark in the abstracts of the visitors mind, about the valor of the great national heroes and their retribution towards making the country a free republic. An enclosure encompassing the story of freedom, the struggle and the plight of events which took place, through an engaging architectural insertion, that will do sole justifications to the great story of India's freedom and make a sensible identity of itself, in the modern public realm and also justify its purpose to the optimum level.

Through the examples and celebration of the story of freedom on a more wider panorama by intimate space making, transition of spaces through movement.

It will be broadly and more directly oriented towards engaging the visitor abstract thought process.

HOW it will be DONE ?? Through various studies of the works based upon the ideas of 1.THEORY of SEMIOTICS. 2 S Y M B O L I S M i n ARCHITECTURE. Strong impact and presence on the visitor’s abstracts, and hence emerge as a significant symbolic representation for itself and the salient theme of the freedom story. CHOSEN THEORITICAL PATH – SYMBOLISM in ARCHITECTURE

Jewish Museum, Berlin, Daniel Libenskind

Holocaust Museum, Jerusalem, Moshe Safdie

http://stapati.net/wp-content/uploads/2011/04/berlin -jewish-museum-stairs-cc-anthonyjhicks.jpg

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The above shown images serve as apt examples of like natured theme of the chosen project type and as good examples of ‘Symbolism in Architecture’.

statement of intent

the proposal inferential studies the program formulation conceptual precedents

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introduction - problem statement - project justification - project typology & user typology - theoretical premise

CHAPTER 2 the proposal - 2.1 narrative of the theoretical premise - 2. 2 major project elements - 2.3 project emphasis - 2.4 project goalâ&#x20AC;&#x2122;s

statement of intent

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2.1 NARRATIVE of the THEORETICAL PREMISE With the prime motive of generating a center or a forum at a public level to depict a virtual paradigm of our great story of freedom, it will be an interesting evolution through this process of study by understanding the underlying principles of our freedom fighters.

Through the display and portray of the plight and quandaries of the past, it may be possible to create repository of the past that would rather fill in some space and cater to some masses regarding spreading some knowledge about the freedom struggle. But the more important effort shall be primarily after making the space or the envelope speak for itself, speak for the heritage and the crusades towards the freedom.

Through an antithesis that must be formed by the virtue of the study of the thoughts and visions of our different freedom fighters, a sensitive disparate in the functional qualities of the As said previously, 'The spatial envelope must be attempt is not only to make an enclosure or a public drawn out. building having exhibits, but to rather create a hub or The establishment of the a center for understanding, a n d space that will abide by the e x p e r i e n c i n g stiff and rigid anagram of emancipating the hymns of the the squandered events that past that has shaped our took place in the freedom present and by the virtue of struggle will be intensely which it will shape the pronounced and transformed future, through the examples into an architectural and celebration of the story antithesis to draw out a of freedom on a more wider real time image of the pre panorama.â&#x20AC;&#x2122; independent India.

A newspaper cutting of pre independent India, recognizing India coming together as a country to the cause of freedom

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It actually means that there will be a more efficient effort towards making the space virtually portraying the real time aura of the past times; the attempt will be towards recreating the same enigma of the freedom struggle through an architectural rendering which will valorize the stiff past of our freedom struggle.

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We know that there has not been any single effort by one single man, which gained us our freedom; there were many known and unknown series of events and people who made efforts to make the country free.

The program is mainly intended to bring back the virtues and valor of the heroes of the past, the elegy of the events of the yesteryears of freedom struggle. It is not just aimed at producing another gallery or a memorial of freedom fighters, which are established at several places in India; but it is mainly envisioned to capture the actual epoch of that time, the time of India's freedom, the time of the great rising of a dominant state together as a whole nation.

There were people of great visions and audacity and there were events that triggered many moments of peril. Through capturing the essence of these events and draw out the theoretical antithesis of our freedom fighters, there will be a great opportunity of making the disparateness in the q u a l i t y o f t h e The museum is therefore will not be a simple architectural space. depository or a gallery A space which will picture housing the pictures and or depict the trueness of sculptures of the great the story which has gone by, legends, neither will it much forms an integral part just provide information in the existence of our regarding various events of being but yet forgotten much the past that had rather just look like a part of the easily. freedom struggle. The advancement towards this kind of an antithesis will be basically depicting heterogeneity of the past. The multiplicity and the variety to be drawn from the real time situations of the past and from the thoughts and outlooks of our legendary freedom fighters will itself try to manifest Lala Lajpat Rai Chandrashekhar Azad is mainly gestated the architecture of the It towards making the use of building envisioned. the architectural understanding of spatial qualities and use it in a more sensitive way to create an envelope that had statement of intent

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A museum encompassing the story of freedom, the struggle and the plight of events which took place, through an engaging architectural insertion, that will do sole justifications to the great story of India's freedom and make a sensible identity of itself, in the modern public realm and The space is envisioned to also justify its purpose to be more s e n s i t i v e the optimum level. architecturally that will configure a more in depth value of the freedom It will be broadly and more directly oriented towards struggle. engaging the visitor through the use of the and the It is mainly envisioned to a b s t r a c t s of various make the visitor experience multiplicity the hymns of the past that moods from the story of has shaped our present and freedom, and aptly reflect by the virtue of which it that through intricacy of will shape the future, by movements and transitions emancipating the examples through the space, the and celebration of the story spatial quality that must of freedom on a wider be generated towards making the space more intimate to panorama. the user so that one must feel the epiphany that The attempt is to generate people of India then must an architectural antithesis have gone through. that will intervene in a public domain or a forum which will open a direct vista to the past and sensitize it to the very best, so that it leaves a small but significant mark in the abstracts of the visitors mind, about the valor of the great national heroes and their retribution towards making the country a free republic. rather reflect the essence of the past era, that will be drawn from scrutinizing the events of the past, and the antithesis drawn from the learning's about the great freedom fighters, rather than just having a more orthodox presumed museum space.

An artistic image of the Jallianwala Bagh massacre

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2.2 MAJOR PROJECT ELEMENTS The museum envisioned to domicile the story the freedom struggle of our nation, shall just not depository of the relics and some mementos which will reflect upon the legends and the legacies of the freedom struggle. As stated previously, about breaking the orthodox vision of the museum, for the story it's going to portray is foundation of our existence today as Indian's. Thus the overall proposal shall not only have galleries and the displays only but other ancillary functions to have repercussions on the overall motive of the proposal or the insert.

It shall mainly exhibit period of 90 years, from 1857 – 1947. The paseo shall have galleries briefly related to India’s past history, to create a background.. It shall have a gallery of the freedom strugglers & leaders, that exhibits their sculptures, paintings related to them and events, manuscripts and documents relevant to India’s freedom etc.

IMAGE of C I A GOVERNMENT MUSEUM, USA IMAGE COURTESY : https://www.cia.gov/about-cia/cia-museum/MG-7426.jpg

The major elements are THE PASEO - The Paseo shall display the story of freedom struggle, the legends and t h e e v e n t s , which were instrumental in shaping the face of the country then. It is envisioned to be based on the lines of theoretical premise, which has been mentioned previously, where more emphasis is to be laid on the architectural intervention exploration of t h e s p a t i a l quality, abstracted through the antithesis of the study of the events and the national heroes the struggle. statement of intent

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IMAGE of METROPOLITAN MUSEUM of ART, MANHATTAN IMAGE COURTESY : joshandjosh.typepad.com

IMAGE of GRIFFIN MUSUEM of PHOTOGRAPHY, BOSTON http://www.boston.com/community/photos/raw/Gallery1.jpg

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The main events that shall be envisaged upon to recreate the real time environ of it. Probable events to be showcased –

Exhibiting real time events through spatial quality and paintings, manuscripts, sculptures and other exhibits of relevant value.

The period between 1757 1857 which shall be the first part of installment of the whole exhibit. FROM 1857 - 1950 MUTINY of 1857(the first war of independence),FOUNDATION of 1NDIAN NATIONAL CONGRESS,PARTITION of BENGAL, GANDHI’s ARRIVAL and NON – CORPORATION MOVEMENT, JALLIANWALA BAGH TRAGEDY,SWARAJ MOVEMENT, KAKORI TRAIN CONSPIRACY, CIVIL DISOBEDIENCE MOVEMENT,DEATH PENALTY of BHAGAT SINGH, RAJGURU & SUKHDEV their CONTRIBUTIONS AND H.R.S.A with C H A N D R A S H E K H A R AZAD,SATYAGRAH MOVEMENT, SALT LAW – DANDI MARCH, FORMATION of INA and INSURGENCIES by SUBHASH CHANDRA BOSE, QUIT INDIA MOVEMENT, PARTITION of INDIA and MASSACRE at DELHI and KOLKATA etc.

Paintings depicting the real time scenario, will be an integral part of the exhibit to suit the familiarity of the visitors taste and expectations.

Papers, manuscripts and important relevant documents, shall be exhibited to bring a nostalgia of the past times

IMAGE of India Pakistan partition time statement of intent

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ANCILLARY FUNCTIONS -

2.Symposium - a public domain to emancipate and encourage public p a r t i c i p a t i o n towards the conferring on the issues of the present d a y s c e n a r i o which are posing obstructions in the holistic developments of the country and also have dialogues on the positivity that could result in the boom of country.

1.Library - to house multi faceted books based on the events of freedom, the martyrs and other peripheral subject related to freedom. It shall also encompass books based on the histrionics of the past I n d i a n c u l t u r e and traditions, deliberated to provide a wider essence a b o u t t h e eventuality of the The idea is to have phenomena called 'INDIA'. extemporaneous dialogues Books may be ranging from amongst the people who will the history of various be visiting and the prime is towards the civilizations w h i c h target who are active groomed up on the Indian youth, turf to the present day participants directly or s o c i o c u l t u r a l indirectly in many social aspects, books on the issues in the city of Delhi. culture & traditions of The extempore maybe on India, social structure and Modern day hostilities and varied topics based on the latent ills of the country existence of India and may also include current day as a whole. topics that shall incorporate global issues, and it shall be open for all a n d n e e d n o t be a part of the museum visit only, but other important functions on the lines of discussions must also take part. VICTORIA & ALBERT NATIONAL ART MUSEUM LIBRARY, UK http://www.vam.ac.uk/__data/assets/image/0011/95258/hdr-national-art-library-415.jpg

Apart from that there shall be a bookstore in addition which will have a more relaxed and a casual atmosphere as to suit various kinds of visitors and provide them with more options. statement of intent

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SYMPOSIUM at LOUISVILLE WATERFRONT DEVELOPMENT http://www.louisvillewaterfront.com/images/venues/amphitheater3.jpg

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3. Auditorium / Miniplex to provide a holistic culmination to the proposal of providing an exhibition space depicting the ‘Freedom struggle' it would be an apt choice to provide an audio / visual center that shall display feature films, documentaries and mockumentaries based on the freedom struggle, events of freedom, freedom struggles and India's culture, traditions and society. The Audio / visual centre is also supposed to encourage and uplift the local talent of drama associations and other artists who can display their caliber and provide a multifaceted orientation towards the main proposal of the Museum and the overall complex. on the lines of discussions must also take part.

ATM’s, public toilets, eateries, small retail spaces, souvenir shops, temporary exhibition spaces, eateries etc.

Public court at the IHC, New Delhi http://landscapelover.files.wordpress.com/2011/08/india-habitat-centre7.jpg

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AUDITORIUM

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4.The Public realm These spaces will mainly include public spaces, like plazas, entrance courts for public, waiting and receptive spaces. These spaces are mainly to cater the pubic and provide a statement of intent

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2.3 PROJECT EMPHASIS To do a soul justification to the project proposition, it would an agnostic approach towards drawing out the main core functions from the over project elements. Each of the program mentioned previously are important to each other to provide to a wider band of the populace.

The thought to break away from the typicality and methodologist perception of a museum or say an exhibition space, will be the more intricate part that has to be dealt with through and exhaustive study and conclusions which has to be drawn out from antithesis of the studies.

The priority in development of the proposal will be mainly towards the overall complex and its apt response to the immediate context. Also the integration of the thoughts and philosophies in to an a r c h i t e c t u r a l manifestation will be a prime focus, as the theme of the museum itself demands to be more elaborate about architectural The ancillary functions of t h e of the providing a library, an i n t e r v e n t i o n audio / visual centre and a proposal. symposium will equally form an integral part of the Below shown is a basic overall intention behind o r g a n i z a t i o n a l of the the proposal. Yet it will be identification more important to have program that states about priorities of the emphasis on the development the and nurturing of â&#x20AC;&#x2DC;the envisioned program aspects paseoâ&#x20AC;&#x2122;, prioritized to the of the proposal. ancillary functions. Based on the idea of conceptualizing a program that is mainly to create a broader panorama of the freedom struggle, the overall functions has to be given due respect for it is not only the 'exhibition space of freedom struggle' which is the sole purpose of the overall idea.

The broad ideas of having the museum to manifest itself as an exemplary of its kind, to create a separate identity for itself, for it will be housing an integral story of the freedom struggle, shall be laid more importance.

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Apart from the development of the museum on the lines of the abstraction of philosophies and thoughts, a rigid and a stiff curriculum has to be laid upon the overall planning of the complex, as it will be important to establish proper linkages between the ancillary functions to the public, to the museum and to the context ultimately.

Similarly the apt planning might also intervene a lot of propagation of other peripheral public activities directly or indirectly, thus it might establish itself as an urban center also.

An exploration towards the symbolism in architecture is also to be prioritized. The linkage between the paseo and its ancillary function is also equally important, both physically and visually.

ORGANIZATIONAL HIERARCHY

SITE RESPONSE THE PASEO

There are prospects even that the proposal flourishes as a tourism center also, as it will be a program that will engage everyone's interests in some way or the other, as it will boast about the great story of freedom. And its proposition at major urban center of Delhi might provide it a base for a tourist center too.

Exhibition space & related spaces

ANCILLARY & PUBLIC REALM

. . . . .

Thus there will be efforts towards bringing out the symbolic value of the proposal through more architectural exploration of an exhibition space mainly, and then the other functions.

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2.4 PROJECT GOALâ&#x20AC;&#x2122;s HISTORICAL CONTEXT of the PROJECT The story of Indian freedom is not merely a chapter which we learn in our growing up years that ultimately vaporizes within us; it is rather an experience or an elegy of the turmoil, apathy and the quandaries which our forefathers and ancestors must have gone through, that we fail to understand. Like a routine we are taught and preached about our freedom story in parts and parcels through lessons on individual persons and their legacies, or through various events of freedom; there were hardly any efforts towards telling the story in a more engaging, sensitive and a holistic manner. Through the course of freedom there were many instances & events[1] which has taken a pose and made its impact then and known till now. The slow but eventful phenomenon of India's freedom was never an easy accomplishment.

Battle

Punjab

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English

colony

http://upload.wikimedia.org/wikipedia/commons /thumb/1/15/2-12th_Madras_ Native_Infantry_at_the_Battle_of_Assaye,_1803._Painting_by_JC_Stadler_(1780-1822),_c._1815..jpg/360px-2-12th_Madras_Native_Infantry_at_the_Battle_of_Assaye,_1803._Painting_by_JC_Stadler_(1780-1822),_c._1815..jpg REFERENCES -[1] article from Teaching South Asia by Heather Streets(vol. 1, winter 2001) [2]motion pictures like Gandhi by Richard Attenbourgh, The Legend of Bhagat Singh by rajkumar Santoshi, Netaji Subhash Chandra Bose by Shyam Benegal, Chittagong by Bedrabta Pain, Sardar by Ketan Mehta etc as pedagogical tools

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Great consequences of the struggle like the Jallainwala Bagh Kand, Kakori train Kand, civil disobedience movement [2] and other small eventful happenings are known and just forgotten by the general mass; there is no opportunity for the mass to have a more wide angle vista towards the real time experience of the events and the legends related to the struggle. In order to create a paradigm for the public realm especially the young India to sensitively and more profoundly, know and experience the legacies and contingencies of our forefathers and national heroes and their legends, a centre declaring the stature of India's rich heritage and cult of freedom movement is indeed a need. Following on to the above points established through the study of various books and using movies and documentaries as pedagogical tools, it is has thus become a more important subject of matter towards the apt generation of such a project that might be able to achieve the goal to reclaim the importance of the freedom struggle in today's context of modern day India which shall have direct impact towards the society and the immediate social context of the site it will surface itself.

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SOCIAL & CULTURAL CONTEXT of the PROJECT -

To validate the importance and the significance of the known and some unknown National heroes, who had relevant contributions towards the freedom, so that the youth and the stakeholders of today's India know about their great contributions and may get inspiration from. To bring out the real time enigma of the plights of some dreadful events like the Jallianwala bagh massacre, to bring forth the hardships of India as a nation, during the freedom struggle to the current setting of modern India. These attempts are primarily and thoughtfully conceived with the aim to reverberate a sense of responsibility in the visitors especially the youth. To formulaize and draw out an antithesis of the different schools of thoughts towards the freedom and valorize both of their efforts; so that there may be chances and opportunities for the people who visit the proposal get a more wide angle of the real time vista of the freedom struggle.

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Talking about the proposed site which is at Delhi, that itself is an exemplary in terms of the Indian freedom struggle context, the project envisioned shall be able to reclaim the dignity and the valor of the lost prides through such a strong context of its physical setting. The place where it shall manifest itself receives a wholesome amount of people as tourists, thus there might be an opportunity of the place to cherish as a tourism spot and the insert envisioned may just be a relevant one. At the same time it might just open up to a wide range of people with different backgrounds of culture and traditions and through the journey of the envisioned program it may also instill the same values that are expected to be learnt, thus it has a tremendous opportunity be a prime spot for a exuberant cultural blending. If these goals are achieved then the proposal or the envisioned project will not only attain the status quo it shall enjoy, but it will also reckon to the past fables and parodies of India, and make a mark of itself as one of its own as a place where there are opportunities for great cultural amalgamations.

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CHAPTER 3 inferential studies - 3.1 the story of freedom ( from 1757 - 1950 ) A brief study about the INDIAN FREEDOM STRUGGLE so as to understand the relevance of the matter and generate a base to follow ....

- 3.2 live case studies to generate a basis for a more finer program document for the project

- 3.3 book case studies mainly to take relevant inferences for design

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3.1 THE STORY of FREEDOM A brief study about the INDIAN FREEDOM STRUGGLE, so as to form base and a prelude to follow upon the further process of design and thesis investigation. As most of us would know that the British rule, did bring us many credentials in form of organized government, i t s p o l i c i e s , infrastructure in form railroads & railways, which is the one of the biggest economical asset today. The formation of educational and public institutions has much been reaped benefit of, but at a glance it would be inapt to make any statement about the pros and cons of the British rule in India. THE PRELUDE east india company & british raj The East India Company (EIC), originally chartered as the Governor and Company of Merchants of London trading into the East Indies, and more properly called the Honourable East India Company, was an English and later (from 1707)British joint-stock company formed for pursuing trade with the East Indies but which ended up trading mainly with the Indian subcontinent, North-West Frontier Province and Balochistan.

The East India Company traded mainly in cotton, silk, indigo dye, salt, saltpetre, tea and opium. The Company was granted a Royal Charter by Queen Elizabeth in 1600, making it the oldest among several similarly formed European East India Companies. Shares of the company were owned by wealthy merchants and aristocrats. The government owned no shares and had only indirect control. The Company eventually came to rule large areas of India with its own private armies, exercising military power and assuming administrative functions. Company rule in India effectively began in 1757 after the Battle of Plassey and lasted until 1858 when, following the Indian Rebellion of 1857, the Government of India Act 1858 led to the British Crown assuming direct control of India in the era of the new British Raj.

Map showing the colonial settlement in India during the 16th to 18th century statement of intent the proposal

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The prima fascia of the matter was to reinforce and gain a strong grip over the Indian subcontinent, for it was always land with rich resources and a fertile in nature which was agriculturally very blooming, thus in turn they gained the controls over the colonial setups in India, to control trade which was economically very reaping for them. It was in 1756 when the British East India company gained actual control over the other colonies and especially that from the French and Portugese colonies, that was later on altered and settled amongst them. But in 1757, the first instance of the Freedom struggle in India happened. The Company continued to experience resistance from local rulers during its expansion. Robert Clive led company forces against Siraj Ud Daulah, the last independent Nawab of Bengal, Bihar, and Midnapore district in Odisha to victory at the Battle of Plassey in 1757, resulting in the conquest of Bengal.

This victory estranged the British and the Mughals, since Siraj Ud Daulah was a Mughal feudatory ally.

An oil painting showing meeting of Robert clive & Mir Jafar after the end of Battle of Plassey http://upload.wikimedia.org/wikipedia/commons/4/4f/Clive.jpg

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BATTLE oF PLASSEY The first war of independence British rule in India is conventionally described as having begun in 1757. On June 23rd of that year, at the Battle of Plassey, a small village and mango grove between Calcutta and Murshidabad, the forces of the East India Company under Robert Clive defeated the army of Siraj-ud-daulah, the Nawab of Bengal. The battle lasted no more than a few hours, and indeed the outcome of the battle had been decided long before the soldiers came to the battlefield. The aspirant to the Nawab's throne, Mir Jafar, was induced to throw in his lot with Clive, and by far the greater number of the Nawab's soldiers were bribed to throw away their weapons, surrender prematurely, and even turn their arms against their own army. Jawaharlal Nehru, in The Discovery of India (1946), justly describes Clive as having won the battle "by promoting treason and forgery", and pointedly notes that British rule in India had "an unsavory beginning and something of that bitter taste has clung to it ever since.â&#x20AC;? It was far more a battle fixed forth and hence so many lives were lost at dispense for someoneâ&#x20AC;&#x2122;s profit. statement of intent the proposal

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Following on to the trail of the battle at Plassey, through 1857, where one of the greatest rebellion of the sepoy troops took place, several other incidents and revolts had splurged up, maybe very unknown and less important relatively compared to the much major events, but they were and are a part of the Freedom struggle story which makes the picture look more complete if not cent percent completed. From 1757 - 1857 ( other events) SANYASI REVOLT -

Sanyasi Resistance against the east India company dominance in Bengal began from the early 1760s and subsided in the 1790s. The East India Company regulations had disturbed the ways of life of the religious mendicants like the Muslim fakirs and Hindu sanyasis in several ways.It took place around M u r s h i d a b a d a n d Baikunthupur forests of Jalpaiguri.

Painting of the Sanyasi revolt during the British rule https://sphotos-a-ord.xx.fbcdn.net/hphotos-prn1/p480x480/17746_573175319387556_1933137584_n.jpg

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Historians have not only The ascetic uprising grew in d e b a t e d w h a t e v e n t s terms of popularity in constitute the rebellion, Bengal, there was huge but have also varied on the support for these fighting s i g n i f i c a n c e o f t h e ascetics within the masses. r e b e l l i o n i n I n d i a n Who joined this movement history. While some refer to and gave it stability and it as an early war for strength. All those people India's independence from who were responsible for foreign rule, since the various acts of atrocities, right to collect tax had on innocent civilians, were been given to the British kidnapped and killed. East India Company after the Battle of Plassey in 1757, Thus grew a movement which others categorize it as acts was violent in nature but o f v i o l e n t b a n d i t r y yet popular and had roots in following the depopulation the masses. During this of the province, post the famous uprising that the famous couplet VandeBengal famine of 1770. Mataram (Hail the At least three separate Motherland) was coined. events are called the This couplet went on to Sannyasi Rebellion. One change the course of the refers to a large body of Indian freedom struggle. H i n d u s a n n y a s i s w h o The force & popularity of travelled from North India Vande-Mataram could be to different parts of Bengal gauged by the fact that the to visit shrines. En route British India government to the shrines, it was was forced to ban it. customary for many of these h o l y m e n t o e x a c t a In order to extract out more religious tax from the b e n e f i t s t h e r e i n e p t headmen and zamindars or policies of levying taxes which were unethical, and regional landlords. this was the one major cause of the revolt that got In 1771, 150 saints were put to death, apparently for no t h i n g s w o r s t f o r t h e reason. This was one of the general mass as well as the r e a s o n s t h a t c a u s e d saints. distress leading to violence, .especially in 2nd WAR of PUNJAB Natore in Rangpur, now in modern Bangladesh. However, The Sikh kingdom of the some modern historians Punjab was consolidated and argue that the movement expanded by Maharaja Ranjit n e v e r g a i n e d p o p u l a r Singh during the early years of the nineteenth support century.

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During the same period, the British East India Company's territories had been expanded until they were adjacent to the Punjab. Ranjit Singh maintained an uneasy alliance with the East India Company, while increasing the military strength of the Khalsa (the Sikh Army, which also saw itself as the embodiment of the state and religion), to deter British aggression against his state and to expand Sikh territory to the north and north west, capturing territory from Afghanistan and Kashmir. When Ranjit Singh died in 1839, the Sikh Empire began to fall into disorder. There was a succession of shortlived rulers at the central Durbar (court), and increasing tension between the Khalsa and the Durbar. The East India Company began to build up its military strength on the borders of the Punjab. Eventually, the increasing tension goaded the Khalsa to invade British territory, under weak and possibly treacherous leaders. The hard-fought First Anglo-Sikh War ended in defeat for the Khalsa.

PAINTING

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2ND

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The city of Multan was part of the Sikh kingdom, having been captured by Ranjit Singh in 1818. In 1848, it was governed by a Hindu viceroy, Dewan Mulraj. After the end of the First Anglo-Sikh war, Mulraj had behaved independently. When he was required by the British-controlled Durbar in Lahore to pay an increased tax assessment and revenues which were in arrears, Mulraj attempted to give up power to his son, so as to maintain his family's position as rulers. Currie instead imposed a Sikh governor, Sirdar Khan Singh, with a British Political Agent, Lieutenant Patrick Vans Agnew. he Sikh defeat had resulted from several causes. Their administration of the population of the Punjab had been poor, which meant that their large armies found it difficult to find enough food. The mainly Muslim inhabitants of the frontier districts, who had themselves been subjugated by the Khalsa in earlier years, readily fought under British officers against the Sikhs, continually disrupting their movements. Finally, the East India Company had brought overwhelming force against them.

PUNJAB

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On 14 September, Sher Singh's army openly rebelled at Multan. He did not join Mulraj however. He and Mulraj conferred at a carefully chosen neutral site, at which it was agreed that Mulraj would give some money from his treasury to Sher Singh's army, which would march north into the Central Punjab and ultimately rejoin Chattar Singh. Meanwhile, Whish was forced to raise the siege until he was reinforced.

PAINTING OF THE 2ND WAR of PUNJAB http://www.sikh-history.com/sikhhist/images/portraits/ramnagar.jpg

PEASANT UPRISINGS The economic policy instituted by the British Government created discontentment among the peasants of India. Further, the Indian zamindars and moneylenders exploited illiterate peasant mass. After the permanent settlement of 1793, the absentee landlords, the intermediaries and the village money-lenders and the oppression of the Europeans reduced the Indian peasants into beggary. statement of intent the proposal

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The growing oppression was not simply swallowed by the peasants but they raised voice against it. The Santhal rebellion, 1855-56: The Santals of Hazaribagh, Midnapur, Bankura, Birbhum, Manbhum etc. were the worst sufferers due to the permanent settlement. The police and other government officials did not protect their interest; rather exploited them. The Santhals under the leadership of Sidhu and Kanhu raised in 1856 with a view to put an end to colonial rule in India. They disrupted the railway and postal communications between Bhagalpur and Rajmahal. The British troops became alert and a force under Major Burrough suffered a defeat at the lands of the Santhals. The British took repressive measures, arrested the Santhal leaders and quelled the rebellion. The Rebellion was pacified with the creation of a separate district consisting of the Santhal Parganas.

REVOLT SCENE DURING THE PEASANT UPRISING http://upload.wikimedia.org/wikipedia/commons/thumb/e/e4/%22Attack_of_the_Mutineers_on_the_Redan_Battery_at_Lucknow,_ July_30th,_1857,.jpg/220px-%22Attack_of_the_Mutineers_on_the_Redan_Battery_at_Lucknow,_July_30th,_1857,.jpg

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Peasant uprising in Deccan, 1875: As a part of the movement and revolt of the peasants, it actually extended even aftermath of the 1857 revolt in the deccan region and similar in the Chamaparan revolt in 1917. The payment of Government revenue, fall of the price of cotton and manipulation of bond by the money-lenders in Deccan added plights to the life of the peasants. In December 1874, a moneylender named KÄ lu ram obtained decree from the court for evicting Baba Saheb Deshinukh, who failed to pay Rs 150 which he had borrowed from the former. When the money-lender evicted the former, the villagers were infuiiated. The fire of discontent spread in Poona district. The peasants forcibly entered into the house of the money-lenders, burnt their houses and shops and the bond of loans. The government was alarmed and sent police who arrested hundreds of peasants. The government could not take any action against the peasants because there was no evidence to prove it, A Deccan Riots Commission was appointed to investigate the course of such uprising.

The Agriculturists' Relief Act of 1879 was passed which facilitated the peasants in the payment of their loan but under no circumstance. They could be arrested and sent to jail for non payment of loans. Before riots could spread to other parts of the country, the British Government passed Punjab Land Alienation Act, and pacified the discontent of the peasants of Punjab.

PERIOD 1857 - 1947 Usually considered as the most heavy period in the tryst of the Indian Freedom history, these 90 years were actually the most engaging and vibrant period of the freedom era. A lot of movements and events and efforts by a lot of people and visionaries came into effect during these 90 years phase. To start off with the events, this era marked its impacting start with the beginning of the 1857 Sepoy Mutiny, that splurged a rage amongst the whole nation and thus marked the beginning of a new India reckoning its freedom. THE SEPOY MUTINY of 1857 The Indian public had been suffering under an oppressive foreign rule for almost a century by now and the discontentment had been rising.

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The revolt of 1857 which although broke out in a sudden and spontaneous manner had deeper reasons. "We could subdue the mutiny of 1857, formidable as it was, because it spread through only a part of the army, because people did not actively sympathize with it, and because it was possible to find native Indian races who would fight on our side. But the moment a mutiny is but threatened, which shall be no mere mutiny, but the expression of a universal feeling of nationality, at that moment all hope is at an end, as all desire should be at an end, of our preserving our Empire." â&#x20AC;&#x201D; Sir John Seeley (quoted by Tarling) The 1857 rebellion, which began with the mutiny of Indian troops stationed near Delhi, had several chief results: - a year-long insurrection that changed attitudes. - both British and Indian â&#x20AC;&#x201D; towards British rule of India dissolution of the British British East India Company.

The British introduced the new Enfield rifle which had a cartridge greased with the fat of a cow or pig. The soldiers before they could load the cartridge into the weapon had to bite off the cover, which was coated as mentioned above. This violated the religious feelings of Hindus as well as Muslims, for they are forbidden from eating the meat of a cow and pig respectively. The soldiers perceived this to be a direct and deliberate attack on their most sacred beliefs and refused to use these cartridges. On 8th May 1857, the soldiers of the third Native cavalry were sentenced to ten years in prison for refusing to use the new cartridges. Their imprisonment angered the other Indian soldiers based at Meerut and the next day they freed their comrades and killed the British officers. After this they set off for Delhi at sunset and reached by the next morning.

-beginning of the British Raj, the period during which the U. K. directly ruled the Indian subcontinent. -The end of the Mughal Empire after the British exiled Emperor Bahadur Shah to Burma. statement of intent the proposal

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THE ENFIELD RIFLE that was the MAIN CAUSE of the REVOLT of 1857 http://www.indianetzone.com/photos_gallery/8/Enfield-P-53_15633.jpg

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The local infantry of Delhi assisted them in taking over the city and killing many European officials. The rebels instated the aged and powerless Mughal emperor, Bahadur Shah II to the post of Emperor of India. The Mughals had for long been considered the symbol of political unity in India, and this development transformed the rebellion into a revolutionary war. The revolt met with some early successes but was eventually suppressed by the British within a year. The revolt had failed in its objective of overthrowing the British power, although it did result in some far reaching changes. The revolt of 1857 failed because it suffered from weak leadership and was hardly organized. This proved a major handicap when dealing with the well trained and equipped British troops.

The revolt however did however make an impact on the British power, the English East India Company would be replaced by the British crown The revolt had created a sense of a nation amongst the Indians, and these nationalistic feelings would eventually result in the freedom struggle. After the mutineers (or patriots) finally surrendered on June 20, 1858, the British ended both the East India Company and the Mughal Empire, sending the deposed Emperor Bahadur Shah to exile in Burma. The revolt however did however make an impact on the British power, the English East India Company would be replaced by the British crown The revolt had created a sense of a nation amongst the Indians, and these nationalistic feelings would eventually result in the freedom struggle.

AN ARTISTIC REPRESENTATION of the REVOLT of 1857 http://0.tqn.com/d/history1800s/1/0/r/A/-/-/Indian-mutiny-disarming-3000-gty.jpg

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INC & ACTIONâ&#x20AC;&#x2122;s From its foundation on 28 December 1885 until the time of independence of India on 15 August 1947, the Indian National Congress was the largest and most prominent Indian public organization, and central and defining influence of the Indian Independence Movement. Although initially and primarily a political body, the Congress transformed itself into a national vehicle for social reform and human upliftment. The Congress was the strongest foundation and defining influence of modern Indian nationalism. In May 1885, Hume secured the Viceroy's approval to create an "Indian National Union", which would be affiliated with the government and act as a platform to voice Indian public opinion. On 12 October 1885, Hume and a group of educated Indians also published "An Appeal from the People of India to the Electors of Great Britain and Ireland" to ask British voters in 1885 British general election to help support candidates sympathetic to Indian public opinion, which included opposition to the levying of taxes on India to finance the British Indian campaigns in Afghanistan and support for legislative reform in India statement of intent the proposal

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Though there has been discussion over the fact that the congress was founded by a retired civil servant and not by Indian G.K.Gokhale with his characteristic modesty and political wisdom, stated this explicitly in 1913: "No Indian could have started the Indian National Congress...if an Indian had come forward to start such a movement embracing all Indians, the officials in India would not have allowed the movement to come into existence. If the founder of the Congress had not been an Englishman and a distinguished ex-official, such was the distrust of political agitation in those days that the authorities would have at once found some way or the other to suppress the movement.

I N D I A N N AT I O N A L C O N G R E S S TA B L E C O N F E R E N C E http://a2o.nas.sg/a2o/public/html/online_exhibit/indian_national_army/_images/struggle_nehru.jpg

Many Muslim community leaders, like the prominent educationalist Syed Ahmed Khan, viewed the Congress negatively, owing to its membership being dominated by Hindus.

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The Orthodox Hindu community and religious leaders were also averse, seeing the Congress as supportive of Western cultural invasion. The ordinary people of India were not informed or concerned of its existence on the whole, for the Congress never attempted to address the issues of poverty, lack of health care, social oppression and the prejudiced negligence of the people's concerns by British authorities. The perception of bodies like the Congress was that of an elitist, then educated and w e a l t h y p e o p l e ' s institution. Bal Gangadhar Tilak was among the first Indian nationalists to embrace Swaraj as the destiny of the nation. Tilak deeply opposed the British education system that ignored and defamed India's culture, history and values, defying and disgracing the India culture. The moderates, led by Gopal K r i s h n a G o k h a l e , Pherozeshah Mehta and Dadabhai Naoroji held firm to calls for negotiations and political dialogue. Gokhale criticized Tilak for encouraging acts of violence and disorder. But the Congress of 1906 did not have public membership, and thus Tilak and his supporters were forced to leave the party. statement of intent the proposal

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World War 1 When the British entered the British Indian Army into World War I, it provoked the first definitive, nationwide political debate of its kind in India. Voices calling for political independence grew in number. The divided Congress reunited in the pivotal Lucknow session in 1916, with Bal Gangadhar Tilak and Gopal Krishna Gokhale adorning the stage together once again. Tilak had considerably moderated his views, and now favoured political dialogue with the British. He, along with the young Muhammad Ali Jinnah and Mrs. Annie Besant launched the Home Rule Movement to put forth Indian demands for Home Rule â&#x20AC;&#x201C; Indian participation in the affairs of their own country â&#x20AC;&#x201C; a precursor to Swaraj. The All India Home Rule League was formed to demand dominion status within the Empire.

B A L G A N G A D H A R T I L A K http://besttoppers.com/wp-content/uploads/2011/08/bal-gangadhar-tilak-b1.jpg

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Arrival of Gandhi But another Indian man with another way was destined to lead the Congress and the Indian struggle. Mohandas Gandhi was a lawyer who had successfully led the struggle of Indians in South Africa against British discriminatory laws. Returning to India in 1916, Gandhi looked to Indian culture and history, the values and lifestyle of its people to empower a new revolution, with the art of non-violent civil disobedience he coined Satyagraha, which will be further detailed further. Champaran -

In Champaran, a district in state of Bihar, tens of thousands of landless serfs, indentured laborers and poor farmers were forced to grow indigo and other cash crops instead of the food crops which was necessary for their survival. These goods were bought from them at a very low price. Suppressed by the ruthless militias of the landlords (mostly British), they were given measly compensation, leaving them in extreme poverty. Now in the throes of a devastating famine, the British levied an oppressive tax which they insisted on increasing in rate.

Without food and without money, the situation was growing progressively unlivable and the peasants in Champaran revolted against conditions in indigo plant cultivation in 1914 (at Pipra) and in 1916 at (Turkaulia). Raj Kumar Shukla, an indigo cultivator, persuaded Mahatma Gandhi to go to Champaran and the Champaran Satyagraha began. Gandhi arrived in Champaran 10 April 1917 with a team of[1] eminent lawyers:[2] Brajkishore Prasad, Rajendra Prasad, Anugrah Narayan Sinha and others including Acharya kripalani Gandhi established an ashram in Champaran, organizing scores of his veteran supporters and fresh volunteers from the region. He organized a detailed study and survey of the villages, accounting the atrocities and terrible episodes of suffering, including the general state of degenerate living.

M A H A T A M A

G A N D H I

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Gandhi established an ashram in Champaran, organizing scores of his veteran supporters and fresh volunteers from the region. He organized a detailed study and survey of the villages, accounting the atrocities and terrible episodes of suffering, including the general state of degenerate living. But his main assault came as he was arrested by police on the charge of creating unrest and was ordered to leave the province. Hundreds of thousands of people protested and rallied outside the jail, police stations and courts demanding his release, which the court unwillingly did. Gandhi led organized protests and strike against the landlords, who with the guidance of the British government, signed an agreement granting more compensation and control over farming for the poor farmers of the region, and cancellation of revenue hikes and collection until the famine ended. It was during this agitation, that Gandhi was addressed by the people as Bapu and Mahatma.

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JALLIANWALA BAGH MASSACRE The tragedy involved the killing of hundreds of unarmed, defenseless Indians by a senior British military officer, took place on 13 April 1919 in the heart of Amritsar, the holiest city of the Sikhs, on a day sacred to them as the birth anniversary of the Khalsa. Jallianwala Bagh,. a garden belonging to the Jalla, derives name from that of the owners of this piece of land in Sikh times. It was then the property the family of Sardar Himmat Singh, a noble in the court of Maharaja Ranjit Singh (1780-1839), who originally came from the village of Jalla, now in Fatehgarh Sahib district of the Punjab. The family were collectively known as Jallhevale or simply Jallhe or Jalle, although their principal seat later became Alavarpur in Jalandhar district. The site, once a garden or garden house, was in 1919 an uneven and unoccupied space, an irregular quadrangle, indifferently walled, approximately 225 x 180 meters which was used more as a dumping ground.

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JALLIANWALA BAGH MASSACRE http://www.jallianwalabagh.ca/intro/GWsF40i.jpg

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The site, once a garden or garden house, was in 1919 an uneven and unoccupied space, an irregular quadrangle, indifferently walled, approximately 225 x 180 meters which was used more as a dumping ground. The total crowd was estimated at between 15,000 and 20,000, Sikhs comprising a large proportion of them. Eventually an enquiry committee was set up. The Disorder Inquiry Committee known as Hunter Committee after its chairman, Lord Hunter, held BrigadierGeneral R.E.H. Dyer guilty of a mistaken notion of duty, and he was relieved of his command and prematurely retired from the army. The Indian National Congress held its annual session in December 1919 at Amritsar and called upon the British Government to "take early steps to establish a fully responsible government in India in accordance with the principle of self determination”.

The Sikhs formed the All India Sikh League as a representative body of the Panth for political action. The League held its first session in December 1919 at Amritsar simultaneously with the Congress annual convention. On 13 March 1940, O’Dwyer was one of the scheduled speakers at a joint meeting of the East India Association and the Royal Central Asian Society. As O’Dwyer was conversing with Lord Zetland, the Secretary of State for India, Udham Singh took out a concealed revolver and fired a number of shots: two bullets struck O’Dwyer, who died instantly, and another bullet wounded Zetland. Udham Singh made no attempt to escape and was at once apprehended. The whole event is one big black spot on the whole time line of the Indian Freedom struggle, that is still reckoned today, as a resentful event but at the same time it can be one event that can be taken inspiration from.

UDHAM SINGH JALLIANWALA BAGH MASSACRE http://www.muthamil.com/2009/images/jallianwalla_bagh.jpg

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GENERAL DYER

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MOPLAH REBELLION at MALABAR REGION In 1921 the Muslim peasants of the Malabar districts of Kerala known as the Moplahs rose against their landlords, the Namboodris and Nairs. These upper classes exploited the peasants. The Moplahs had no security of their tenure. The renewal of fees, high rents and other extractions by the zamindars, broke the backbone of the Moplahs. They became united and made armed attacks on the Namboodris, Nairâ&#x20AC;&#x2122;s and other higher castes. The British Government became active and suppressed them.

PRISONERS of the MOPLAH REBELLION http://upload.wikimedia.org/wikipedia/commons/5/5d/Moplah_prisoners_go_to_trial_at_Calicut.jpg

CIVIL DISOBEDIENCE & NON COOPERATION MOVEMENT Civil disobedience is the active, professed refusal to obey certain laws, demands, and commands of a government, or of an occupying international power.

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Civil disobedience is commonly, though not always, defined as being nonviolent resistance. It is one form of civil resistance. In one view (in India, known as ahimsa or satyagraha) it could be said that it is compassion in the form of respectful disagreement Amritsar simultaneously with the Congress annual convention. Under the leadership of Gandhiji, the Civil Disobedience Movement was launched in AD 1930. It began with the Dandi March. On 12 March 1930, Gandiji with some of his followers left the Sabarmati Ashram at Ahmedabad and made their way towards Dandi, a village on the west coast of India. After travelling for twenty-five days and covering a distance of three hundred and eightyfive kms, the group reached Dandi on 6 April 1930. Here, Gandhiji protested against the Salt Law (salt was a monopoly of the government and no one was allowed to make salt) by making slat himself and throwing up a challenge to the British government. The Dandi March signified the start of the Civil Disobedience Movement. The movement spread and salt laws were challenged in other parts of the country. Salt became the symbol of peopleâ&#x20AC;&#x2122;s defiance of the government.

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The Civil Disobedience Movement carried forward the unfinished work of the Non-Cooperation Movement. Practically the whole country became involved in it. Hartals put life at a standstill. There were large-scale boycotts of schools, colleges and offices. Foreign goods were burnt in bonfires. People stopped paying taxes. In the North-West Frontier Province, the movement was led by Khan Abdul Ghaffar Khan, popularly known as ‘Frontier Gandhi’. For a few days, British control over Peshawar and Sholapur ended. People faced the batons and bullets of the police with supreme courage. No one retaliated or said anything to the police. As reports and photographs of this extraordinary protest began to appear in newspapers across the world, there was a growing tide of support for India’s freedom struggle.

Mahatma Gandhi announced his plan to begin NonCooperation with the government as a sequel to the Rowlatt Act, Jallianwala Bagh massacre and the Khilafat Movement. It was approved by the Indian National Congress at the Nagpur session in December, 1920. The programmes of the NonCooperation Movement were: - Surrender of titles and honorary positions. - Resignation of membership from the local bodies. - Boycott of elections held under the provisions of the 1919 Act. - Boycott functions. - Boycott government colleges.

government

of courts, schools and

- Boycott of foreign goods. - Establishment of national schools, colleges and private panchayat courts. - Popularizing goods and khadi.

swadeshi

The movement began with Mahatma Gandhi renouncing the titles, which were given by the British. MAHATAMA GANDHI during a MEETING http://library.thinkquest.org/C0125481/gandhienglish/gandhi3.jpg

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I n 1 9 2 1 , m a s s demonstrations were held against the Prince of Wales during his tour of India. The government resorted to strong measures of repression. Many leaders were arrested. The Congress and the Khilafat Committees were proclaimed as illegal. At several places, bonfires of foreign clothes were organised. The message of Swadeshi spread everywhere. Most of the households took to weaving cloths with the help of charkhas. But the whole movement was abruptly called off on 11th February 1922 by Gandhi following the Churi Chaura incident in the Gorakpur district of U.P. The revolt movement shocked the British authorities. On 4th February 1922, in the Chauri Chaura, a violent clash broke up between local police and protestors. Gandhi went on for a 3 days fast to appeal to the Indians to stop all resistance and the movement was called off. CHAURI CHAURA INCIDENT At the brisk and the trail of the non - cooperation movement there was a mishap at Chauri Chaura, which is a small village in the Gorakhpur district of Uttar Pradesh.

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Women rally during the Non-Cooperation movement http://www.indianetzone.com/photos_gallery/38/NonCooperationMovement_-245.jpg

On 5 February 1922, the police stationed there fired at a group of demonstrators. The demonstrators retaliated by burning down the police station, which caused the death of twenty-two policemen. Gandhiji had all through the movement emphasized on peace and non-violence. This incident, deeply hurt him and he called off the movement. On 10 March 1922, he was arrested and sentenced to six years imprisonment. The national movement during eh years AD 19051922 turned into a popular movement largely due to the efforts of Gandhiji. In the following years, he was the person who symbolized the attempts of the Indians to secure freedom from British rule.

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Hartals were observed and it was welcomed with black flags. Its members were a'sked by the people everywhere to go back. Still it completed its work and submitted its report in 1930 which was made the basis for the Government of Indian Act of 1935.

It was in the wake of the anti-Rowlatt agitation that Gandhiji, who had so long been sitting on the periphery of politics, took an active part in it. Struggle against the Rowlatt Act the same weapons of non-violence and Satyagraha were applied. In organising the ensuing political movement Gandhiji constituted a 'Satyagraha Sabha' in Bombay of which he himself was the President. Meetings were held all over the country in protest, and people were invited to sign a Satyagraha pledge. In the pledge people, took the vow that they would not deviate from the path of nomviolence under any circumstances.

RALLY DURING THE SIMON COMMISSION GO BACK http://www.sankalpindia.net/drupal/sites/default/files/images/shaheed02.jpg

ROWLATT ACT The 'Anarchical and Revolutionary Act, of 1919 was popularly known as the Rowlatt Act. As the said Act was framed on the basis of a report submitted by a committee headed by Justice Rowlatt, the Act came to be called the 'Rowlatt Act'. Tumult of protest was raised all over the country immediately after the promulgation of the 'Black Act', as the Rowlatt Act came to be called. Opposition to the Rowlatt Act took the form of strikes and protest meetings all over the country. statement of intent the proposal

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NEWSPAPER PRINT of the ROWALTT ACT http://library.thinkquest.org/26523/media/big/RowlattAct.gif

People all over the country responded magnificently to Gandhiji's call, and the hartal of 6 April (1919) was widely observed.

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KAKORI TRAIN CONSPIRACY The Kakori train robbery was a watershed event in the annals of Indian revolutionary movement. The sheer audacity and courage of this assault and its successful execution gave an impetus to the fledgling rebellious activities being waged across the country. Frontline leaders of the Hindustan Republican Association, an underground rebel outfit, such as Ashfaqullah Khan, Ramprasad Bismil and Chandrasekhar Azad were the lynchpin of the Kakori train robbery. The members of the HRA approved this audacious plan and decided that the looted money would be used to garner arms and ammunition for the movement. August 9, 1925 was chosen as the D-day and a select group of ten including Ashfaqullah Khan, Ramprasad Bismil and Chandrasekhar Azad was entrusted the responsibility for execution. As the train was approaching the Kakori town, one of the revolutionaries stopped the train by pulling the chain and the rest overpowered the guard. After breaking into the guard's van the rebels escaped with the loot.

Repercussions of this robbery were swift and lethal. The government used all its resources in launching a massive manhunt and one by one all the revolutionaries fell into the police dragnet. After a farcical trial, Ashfaqullah Khan, Ramprasad Bismil, Roshan Singh, and Rajendra Lahiri were hanged. But the eternal survivor that he was, Chandrashekhar Azad managed to elude the police and continued his fight for many years to come. HSRA & BHAGAT SINGH Hindustan Socialist Republican Association (HSRA) was a revolutionary organisation, also known as Hindustan Socialist Republican Army established in 1928 at Feroz Shah Kotla New Delhi by Chandrasekhar Azad, Bhagat Singh, Sukhdev and others. Likewise the Hindustan Republican Association (HSRA) was also a revolutionary organisation which worked more intensly from 1928 to 1931 in the Indian subcontinent to uproot the British Raj from the country through armed struggle.

RAJGURU SUKHDEV other important members of the HSRA statement of intent the proposal

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In February 1922 some agitating farmers were killed in Chauri Chaura by the police. The police station of Chauri Chaura was attacked by the people and 22 policemen were burnt alive. Without ascertaining the facts behind this incident, declared an immediate stop the non-cooperation movement without consulting any executive committee member of the Congress. Bismil and his group of youths strongly opposed Gandhi in the Gaya Congress of 1922. When Gandhi refused to rescind his decision, the Indian National Congress was divided into two groups â&#x20AC;&#x201C; one liberal and the other for rebellion. In January 1923, the rich a group of party formed a new Swaraj Party under the joint leadership of Moti Lal Nehru and Chittranjan Das, and the youth group formed a revolutionary party under the leadership of Bismil. From 1924 to 1925, the HRA grew in numbers with the influx of new members like Bhagat Singh, Chandrasekhar Azad, Sukhdev and Ram Prasad Bismil. Many early attempts at disruption and obtaining funds, such as the robbery of a post office in Calcutta and of monies belonging to a railway at Chittagong, both in 1923, but the Kakori train robbery was the most prominent of the early HRA efforts. statement of intent the proposal

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SAUNDERS MURDER CASE In 1928, the British government set up the Commission, headed by Sir John Simon, to report on the political situation in India. The Indian political parties boycotted the Commission, because it did not include a single Indian in its membership, and it met with country-wide protests. When the Commission visited Lahore on 30 October 1928, Lala Lajpat Rai led a nonviolent protest against the Commission in a silent march, but the police responded with violence. The lathi charge grievously took lives of Lala Lajpat Rai, another prominent leader of the Home Rule party then. Although Singh did not witness the event,[15] he vowed to take revenge,[14] and joined other revolutionaries, Shivaram Rajguru, Sukhdev Thapar and Chandrashekhar Azad, in a plot to kill Scott.[4] However, in a case of mistaken identity, Singh was signalled to shoot on the appearance of John P. Saunders, an Assistant Superintendent of Police. He was shot by Rajguru and Singh while leaving the D i s t r i c t P o l i c e Headquarters in Lahore on 17 December 1928.

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SALT LAW & DANDI MARCH -

LAHORE CONSPIRACY CASE On April 8, 1929, Bhagat Singh and Batukeshwar Dutt, two active members of the Hindustan Republican Socialist Association, went to the Central Legislative Assembly and threw a bomb at government benches and raised the slogan of 'Long Live the Revolution'.

Mahatma Gandhi led this movement and marched on foot from his Sabarmati Ashram in Ahmadabad to Dandi on the Gujarat coast, to break the salt law. The law did not permit people to make or collect salt from the sea. The violation of the salt law was his first challenge to the British There were no casualties. government. Gandhiji was Bhagat Singh, Batukeshwar arrested and kept in jail at Dutt and their companions Poona. were taken into custody. All the prisoners were brutally Thousands of men and women treated in jail. Jatin Dass, j o i n e d i n t h e C i v i l a political prisoner died Disobedience movement. after a 64 days' hunger About 60 thousand persons strike in jail. Bhagat went to jail in the course Singh, Rajguru and Sukhdev o f t h e m o v e m e n t . T h e were sentenced to death. B r i t i s h w e l c o m e d t h e Their execution aroused a Satyagrahis with blows and wave of indignation all over lathis. Many were killed. the country. The movement spread to every part of India including the princely states. The movement was led by Abdul Ghaffar Khan in the northwest, Rani Gaidinliu of Nagaland in the northeast and C. Rajagopalachari in the south NEWSPAPER PRINT of the LAHORE CONSPIRACY CASE http://www.liveindia.com/freedomfighters/Bhagat_singh_Batukeshwer.jpg

PAINTING SHOWING GANDHI ji MAKING SALT AFTER the MARCH

BHAGAT SINGH an unsung hero

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Salt production and distribution in India had long been a lucrative monopoly of the British. Through a series of laws, the Indian populace was prohibited from producing o r s e l l i n g s a l t independently, and instead Indians were required to buy expensive, heavily taxed salt that often was imported.

SALT LAW & DANDI MARCH -

Mahatma Gandhi led this movement and marched on foot from his Sabarmati Ashram in Ahmadabad to Dandi on the Gujarat coast, to break the salt law. The law did not permit people to make or collect salt from the sea. The violation of the salt law was his first challenge to the British government. Gandhiji was This affected the great arrested and kept in jail at majority of Indians, who Poona. were poor and could not afford to buy it. Indian Thousands of men and women protests against the salt j o i n e d i n t h e C i v i l tax began in the 19th Disobedience movement. century and remained a major About 60 thousand persons contentious i s s u e went to jail in the course throughout the period of o f t h e m o v e m e n t . T h e British rule of the British welcomed the subcontinent. Satyagrahis with blows and lathis. Many were killed. This one of the prime The movement spread to reasons of why the british e v e r y p a r t o f I n d i a authorities made the salt including the princely law, it was primarily states. The movement was towards making their own led by Abdul Ghaffar Khan in profit seldom referring the t h e n o r t h w e s t , R a n i morale conduct. Gaidinliu of Nagaland in the northeast and C. Rajagopalachari in the south

Women cooking food using Salt after the March http://1.bp.blogspot.com/-N7KfjcT848A/TpyFms8QrPI/AAAAAAAAAOA/ p3M5v8L1ZnM/s300/Breaking%2BSalt%2BLaw.jpg

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Gandhiâ&#x20AC;&#x201C;Irwin Pact refers to a political agreement signed by Mahatma Gandhi and the then Viceroy of India, Lord Irwin on 4th March 1931. It was signed after meetings between Gandhi and the Viceroy that spanned over a three week time period. Many Indian citizens were originally unsatisfied with the conditions of this truce. The agreement spelled out certain specific action points, to be initiated by the colonial Government of India as well as the Indian National Congress. Important action points of the Pact included:

- The removal of the tax on salt, which allowed the Indians to produce, trade, and sell salt legally and for their own private use.

NEWSPAPER ARTICLE on GANDHI IRWIN PACT, PRE INDEPENDENCE http://images.rarenewspapers.com/ebayimgs/6.21.2011/image071.jpg

INDIAN NATIONAL ARMY & SUBHASH CHANDRA BOSE -

- Discontinuation of the civil disobedience movement During the Second World by the Indian National War, Subhash Chandra Bose, Congress. an extremist freedom fighter, organised the - Participation by the Indian National Army. Indian National Congress in the Round Table Conference. It consisted of Indian soldiers and officers who - W i t h d r a w a l o f a l l had been made prisoners of ordinances issued by the war by the Japanese Army. He British Government imposing gave two important slogans curbs on the activities of 'Jai Hind' and 'Delhi t h e I n d i a n N a t i o n a l Chalo'. Congress. Subhash Chandra Bose - W i t h d r a w a l o f a l l declared, 'Give me blood, I prosecutions relating to shall give you freedom'. several types of offenses The I.N.A. took a military except those involving c a m p a i g n a g a i n s t t h e violence. British for the liberation of India. In 1944, the three - Release of prisoners units of the I.N.A. along arrested for participating with the Japanese troops in the civil disobedience moved into the Imphalmovement Kohima region on the IndoBurma border. statement of intent the proposal

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Though the I.N.A. was defeated, yet the activities of Subhash Chandra Bose and the I.N.A. served to strengthen the anti-imperialist struggle in India. The national movement grew even more strong after the formation of the Indian National Army (INA), popularly known as the â&#x20AC;&#x2DC;Azad Hind Faujâ&#x20AC;&#x2122;. A pioneering role in its formation was taken by the Indian Independence League, an association formed by Rash Behari Bose. General Mohan Singh was an important leader of this army. The army comprised largely of Indian prisoners of war who were serving under the British and had been captured by the Japanese during the war. Some Indians settled in South-east Asia also joined this army, raising its strength to about forty-five thousand soldiers.

NETAJI SUBHASH CHANDRA BOSE a brief Subhash Chandra Bose was an ambitious young man. He went to England to compete for the I.C.S.Examination; He occupied the fourth position among the successful candidates in this difficult examination. He came back to India. At that time the Non-cooperation Movement had started in India. Like others, Subhash too joined this movement. He was deeply influenced by Desabandhu Chittaranjan Das. He fought against the British rule. In 1938 and 1939, Subhash Chandra Bose was elected the President of the National Congress. But he left Congress in 1939 as he had differences with Mahatma Gandhi. He maintained progressive views while Gandhiji put emphasis on non-violence. He then formed Forward Block which became a very powerful party. He knew that Gandhiji's policy of non-violence would not remove the British Government from India.

A file photo of Netaji with the INA leaders http://en.wikipedia.org/wiki/File:Netaji_Subhas_Chandra_Bose_and_ Members_of_the_Azad_Hind_Fauj_-_1940%27s.jpg

A file photo of Netaji &Gandhiji http://www.historytoday.com/sites/default/files/bose_gandhi.jpg

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He wanted the help of a big power to fight the British rule. So he left India in disguise and went to Germany. He founded the Indian National Army there with the Indian Prisoners of war. But the German dictator Hitler disappointed him. He then came to Japan by sea. There he 'was called "Netaji". He gave the slogan "Delhi Chalo" (March to Delhi). Under his active INA soldiers making a mark after the victory in Burma leadership, the INA http://www1.sulekha.com/mstore/subbun/albums/INA_Jubilation.jpg soldiers marched up to He left for Tokyo in a plane. Manipur through Burma. He The plane met a crash on the got the help from Japan to Inland of Formosa. Netaji was form Azad Hind Fauz. reported killed in that plane accident.

There was a fierce fight between the patriotic soldiers and the AngloAmerican Forces. Netaji was sure to win. But an unfortunate thing happened. Japan surrendered to the Anglo-America Block of powers. Netaji was bound to-surrender. He left for Tokyo in a plane.

Well it still remains a mystery if that was true what happened, or was a plotted mockery. It is still unknown to many. But whatever the fact was, one thing remains clear about the fact that his efforts and were far more progressive and prominently much effective, though contradictory to the moderate approach of the Gandhian theories and principles.

N e t a j i

S u b h a s h

C h a n d r a

B o s e

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QUIT INDIA MOVEMENT & FINAL YEARS In August 1942, Gandhiji launched the Quit India Movement. A resolution was passed on 8 August 1942 in Bombay by the All India Congress Committee, declaring its demand for an immediate end of British rule. The Congress decided to organize a mass struggle on non-violent lines on the widest possible scale. Gandhiji’s slogan of ‘Do or Die’, which inspired the nation. Every man, women and child began dreaming of a free India.

A rally during the QUIT INDIA movement http://www.bookdrum.com/images/books/67384_m.jpg

Places such as Ballia, Tamluk, Satara, Dharwar, Balasore and Talcher were freed from British rule and the people there formed their own governments.

The British responded with terrible brutality. The army was called out to assist the police. There were lathi-charges and firing at the unarmed demonstrators. Even old men and children were shot dead while taking part in The people, however, were processions. unstoppable. There were hartals and demonstrations Protestors were arrested all over the country. The and tortured and their people attacked all symbols homes raided and destroyed. of the British government By December 1942, over such as railway stations, sixty thousand people had law courts and police been jailed. stations. Railway lines were damaged and telegraph lines were cut. In some places, people even set up their independent government. The government’s response to the movement was quick. The Congress was banned and most of its leaders were arrested before they could start mobilizing the people.

The movement was most widespread in Uttar Pradesh, Bihar, Bengal, Bombay, Odisha and Andhra Pradesh. statement of intent the proposal

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A file photo of Lord Mountbatten & Gandhi http://gildaandtheroyals.files.wordpress.com/2011/10/gandhi-lord-mountbattent-photographer-douglas-duncan1.jpg

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The few leaders who had escaped arrest went into hiding and tried to guide the mass movement. Among them were Jai Prakash Narayan, S M Joshi, Aruna Asaf Ali, Ram Manohar Lohis, Achyut Patwardhan and Smt Sucheta Kripalani.

The Cripps Mission of 1942, the Wavell Plan of 1945 and the Cabinet Mission of 1946 contributed a lot for the partition of India. At last, the Mountbatten Plan and Indian Independence Act of 1947 led to the final partition of India.

The Indians suffered greatly throughout the Second World War. There was a terrible famine in Bengal in AD 1943 in which over thirty lakh people died. The government did little to save the starving people.

The main provisions of the Indian Independence Act of 1947 were as follows:

INDIA INDEPENDENCE ACT On the brisk of the later years of freedom struggle, when the QUIT INDIA movement had splurged its mark, and gave enough air to the fire of freedom amongst the countrymen. The growing communalism among the Muslims led to a two-nation theory. The Hindu-Muslim unity which had lasted for some time in the colonial India shattered into pieces. The process was furthered due to the British sympathytowards the Muslims. The Congress always succumbed to the pressure of the Muslim League which made them firm on their demand for Pakistan.

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1. On 15th August 1947, after the partition of India, two independent kingdoms. India and Pakistan would be established. 2. Eastern Bengal, Western Punjab, Sindh and NorthWest Frontier Province would be included in Pakistan. 3. It was not obligatory on the part of both the nations to accept the membership of the British Commonwealth of Nations. The choice was left to India and Pakistan. 4. The title Kaiser-i-Hind awarded to the British Crown would be abolished and the post of the Secretary of States for India would come to an end. 5. Before the framing of new Constitutions in India and Pakistan, both the countries would be governed under the Government of India Act.1953.

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6. The native rulers were given the choice to join any State they liked. 7. Those who had joined the civil service before 15th August, 1947 would continue in that service after independence. They would enjoy the same privileges and rights relating the remuneration, leave, pension etc.

People commuting from India to newly formed Pakistan, during the partition h t t p : / / w w w. s o c i a l s c r i b b l e r s . i n / w p - c o n t e n t / u p l o a d s / 2 0 1 3 / 0 8 / P a r t i o n 1 . j p g

INDO - PAK PARTITION -

It resulted in a struggle between the newly constituted states of India and Pakistan and displaced up to 12.5 million people with estimates of loss of life varying from several hundred thousand to a million (most estimates of the numbers of people who crossed the boundaries between India and Pakistan in 1947 range between 10 and 12 million).

The partition of India was set forth in the Indian Independence Act 1947 and resulted in the dissolution of the British Indian Empire and the end of the British Raj.

The violent nature of the partition created an atmosphere of mutual hostility and suspicion between India and Pakistan that plagues their relationship to this day.

Accordingly, Mohammed Ali Jinnah became the Governor General of Pakistan on 15th August, 1947. From the Red Fort in Delhi, Pandit Jawaharlal Nehru delivered his 'Tryst with Destiny' speech on 15th August, 1947 as the clock struck 12 and India became independent of the British rule.

A file photo of Lord Mountbatten & Jawahar lal Nehru delivering a speech with fellow committee members, taking over ceremony after the freedom was gained h t t p : / / m e d i a . i w m . o r g . u k / i w m / m e d i a L i b / 3 2 / m e d i a - 3 2 8 9 6 / l a r g e . j p g

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The partition not just took in the North West frontier as most of the people know, which was the main part of the Punjab state being dissected into part Pakistan and partly in India. The other effected states or the regions where similar partitions happened were in Bengal, which formed into Bangladesh.

Some areas in west Punjab, including Lahore, Rawalpindi, Multan, and Gujrat, had a large Sikh and Hindu population, and many of the residents were attacked or killed. On the other side, in East Punjab, cities such as Amritsar, Ludhiana, Gurdaspur, and Jalandhar had a majority Muslim population, of which thousands were killed or emigrated.

THE PUNJAB PARTITION The Indian state of East Punjab was created in 1947, when the Partition of India split the former British province of Punjab between India and Pakistan. The mostly Muslim western part of the province became Pakistan's Punjab province; the mostly Sikh and Hindu eastern part became India's East Punjab state. Many Hindus and Sikhs lived in the west, and many Muslims lived in the east, and the fears of all such minorities were so great that the partition saw many people displaced and much intercommunal violence. Lahore and Amritsar were at the centre of the problem, the Boundary Commission was not sure where to place them â&#x20AC;&#x201C; to make them part of India or Pakistan. The Commission decided to give Lahore to Pakistan, whilst Amritsar became part of India.

INDIA BEFORE PARTION http://upload.wikimedia.org/wikipedia/en/6/67/India-partition.png

I N D I A A F T E R PA R T I O N http://upload.wikimedia.org/wikipedia/en/6/67/India-partition.png

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BENGAL PARTITION The province of Bengal was divided into the two separate entities of West Bengal belonging to India, and East Bengal belonging to Pakistan. East Bengal was renamed East Pakistan in 1955, and later became the independent nation of Bangladesh after the Bangladesh Liberation War of 1971. While the Muslim majority districts of Murshidabad and Malda were given to India, the Hindu majority district of Khulna and the majority Buddhist, but sparsely populated Chittagong Hill Tracts was given to Pakistan by the award.

PEOPLE COMMUTING DURING BENGAL PARTITION http://www.e-ir.info/wp-content/themes/yamidoo_slider/scripts/timthumb. Php?src=wp-content/uploads/Doc-Kazi.jpg&w=310&h=225&zc=1

SINDH PARTITION Hindu Sindhis were expected to stay in Sindh following Partition, as there were good relations between Hindu and Muslim Sindhis. At the time of Partition there were 1,400,000 Hindu Sindhis, though most were concentrated in cities such as Hyderabad, Karachi, Shikarpur, and Sukkur. statement of intent the proposal

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However, because of an uncertain future in a Muslim country, a sense of better opportunities in India, and most of all a sudden influx of Muslim refugees from Gujarat, Uttar Pradesh, Bihar, Rajputana (Rajasthan) and other parts of India, many Sindhi Hindus decided to leave for India. Problems were further aggravated when incidents of violence instigated by Muslim refugees broke out in Karachi and Hyderabad. According to the census of India 1951, nearly 776,000 Sindhi Hindus moved into India. Unlike the Punjabi Hindus and Sikhs, Sindhi Hindus did not have to witness any massive scale rioting; however, their entire province had gone to Pakistan thus they felt like a homeless community. Despite this migration, a significant Sindhi Hindu population still resides in Pakistan's Sindh province where they number at around 2.28 million as per Pakistan's 1998 census while the Sindhi Hindus in India as per 2001 census of India were at 2.57 million.

RIOT SCENE DURING the PARTITION of INDIA http://1.bp.blogspot.com/-PDLx5jCkx7Q/T6-6q7OTchI/AAAAAAAAR1k/oLCfbNskqBo/s400/Bloody+ Partition+of+India+BBC+Picture+Men,+women+and+children+who+died+in+the+rioting+were+ cremated+on+a+mass+scale.+Villagers+even+used+oil+and+kerosene+when+wood+was+scarce..jpg

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LORD MOUNTBATTEN during INDIA INDEPENDENCE ACT 1947 formation http://upload.wikimedia.org/wikipedia/en/thumb/9/95/Mountbatten_4_august_1947.jpg/220px-Mountbatten_4_august_1947.jpg

AFTERMATH of the PARTITION The partition of India was never a smooth task. The Radclife plan of Lines of Control, between India & Pakistan, which sub o r d i n a t e d m a n y consequential events during those years. Many riots and killings happened, refugees in numbers of thousands, were settling down in India, and with a newly form India state, it was already facing crisis of economy, infrastructure, government organizations, which indirectly propagate the situations to worse.

Many Sikhs and Hindu Punjabis migrated from Western Punjab and settled in the Indian parts of Punjab and Delhi. Hindus migrating from East Pakistan (now Bangladesh) settled across Eastern India and Northeastern India, many ending up in close-by states like West Bengal, Assam, and Tripura. Some migrants were sent to the Andaman islands where Bengali today form the largest linguistic group. After the borders were announced, millions of people sought to rejoin their new country, convinced they could no longer live together. Nine million Hindus left Pakistan and six million Muslims left India. A million refugees crossed the borders on foot, forming human columns over dozens of miles long, in rags, exhausted, starved, crushed by sorrow. Others, leaving in trains, never arrived. Witnesses described â&#x20AC;&#x153;death trainsâ&#x20AC;? filled with mutilated cadavers, the train wheels dripping blood. There were between 150,000 and a million deaths in a few months.

PEOPLE taking REFUGE during the PARTITION http://upload.wikimedia.org/wikipedia/en/d/df/Two-men-carrying-woman1947.jpg

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In the aftermath of partition, a huge population exchange occurred between the two newly formed states. About 14.5 million people crossed the borders, including 7,226,000 Muslims who came to Pakistan from India while 7,249,000 Hindus and Sikhs moved to India from Pakistan. About 5.5 million settled in Punjab, Pakistan and around 1.5 million settled in Sindh.

Prime Minister Nehru was intensely popular with the masses, but Patel enjoyed the loyalty and the faith of rank and file Congressmen, state leaders and India's civil services. Patel was a senior leader in the Constituent Assembly of India and was responsible in a large measure for s h a p i n g I n d i a ' s constitution. He is also known as the "Bismarck of India" Patel was a key force behind the appointment of Dr. Bhimrao Ramji Ambedkar as the chairman of the drafting committee, and the inclusion of leaders from a diverse political spectrum in the process of writing the constitution.

MAHATAMA GANDHI & MOHMMAD ALI JINNAH http://news.bbc.co.uk/media/images/44057000/jpg/_44057994_jinnah_gandhi.jpg

ROLE of SARDAR VALLABHBHAI PATEL after the PARTITION After the partition and freedom, when India was not in a good state, Sardar Patel was one person who looked after and took charge of most of the internal affairs of the Indian state.

Sardar

Vallabhbhai

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Patel was the chairman of the committees responsible for minorities, tribal and excluded areas, fundamental rights and provincial constitutions. Patel p i l o t e d a m o d e l constitution for the provinces in the Assembly, which contained limited powers for the state governor, who would defer to the Presidentâ&#x20AC;&#x201D;he clarified it was not the intention to let the governor exercise power which could impede an elected government. He worked closely with Muslim leaders to end separate electorates and the more potent demand for reservation of seats for minorities.He was also instrumental in the founding the Indian Administrative Service and the Indian Police Service, and for his defence of Indian civil servants from political attack, he is known as the "patron saint" of India's services.

When the Pakistani invasion of Kashmir began in September 1947, Patel immediately wanted to send troops into Kashmir. But agreeing with Nehru and Mountbatten, he waited till Kashmir's monarch had acceded to India. Patel then oversaw India's military operations to secure Srinagar, the Baramulla Pass and the forces retrieved much territory from the invaders. Patel, along with Defence Minister Baldev Singh administered the entire military effort, arranging for troops from different parts of India to be rushed to Kashmir and for a major military road connecting Srinagar to Pathankot be built in 6 months. In 1949, a crisis arose when the number of Hindu refugees entering West Bengal, Assam and Tripura from East Pakistan climbed over 800,000. The refugees in many cases were being forcibly evicted by Pakistani authorities, and w e r e v i c t i m s o f intimidation and violence. Nehru invited Liaquat Ali Khan, Prime Minister of Pakistan to find a peaceful solution. Despite his aversion, Patel reluctantly met Khan and discussed the matters.

S a r d a r Va l l a b h b h a i P a t e l & G a n d h i j i http://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Gandhi,_Patel

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Patel strongly criticised, however, Nehru's intention to sign a pact that would create minority commissions in both countries and pledge both India and Pakistan to a commitment to protect each other's minorities. Syama Prasad Mookerjee and K.C. Neogy, two Bengali ministers resigned and Nehru was intensely criticised in West Bengal for allegedly appeasing Pakistan. The pact was immediately in jeopardy. Patel however, publicly came out to Nehru's aid. He gave emotional speeches to members of Parliament, and the people of West Bengal, and spoke with scores of delegations of Congressmen, Hindus, Muslims and other public interest groups, persuading them to give peace a final effort.

Sardar Vallabhbhai Patel & fellow congressmen http://upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Congressmen.png/220px-Congressmen.png

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OTHER SMALLER EVENTS THE CHITTAGONG UPRISING & ARMORY RAID The Chittagong armoury raid also known as Chittagong uprising, was an attempt on 18 April 1930 to raid the armoury of police and auxiliary forces from the Chittagong armoury in Bengal province of British I n d i a b y a r m e d revolutionaries for Indian independence led by Surya Sen popularly known as Master-da. Chittagong now is in Bangladesh. The raiders were members of revolutionary groups believing in armed uprisings for Indian independence to liberate India from British colonial rule. The group was led by Masterda (Surya Sen), and included Ganesh Ghosh, Lokenath Bal, Nirmal Sen, Ambika Chakrobarty, Naresh Roy, Sasanka Datta, Ardhendu Dastidar, Harigopal Bal (Tegra), Tarakeshwar Dastidar, Ananta Singh, Jiban Ghoshal, Anand Gupta, Pritilata Waddedar, Kalpana Dutta, Binod Bihari Chowdhury, Subodh Roy and many others.

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Surya Sen devised the strategy of capturing the two main armories in Chittagong and then destroying the telegraph and telephone office, followed by assassination of members of the "European Club", the majority of whom were government or military officials involved in maintaining the British Raj in India. Firearms retailers were also to be raided, while rail and communication lines were to be cut in order to sever Chittagong from Calcutta. Over eighty troops and twelve revolutionaries were killed in the ensuing gunfight. Surya Sen dispersed his men to neighbouring villages in small groups and the revolutionaries escaped accordingly. A few of the revolutionaries fled to Calcutta while some were arrested.

Some of the revolutionaries managed to reorganize their broken organisation. On 24 September 1932, eight young rebels led by Pritilata Waddedar attacked the European Club, killing one woman. During 1930-32, 22 officials and 220 others w e r e k i l l e d b y revolutionaries in separate incidents. The mass trial of those arrested during and after the raids concluded in January 1932 and the judgment was delivered on 1 March 1932. Twelve of the defendants were sentenced to deportation for life, two received three-year prison sentences and the remaining 32 individuals were acquitted. T h e C h i t t a g o n g revolutionary group suffered a fatal blow when Masterda Surya Sen was arrested on 16 February 1933 from Gairala village after a tip-off from an insider of the group. For the reward money, jealousy, or both, Netra Sen told the British Government that Surya Sen was at his house. But before Netra Sen was able to get his 10,000 rupee reward, he was killed by the revolutionaries. Surya Sen along with Tarekeshwar Dastidar was hanged by the British on 12 January 1934.

SURYA SEN (MASTERDA)LEADER of the UPRISING http://en.wikipedia.org/wiki/File:Surya_Sen_before_1934.jpg

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PATHARUGHAT MASSACRE, ASSAM The massacre of Patharughat is as important as Jallianwala Bagh massacre. In fact, after the Sepoy Mutiny of 1857, the Patharughat is the biggest killings in India's freedom struggle. But tragically, Patharughat has no mention at the national-level history of Indian freedom struggle.

It is still noteworthy that in a country where farmers have made considerable contributions to the freedom struggle, they are still subjected to injustice and hardships of all kinds. If their lands are taken away for some constructive purpose by the government then the required compensation is not paid.

The date was January 28, 1894. On this day, one of the dark chapters of the Assamese history occurred when the Patharughat massacre took place. History is replete with many accounts of unsung heroes and here Patharughat is just another example.

There are still many instances and events unknown, that remain captivated in the heart of the places they have happened, which might not ne of much relevance to us so as for any purpose, but they have had their marks at the place they happened and must have had altered their The incident where about 140 farmers were massacred by being somehow. the bullets of the British government is a burning . . . . . example of the sacrifices that the peasants of the state have made for the love of justice and equality. This incident is a watermark in the history of peasant uprisings in India. Patharughatâ&#x20AC;&#x2122;s significance after all these years lies in the fact that though the oppressors have gone away, the conditions of our peasants still remain deplorable.

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THE STORY of FREEDOM As previously briefed about the various events and movements of the Indian Freedom struggle, which was mainly to form a basic platform for the further progression interims of the design objectives of the proposed project. The diagram formed below is a much consolidated ideation of the whole span of the Freedom struggle. It can be understood as a very rudimentary comprehension of the whole Story of Freedom and its basic understanding that will be essential to form very basic design level decision, which will be unveiled in the further chapters of the dissertation.

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3.2 live case studies - national museum, delhi - jallianwala bagh, amritsar - swatantra sangram sanghralya, delhi

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NATIONAL MUSEUM, DELHI AIM the main objective to study NATIONAL museum is to understand the programmatic & organizational aspects of a museum of such significance. LOCATION & ACCESS The museum is located in the heart of the Delhi city, at Janpath Marg that is in the premise of ‘LUTYEN’s DELHI’, that corresponds to its importance and significance. It is closely linked to Rajpath and very easily accessible.

achievements which may serve as cultural importance and the place acts as cultural center that instills interaction amongst people having artistic and cultural activity. Thus over the years of its functioning it has became an epitome of national identity and significance.

PROGRAM & VISION FRONT ENTRANCE of the NATIONAL MUSEUM

The museum mainly focusses on collection, preservation and display of various art objects of Historical, Cultural and Artistic s i g n i f i c a n c e a n d interpretation (research). To disseminate knowledge about the significance of the objects in respect of history, culture and artistic excellence and

FRONT ENTRANCE of the NATIONAL MUSEUM

SATELLITE IMAGERY SHOWING the ACCESS to the MUSEUM statement of intent the proposal the story of freedom

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AREA DETAIL’s & FIGURES -

FUNCTIONAL HIERARCHY of the MUSEUM

TOTAL PLOT AREA-36,000 sq.M F.A.R PERMITTED 84,000 sq.m

(250)

TOTAL BUILT UP (all floors) 34,300 sq.m GROUND COVERAGE 11,820 sq.m,

(35%)

GROUND COVERAGE - 11,000sq.m

BASIC OBSERVATION -

TOTAL SURFACE DISPLAY AREA - 32,220 sq.m

MUSEUM has well segregated function’s, with the galleries forming the core active zone, whereas the LIBRARY & AUDITORIUM supplements the museum as an ancillary zone.

TOTAL GALLERY AREA 15,000 sq.mt AUDITORIUM (250 seats) 650 sq.m, OFFICE AREA-1430 sq.m,

ADMINISTRATION’s and CONSERVATORY LABs which are more prominently private and authenticated zones are kept primarily separated, only administrative part open for PUBLIC are allocated on the GROUND FLOOR area.

LIBRARY - 650 sq.m CONSERVATION LAB - 650 sq.mt

The other important service allocations alignment are absolutely kept in the main circulation patch, but not well defined as service cores. For ex - the goods lift is located around the main vertical lift cores, which shall not be the case.

PERCENTAGE BREAK UP of FUNCTIONS

FRONT FACADE of the NATIONAL MUSEUM

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FUNCTIONAL ALLOCATIONS SECOND FLOOR

functions-(display zones) 1 & 2- costumes & textiles 3 & 4- pre colombian art 5 & 6- wood carving 7- musical instruments 8- tribal lifestyle 9- arms & armours 10- ethnic art 11& 12- (closed)

FIRST FLOOR

functions-(display zones) 1 & 2- costumes & textiles 3 & 4- pre colombian art 5 & 6- wood carving 7- musical instruments 8- tribal lifestyle 9- arms & armours 10- ethnic art 11& 12- (closed)

GROUND FLOOR

functions (display zones) 1- entrance / foyer 2- library 3- auditorium 4- harrapa civ. gallery 5- Maurya, Shungagupta art (5a, 5b, 5c, 5d) 5e- late medival art 5f - buddhist art 6- indian miniature painting 7 c o i n s a n d transcripts 8 & 9- decorative arts 10- jewellery ( special exhibition)

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SPATIAL ORGANIZATION & CHARACTER VOLUMETRIC CONFIGURATION of FUNCTION's -

ARCHITECTURAL & SPATIAL CHARACTER â&#x20AC;&#x201C; The building still has a classical feeling of Lutyens touch, which has been the prime governing force of the design and layout of the building. The central ENTRANCE ATRIUM or the COURT is one prime features that gives a spatial definition of a public of such a status quo.

CROSS SECTION through the ATRIUM

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IMAGE of the ATRIUM

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SERVED v/s SERVANT -

GROUND FLOOR

FIRST FLOOR & SECOND FLOOR

Moreover the parity between the SERVED & SERVANT SPACES is in a apt proportion where the servant space does not over powers the served spaces. Open spaces as shown in the plan here are clearly demarcating its purpose of bringing in light and ventilation and also orient the service for its d u c t s a n d o t h e r technicalities.

GALLERY SPACES ( these spaces form the main served spaces)

It is clearly demarcated in the museum that the gallery are the most prioritized space, through their area allocation & aesthetics. statement of intent the proposal the story of freedom

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CIRCULATION -

GROUND FLOOR

FIRST FLOOR & SECOND FLOOR

PASSAGE from the GROUND FLOOR

CORRIDOR AREA around the GALLERIES

CORRIDOR AREA around the GALLERIES opening towards the CENTRAL COURT

RAMP PROVISION in GALLERIES

The central ROTUNDA or the COURT is one prime feature inspired from most of the colonial structures especially that of the parliament house, around which is the main circulation and movement. statement of intent the proposal the story of freedom

CROSS SECTION through the CENTRAL COURT S H OW I N G t h e M A I N C O R R I D O R

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VIEW of the CENTRAL ROTUNDA

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OTHER OBSERVATIONâ&#x20AC;&#x2122;s apart from the quantitative % functional aspects, there have been other smaller intangible issues like - lighting for the display (artificial & natural) - provisions to provide in for handicapped movement pattern. - RANGE & TYPE of exhibits. - Even the ancillary functions like the library and the auditorium were not only given proper area allocation, but also were aptly located and designed so as to make it a holistic design consolidation.

VIEW of the LIBRARY

VIEW of an EXHIBIT in a gallery

VIEW of an EXHIBIT in a gallery, through ARTIFICIAL LIGHTING

VIEW of the AUDITORIUM

FLOOR MOUNTED DISPLAY

MUSICAL INSTRUMENTS DISPLAYED in a GLASS CASE so as to PROTECT it FROM the MISHANDLING by the VISITOR

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JALLIANWALA BAGH, AMRITSAR WHAT IS IT ? Jallianwala Bagh is a small public garden located in the city of Amritsar and is famous for the tragic massacre led by Gen. Dyer, in which about 379 people were killed and about 1100 people were injured. AT PRESENT the site of the massacre has b e e n b e a u t i f u l l y landscaped, and left open for the public, with a G A L L E R Y o n s o m e revolutionaries of the freedom struggle, and all the existing real time bullet shots on the wall and the well that was there during the massacre are well preserved.

SATTELITE IMAGERY of the JALLIANWALA BAGH showing access to the garden.

AIM the basic idea was to get the idea about how the massacre could have happened and how the prominent site is now used dedicating its use towards the cause of FREEDOM. TRIBUTE MEMORIAL RAISED in REMEMBRANCE of the MARTYRâ&#x20AC;&#x2122;s

FUNCTIONAL ASPECTS as explained above the, area of the garden is now a well developed and landscaped which attracts a lot of tourists on a daily basis. A small gallery on the martyrs and some relevant personalities is there. ENTRANCE LANE to the GARDEN statement of intent the proposal the story of freedom

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LAYOUT of the GARDEN -

1.SPOT MARKED from WHERE the BULLETS WERE FIRED FROM

3.MARTYR’s WELL

5. ONE of the MANY WALL’s with BULLET MARKS.

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4. THE MEMORIAL TOWER

4. AERIAL VIEW of the MEMORIAL TOWER

4. A WALL with the BULLET MARKS

2. THE GALLERY (panoramic view)

OBSERVATION - there is just one particular gallery space for the whole event, thus it is not properly narrated, just through virtual mode of display like paintings, sculptures and information bulletin’s. - the memorial tower raised is the only depictive structure that is raised for the tribute of the martyr’s, and the other structures which already existed like the WALL’S, WELL, PAVILLION are still well preserved, but nothing has been done well for depicting the event in a better manner.

Layout of the gallery showing the basic circulation

Section showing the display pattern, a simple linear formation statement of intent the proposal the story of freedom

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SWATANTRA SANGHRAM SANGHRALYA, DELHI VISION of the STUDY-the gallery is a small exhibition space for the people visiting at the Red fort, that attempts to provide a precise chronology of the events during the struggle for Indiaâ&#x20AC;&#x2122;s freedom. - the gallery has relevant exhibits and a lot of data much unknown to general public about the many unknown names and events during the struggle.

GROUND FLOOR PLAN

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PHASE 1 - 1757 - 1857 PHASE 2 - 1857 - 1950. -this order and schedule of e v e n t s h a s b e e n particularly kept and inferred as a programmatic aspect in the PROPOSAL. TOTAL AREA - 1300sq.m TOTAL NO. of GALLERIES - 13 AVG. AREA 100sqm

per

GALLERY

FIRST FLOOR PLAN

j - QUIT INDIA movement, k & l - INA & Netaji Subhash Chandra, m - towards freedom and after

a - prelude to 1857, b & c- 1857 d - INC formation,e & f - personalities and other movements, g- Gandhi and salt law, h- civil disobedience movement and other personalities, I - OFFICE, 1- SHOP

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-the gallery precisely breaks the story into 2 parts that is -

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COMPARITIVE GLANCE of the STUDIES -

In the tabulation shown above which gives a basic comparative glance at all the live cases of study at once, it is basically inferred that the NATIONAL MUSEUM, DELHI, undoubtedly holds a much important case to learn from. in that there were a variety of various aspects were to be learnt from the very basic requirements of the functions and its spatial needs to the provision of various service subordinates, and aesthetical developments like the artificial lighting and the modulation in display accordingly etc. it can be comprehended that the NATIONAL MUSEUM has been far more studied in detail, with regards to its functional, spatial, movement and service aspects, where as the other 2 studies have been much brief in comparison, as they were mostly to deter out either the under provisions of spaces to some aspired programs or to derive out an essential chronology to form a base for the design idea. In JALLIANWALA BAGH, AMRITSAR, it was mainly observed that the provision for a memorial space in terms of the existing gallery that was there, is much mundane and very less as compared to the importance of the place itself, and in the study of SWATANTRA SANGRAM SANGHRALYA, the purpose of understanding the chronology of the events of freedom struggle was achieved but the space and its quality did not seemed suitable for the program contained as it was too much out of time and seemed that if the program was actually forcingly pitched inside the volume. statement of intent the proposal the story of freedom

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3.3 book case studies - jewish museum, berlin. - holocaust museum, jerusalem.

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JEWISH MUSEUM, BERLIN AIM The main objective to study the Jewish museum in Berlin designed by Daniel Libenskind was to mainly grasp an understanding about the use of â&#x20AC;&#x2DC;symbolism in architectureâ&#x20AC;&#x2122;. It was mainly with the interest to know and understand the underlying principles on the approach of designing, of such a structure, that is culturally and historically linked to a particular community and its parodies. The theme and the essence of the museum would be somewhat similar to what will be needed in the design approach, thus the study was mainly to extrapolate the philosophy of the designer.

In 1988, Daniel Libeskind was chosen as the winner among several other internationally renowned architects; his design was the only project that implemented a radical, formal design as a conceptually expressive tool to represent the Jewish lifestyle before, during, and after the Holocaust. The project is an extension to the existing museum established in 1933, which remained under used till 1975 thus the museum was conceived trying to bring a Jewish presence back to Berlin. The museum was envisioned to establish a Jewish presence embedded culturally and socially in Berlin.

an aerial view of the Jewish Museum.

VISION of the PROGRAM In 1987, the Berlin government organized an anonymous competition for an expansion to the original Jewish Museum in Berlin that opened in 1933. The program wished to bring back the Jewish presence back to Berlin after WWII. statement of intent the proposal the story of freedom

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THE SYMBOLISM in BUILDING -

IDEA of the ARCHITECT - For Libeskind, it was about establishing and securing an identity within Berlin, which was lost during WWII. - Conceptually, Libeskind wanted to express feelings of absence, emptiness, and invisibility – e x p r e s s i o n s o f disappearance of the Jewish Culture. - It was the act of using architecture as a means of narrative and emotion providing visitors with an experience of the effects of the Holocaust on both the Jewish culture and the city of Berlin and to ensemble the essence of the Jewish community and their plight during their holocaust ordered by Hitler.

The architect’s motive of dignifying the plight of the Jews community in Germany was very well propagated through his approach of symbolism. The architect’s vision has popped five ways of symbolising the atrocity on the JEWS that gave a meaning to the project, in a true manner. The spaces and the represenative experience it gives to the visitor is aptly justified.

garden of exile (exit in confusion)

there are 3 underground axes of the museum 1. the axes of continuity 2. the axes of holocaust 3. the axes of exile

outer view of the Jewish Museum (lines without order)

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As described previously about how the architect has approached the design, through a philosophical realm, taking strong cues of the historical and cultural facts that has been thoroughly articulated and transformed as an a r c h i t e c t u r a l intervention.

“The official name of the project is 'Jewish Museum' but I have named it 'Between the Lines' because for me it is about two lines of thinking, organization and relationship. One is a straight line, but broken into many fragments, the other is a tortuous line, b u t c o n t i n u i n g indefinitely." (Daniel Libeskind, 1998)

his base of approach was mainly derived on the abstracts of such thoughts, of which he has further e l a b o r a t e d t h e architectural semantics and gave an appeal of the right quality of the spatial volume that engages the visitor.

Zig-zag best describes the form of the Jewish Museum's New Building. Daniel Libeskind's design is based on two linear structures which, combined, form the body of the building.

the ideas on which the designer has developed the project are deterred out briefly ahead.

The first line is a winding one with several links while the second line cuts through the whole building.

1. BETWEEN THE LINES - the groundplan

At their intersections of these lines are empty spaces – "Voids" – which rise vertically from the ground floor of the building up to the roof.

He termed the project as ‘between the lines’ rather than the Jewish Museum which was the official title for the project.

THE FINAL MASSING of the MUSEUM SHOWING VOIDS & ZIG ZAG LINE REPRESENTING THE IDEA of BETWEEN THE LINES statement of intent the proposal the story of freedom

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Libeskind imagines the continuation of both lines throughout the city of Berlin and beyond.

aerial view of the roof with the straight line & zig zag shown together which was the designers prime idea to explore, as an abstraction about his idea of the entwinement of the J e w i s h & G e r m a n h i s t o r y.

image of the model showing both the void and the zig zag line and the â&#x20AC;&#x2DC;voidsâ&#x20AC;&#x2122; str uctures

This formation of the mass of such an irregular nature, giving it a philosophical value, the architect has truly explored the idea of symbolic representation & has also received critical appreciation and comments.

The Museum's Voids refer to "that which can never be exhibited when it comes to Jewish Berlin history: Humanity reduced to ashes." (Daniel Libeskind, 2000)

THE VOIDS A Void "is not really a museum space." (Daniel Libeskind, 1999) 6 cavernous Voids run vertically through the New Building. They have walls of bare concrete, that solely represents emptiness, which is synonymic to the conditions German Jews. They are purely non functional spaces which exhibits nothing and are visible with black exterior walls. statement of intent the proposal the story of freedom

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i m a g e

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totally non functional but accessible to the users, on the ground floor. it represents the idea of emptiness.

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2. PATH of the GERMAN JEWS: the Underground Axes & THE GARDEN of EXILE: exit in confusion This part was mainly regarding the circulation and the movement of the visitors which the designer has taken care of, so as to make sure the visitor moves and travels the whole museum as a journey and not as another public institutions one will visit.

An underground passageway links the Old Building with the Libeskind Building which has no official entrance, which once entered leads down where one will find ahead of them a path system made up of three axes symbolizing three realities in the history of German Jews.

The whole idea was to centralize and make the movement as the central core of the design, and reciprocate the idea of the condition of the Jewish history during the holocaust in Germany.

T H E 3 A X E S : PATH of the GERMAN JEWS 1. axis of continuity 2. axis emigration 3. axis of holocaust

the 3 axes in relation with the built mass

the axis of continuity

The axes defines the termination and indefinite presence of the Jews in Germany, and also serves as the prime circulation. statement of intent the proposal the story of freedom

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image showing all the 3 axes

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The first and longest of these axes is the "Axis of Continuity." to describe the continuation of Berlin's history, the connecting path from which the other axes branch off.

Exit in Confusion: The Garden of Exile The Garden of Exile attempts "to completely disorient the visitor. It represents a shipwreck of history." (Daniel Libeskind, 1999) 49 columns set on a grid, the whole plate tilted12 degree gradient, to disorient the visitor making them unstable to experience the elegy of the Jews driven out from Germany.

staircase at the end of the axes of continuity

The "Axis of the Holocaust" is a dead end. It becomes ever narrower and darker and ends at the Holocaust Tower and The "Axis of Emigration" leads outside to daylight and the Garden of Exile.

PLATE WITH 49 STILTS

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LINES WITHOUT ORDER ? The Faรงade of the New Building "An irrational and invisible matrix" ( Daniel Libeskind, 1995) The faรงade of the Libeskind Building is not synonymous to the building interior and rather has its own set of precise matrix, network of connections, representing the numerous atrocities on the German Jews by the Germans under the rule of Hitler.

facade of the new building, with irregular matrix of lines - LINES WITHOUT ORDER

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HOLOCAUST MUSEUM, JERUSALEM. WHAT IS IT ? Yad Vashem is Israel's official memorial to the Jewish victims of the Holocaust, established in 1953 through the Yad Vashem Law passed by the Knesset, Israel's parliament.

Yad Vashem is a 180,000 sq.m complex containing theHolocaust History Museum, memorial sites such as the Children's Memorial a n d t h e H a l l o f Remembrance, The Museum of Holocaust Art, sculptures, outdoor commemorative sites such as the Valley of the Communities, a synagogue, archives, a research institute, library, publishing house and an educational center.

Yad Vashem is located on the western slope of Mount Herzl on the Mount of Remembrance in Jerusalem, 804 meters (2,638 ft) above sea level a n d a d j a c e n t t o t h e The International School Jerusalem Forest. for Holocaust Studies. Yad Vashem also honors non-Jews who saved Jews during the Holocaust, at personal risk, as the Righteous Among the Nations

exterior view of the museum

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SITE PLAN the whole complex is well developed into various fragments of zoned land parcels having use of diffrerent nature, from a museum and exhibition center, to an auditorium, symposium, religious use in a synagouge, libraries, eduction institute etc. SYMBOLIC ELEMENTS IN THE BUILDING -

HALL OF REMEMBRANCEits mainly to co-memorate the great martyrs and saviors of the JEWS community during the HOLOCAUST ordered by HITLER. a drum form structure suspended from the upper level surely becomes a significant element statement of intent the proposal the story of freedom

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LONG MASS of the MUSEUM BLOCK The museum is actually a very long extension of structure that is not measurable until one gets into the structure; it represents the actual plights on the JEWS which no one would ever know until suffered.

THE MAIN MUSEUM BLOCK the main museum building is boldly pierced through the e x i s t i n g topography of the mountain. Moshe Safdie’s prime idea was to show a bold manifestation for the JEWS through the concept of ‘A PLACE IN THE WORLD FOR THE DISPLACED’. the main museum block, shown in the drawings above, which defines a singularity and a strong sense of its presence through its bold linear mass.

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GLASS used very appropriately that gives the best results possible. The long passage is thoroughly lit by the above glass slit that gives a continuous feel of hope to the visitors and plays as an important architectural element. similar elemental developments in the building were the more important aspects that were taken into account that will be helpful in design formation.

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THE STORY of FREEDOM - 'a paseo' at PRAGATI MAIDAN, NEW DELHI

SCHOOL of ARCHITECTURE, VADODARA DESIGN ACADEMY

SPANDAN DAS, AR - 0407

CHAPTER 4 the program formulation - 4.1 program brief - 4.2 functions & spaces - 4.3 area statement of functions - 4.4 identifying strategies - 4.5 site brief & study

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4.1 PROGRAM BRIEF PROGRAM in GENERAL -

ARCHITECTURAL STATEMENT -

As described in the preceding chapters about the nature and the visions of the program in broader aspects of the proposal, it is mainly gestated to open up a new socio-cultural hub at the heart of Delhi, with strong context of history through the main core program of depicting the Indian freedom struggle.

The architectural path which has been chosen, mainly revolves around the realm of symbolism and semiotics in architecure.

With the programs social, cultural and historical aspects, which has been established earlier in the dissertation, the place that is envisioned, is also aspired to become a prime iconic hub for the youth of Delhi and the fellow states. The proposal at broader levels of its intervention, is by no meaning trying to state the impound upon the idea of patriotism, but it is envisioned to be a medium, that will help connect the visitors to the modern history of Indian Freedom struggle in a more intimate manner, which shall be an important lesson to learn through experience it in a more engaging way of an architectural intervention. The proposal is simply to declare and retribute the imporatnt consequence of the chapter of Indian freedom struggle and take cues and values from it, which can be helpful to the visitors especially the youth.

This is mainly envisaged upon, after taking inferences of relevant case studies like the Jewish Museum & Holocaust Museum, which also had similar essence in their programs, and very delivered through symbolic approach in architecture. the idea is mainly to engage the abstractions of the visitors mind, through their journey of the project proposed, which will be elaborated through main exhibition and display spaces like the Paseo, which is visioned as the main block where the whole story will be contained. Also speaking on a broader level about the proposal, the mass and the orientation of the built shall be such that it shall communicate with the visitors and the even the passerbyâ&#x20AC;&#x2122;s at once. One glance shall make the visitor feel about the program, that is the freedom struggle of India. The mass shall be such that it should make a strong impact on the visitors mind and they relentlessly feel about the reverence of such a parody of the history.

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4.2 FUNCTIONS & SPACES As described in the preceding chapters about the nature of the program, at a glance the program can be asserted as one public oriented project, that reclaims the place as a whole faceted with its multitudes of layers of cultural, social, historical and traditional roots. All these layers in the peer times amalgamate well within the labyrinth of the city. The assumed spaces and functions related to the project as whole are as follows ENTRY COURTS, RECEPTION AND WAITING a space that will act as the welcoming or a pause space for the visitors between the main functions. It is also anticipated that the space assumed shall bring in the maximum daylight. Reception & relevant administrative spaces shall serve the purpose of providing the visitors with all the information that will be needed to the visitor and thus orient the visitor in whatever matter the visitor needs to sought out. MAIN EXHIBITION SPACE â&#x20AC;&#x2DC;THE PASEOâ&#x20AC;&#x2122;

one space dedicated to it solely. The main exhibition block will have all the relevant galleries and series of spaces that will define and describe the story of freedom to the visitor in an organized and a chronological manner. The Paseo is broadly divided into 2 parts of exhibition PHASE 1 - it will mainly have displays of the freedom struggle era before 1857 rebellion starting from 1757 from the Battle of Plassey. PHASE 2 - Starting from the Sepoy Mutiny in 1857 it will have the exhibition and the displays of the next 90 years till the 1947, the y e a r o f I n d i a n independence. This will be one of the major parts of the whole project and displays as this era or period of 90 years have most of the events that will be on display in the main exhibition block. This part of the display will be very faintly divided into spans of 30 years so that it becomes easier for the visitor to grasp upon the story.

The main block which will have the exhibition of the whole freedom story shall be statement of intent the proposal inferential studies the program formulation conceptual precedents program brief functions & spaces area statement identifying strategies site brief & study

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The main block will be one continuous stretch of display spaces, without any opportunity for the visitor to skip out on any event and opt out of the exhibition block. It is assumed that the visitor has to finish the whole journey, lest in cases of emergency, one can make use of the provided emergency provisions. The space will mainly employ the use of natural light and artificial light and make small alcove spaces, to maximize the opportunity of indirect light making.

It is totally with the motive of idea to elaborate upon the deeds of these persons. It shall mainly showcase all the known persons and many unknown people who had contributed a lot, but were not reckoned. The space quality of this function is assumed to be humble and simple, without much efforts to make it look dynamic. The tower shall end down to the last instalment of the display zone, which is the FINAL PASS. THE FINAL PASS -

Small spillovers and sitting spaces shall be provided so as to take care of the comfort level of the visitors.

This space is totally dedicated to the 3 years after the freedom was attained till the constitution was framed.

TOWER of TRIBUTE -

The main vision of this space is to bring forth the enigmatic occurrences of the plights of the aftermath of the INDO-PAK partition, which caused a lot of turbulence in the state of affairs then.

At the end point of ‘the paseo’ where the galleries and displays related to the various events of fredom struggle ends, it will mark the beginning of this functional program. In simple words the TOWER of TRIBUTE, is series of exhibition spaces which is dedicated to various freedom martyr’s known for their legacies and contributions towards the cause of freedom.

The bloodshed and violence in the inter communal riots plagiarized the situations then, but not many know about the fact. It is like one black listed chapter of the books, which not many indulges themselves to knwo and hardly gets mentioned about.

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The display shall mainly portray about the conditions then and how things were brought back in sound conditions and also some other events like the assanination of Mahatma Gandhi. The spatial quality is envisioned to be discreet and reclusive, with less play of elements like light and less humble volumetric allocations, so as to reflect upon the difficult times of those 3 years. The FINAL PASS shall lead one into the last part of the whole journey and reach up to the CONTEMPLATION QUAD.

LIBRARY AND CAFĂ&#x2030; It is to suit the latest trends and concept of having public intimate spaces for a public building, which is supplemented with small food kiosks and snack bars along with a bookstore or a reading center where the visitor can avail both the facilities of enjoying food and reading.

A coffee bar with the library at this place where tourists and visitors are expected to spend their time might indulge their time in increasing their knowledge about Indian heritage and history. Thus THE CONTEMPLATION QUAD this functional space shall act as an informative The last part of the journey recreational space. of the program, the contemplation quad is a simple open s p a c e , TEMPORARY EXHIBITION AREA landscaped and ornamented to give it a simple and calm The temporary exhibition space is gestated to open up environment. a platform to the Youth of the city, who can showcase This space is mainly to their talent through pause the movement and act displaying their works of as a pause before the actual art. end, and with the kind of environ it is envisioned it PUBLIC PERFORMANCE AREA is supposed to make the visitor sit back and think A small amphitheater kind over the whole journey and of space, where there can be contemplate t h e i r various public oriented abstractions of the mind. functions like plays, dramas, From here the visitor upon etc. their wish, may leave the premises and exit, and also collect the baggage from the luggage collection booth.

discussion

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It is conceived mainly to emphasize and promote public interaction and envisioned to be more of a youth oriented activity spot. AUDIO / VISUAL CENTER (AUDITORIUM) The audio visual center is mainly with the idea to propagate and enhance the experience of the visitors more fruitful. Different documentaries, motion pictures and shows based on the lines of the freedom story shall be telecasted. It is thus envisioned that the auditorium, will serve as an important input in the overall program of the project, as it will be all together a different experience the visitors will enjoy to understand the freedom struggle in a more interactive and intimate manner. PUBLIC PERIPHERAL -

SERVICE CORES These spaces are not only as provisions of basic service spaces like the toilet, lifts and staircases only but goes beyond than that with spatial provisions like the provision for the emergency exit staircases, storage spaces for the display objects, machine rooms like HVAC rooms, electrical rooms, A/V control units etc. These provisional spaces are to be met in the design so as to meet the modern day requirements of a public building. ADMINISTRATIVE SPACES These administrative spaces that are to be provided are spaces that are required to be given for fitting the office spaces like Curators office, Directors office, staff areas, Security rooms, CCTV control units, Projectionist room, baggage storage and Maintainenece rooms etc.

These are the common spaces which is primarily open for CONSERVATORY LABORATORY public activities like, As a requirement of any sitting waiting etc. exhibition space like Also public amenities like museum and art galleries, a ATM/s, public toilets, conservatory laboratory, information k i o s k s , where works related to the eateries, souvenir shops restoration, maintenance procurement of etc. will be there, so as to a n d artifacts and display goods make the spillovers more interesting for the public are taken care of, shall be provided necessarily. a space with more options. . . . . . statement of intent the proposal inferential studies the program formulation conceptual precedents program brief functions & spaces area statement identifying strategies site brief & study

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4.3 AREA STATEMENT The area figures of the functions and related spaces that are described in the preceding chapter, are provided below Below are the final area figures of the main galleries of the paseo, which forms the core program. Also the given state ment are in order of their chronology and thus remains the same for taking that into design propagations TIME LINE

GALLERY NUMBER 1

EVENTS ACTIVITIES DISPLAY, STORAGE ROOM

BATTLE OF PLASSEY AND BRITISH TAKE ADMINISTRATIVE AND POLITICAL CONTROL OVER INDIA

METHOD / TYPE of DISPLAY

NO. of PEOPLE

120

RECONSTRUCTION of REAL TIME EXPERIENCE THROUGH ARCHITECTURAL SPACE & VIRTUAL DISPLAY THROUGH PAINTINGS, MODEL's etc.

40 - 50

SANYASI MOVEMENT

THROUGH VIRTUAL DISPLAY of MODEL's & PAINTING's, A/V ASSISTANCE.

PEASANT UPRISING, JAT UPRISING, TRIBAL UPRISING, BILASPUR REVOLTâ&#x20AC;&#x2122;S & 2nd WAR of PUNJAB

THROUGH MODEL's, SCULPTURES, PAINTINGS & RECONSTRUCTION / INTERPRETATION of the SCENARIO THROUGH ARCHITECTURAL SPACE. A / V assistance

DISPLAY, STORAGE

SEPOY MUTINY , BATTLE OF JHANSI

RECONSTRUCTION of REAL TIME SCENARIO THROUGH ARCHITECTURAL SPACE. VIRTUAL DISPLAY THROUGH MODELS & PAINTINGS.

DISPLAY, STORAGE & A/V CONTROL ROOM

FORMATION of INDIAN NATIONAL CONGRESS, IT's ACTIVITIES in THE INITIAL YEARS

THROUGH SIMPLE VIRTUAL DISPLAY of PAINTING's , MUNUSCRIPTS / TRANSCRIPTS & A/V ASSISTANCE

30 - 40

DISPLAY

BENGAL PARTITION & DELHI DURBAR CANCELLATION of PARTITION

THROUGH INFORMATION BULLETIN's , TRANSCRIPTS etc.

DISPLAY

MUSLIM LEAGUE FORMATION

THROUGH INFORMATION BULLETIN's AND VIRTUAL DISPLAY ( PHOTOGRAPHS, PAINTING's etc. )

DISPLAY & A/V CONTROL ROOM

DELHI BECOMES the CAPITAL. 1st WORLD WAR & Its EFFECT on INDIA

THROUGH INFORMATION BULLETIN's, VIRTUAL DISPLAY ( PAINTING's, PHOTOGRAPHS's etc )

DISPLAY, STORAGE & A/V CONTROL ROOM

1757 - 1857

4 1857 - 1887

1887 - 1917

MODEL's / PAINTING's, PHOTOGRAPH"s RECONSTRUCTION of ARCHITECTURAL SPACE ( DISPLAY, STORAGE & A/V CHAMPARAN CAMPAIGN ) to SUIT THE REAL TIME CONTROL ROOM SCENARIO. INFORMATION BULLETIN's & A/V FORMATION of HOME RULE LEAUGES by ASSISTANCE. BAL GANGADHAR TILAK & ANNIE BEASENT

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40 - 50

200

40 - 50

120

ARRIVAL of M.K.GANDHI & CHAMAPRAN CAMPAIGN

AREA

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AREA 200

150

120

200

120

150

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AREA 150

200

300

DISPLAY

FINAL PASS ( 2 galleries )

BASIC SCULPTURES, PAINTINGS, PHOTOGRAPHS & INFORMATION BULLETIEN

40 - 60

TOTAL

300

3340 sq.m

IN THE FOLLOWING PAGES AHEAD, A DETAILED AREA STATEMENT of the ANCILLARY AND SUPPORING FUNCTIONS ARE ENLISTED, WHICH HELPS ONE TO KNOW ABOUT the OVERALL FUNCTIONS of the PROPOSAL at ONCE & ALSO STATES the OVERALL TOTAL ASSUMED BUILT UP FOR THE WHOLE PROJECT.

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AREA STATEMENT of the ANCILLARY FUNCTIONS are as FOLLOWS -

FUNCTIONs

LIBRARY

BOOKSTORE & VIDEO LIBRARY

ACTIVITIES Book stacking space (20,000 books) Reading space (50 people) Storage room Librarian office Bag deposit & reception area Catalouge room / Archievals Display / stack area Reading area Billing counter Extra storage CD's STORAGE (5000 + nos.) Viewing space

NO. of PEOPLE, ARTCLES etc. 20,000 75

AREA 130 150 20 25 20 30

10,000 60

70 120 25 20 20 60

ANCILLARY

Cafeteria

MINIPLEX - THEATRE

Seating space 40 - 50 Pantry area (including service area)200 - 300 meals / day Billing Counter Newspaper / Magazine stand 10 to 15 Sitting area Storage room / stagecrafts A / V Control room Green room / Backstage room Projector room

250

80 50 10 15 150 30 30 20 10

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FUNCTIONs SUPPORTING & Administration SERVICE's

Services

ACTIVITIES

NO. of PEOPLE

Reception / Information kiosk / Ticket window Curator's Office Director's office Conference hall Security office Storage room Accounts office Maitainance room

Public toilets Staff toilet Electrical HVAC A / V control room lifts

15 to 20

expecting 400 - 500 people

Performance area Food court & Market hub RECREATIONAL

Plaza/ Garden area

10 - 15 shops / stalls

Souvenior shop Temporary exhibition space public amenities & facilities

AREA

20 15 15 50 15 20 30 30

60 30 30 40 40

200 200 40 200

ATM's, PHONE BOOTH's, NEWSPAPER STANDS etc TOTAL

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80 2500sq.m

TOTAL AREA of the EXHIBITION GALLERIES - 3340 sq.m TOTAL AREA of the SUPPORTING FUNCTIONS - 2500 sq.m TOTAL AREA - 5840 - 20% of the TOTAL AREA ASSUMED for CIRCULATION - 1170 sq.m & OTHER DEVELOPMENTS - 500sq.m

TOTAL AREA of the BUILT UP - 7500 sq.m * NOTE - all the area figures mentioned are based upon tne observations in LIVE case studies & references from Standard Books.

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4.4 IDENTIFYING STRATEGIES ZONING Zoning of the interpretation centre needs to be done according to the functional requirements of the project. Each activity area should be segregated and well deﬁned by, circulation, built form to avoid any irregularity of functional behavior.

THE FOLLOWING ZONES ARE TO BE PROVIDED : -

GALLERIES (the paseo) LIBRARY, BOOK STORE etc. ( SUPPORTING BLOCK) COMMON SPACES (public peripheral) ADMINISTRATION

SUPPORTING BLOCK

ENTRY

COMMON SPACES

G A L L E R I E S

ADMINISTRATION

The idea of this basic ﬁrst level understanding of segregation of spaces through the idea of zoning is important to start off the propagation with the project.

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BASIC ACTIVIY LISTING The diagram shown below is a detailed activity listing which shows and explains the various functions and activities and spaces required for them to happen. Also the activities enlisted below are also delegated the importance and priorities amongst them, related to their inter spatial requirements and all the other needed spaces and activities.

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ACTIVITY & USER RELAITONSHIP -

ORGANIZATIONAL SETUP the activity listing shown a basic synthesis of the organizational characterization of the proposal is shown below.

The table formed below, shows a tentative relationships between various activities and their requirements, based upon with each other and their relationship with the anticipated user and their types. previously,

The diagram formed on the basis of previous established studies and program listing, b a s i c a l l y gestates that the paseo, which has t h e m a i n e x h i b i t i o n galleries forms the core program, surrounding which revolves other supporting activities and functions, the puiblc realm and service oriented spaces. The paseo shall be the main focus.

FUNCTIONAL HIERARCHY the diagram shown below anticipates the kind of functional relationship between various functions in context of their hierarchy and prioritization. The diagram anticipates t h e importance of different functions, elaborated previously in terms of the priority given to them, it follows in a descending order, which gives that 'the paseo' is the most important, and then as follows.

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It also gestates that the Administration & supporting functions co-exist in each sphere of functions.

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EVENT PROGRAMMING following is a basic chronological ordering of events that was derived from the literature study, as briefed in the previous chapter. this programming and ordering of events is primarily done for taking inputs during the design, mainly for formation of the circulation pattern.

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SPACE CONNECTIVITY The following diagram is a tentative space connectivity diagram that is assumed. The following diagram is an ideation of the visitors movement pattern that needs to be followed while approaching the design and through the development stages of the same. As described previously that the visitor shall undergo a journey rather than just another visit to an exhibition space, as the theme of the program demands such an intervention architecturally, as it should hit the abstraction of the visitors mind. SPACE CONNECTIVITY DIAGRAM -

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4.5 SITE BRIEF & STUDY SITE LOCATION The site is located in the PRAGATI MAIDAN COMPLEX adjacent to the premises of HALL of NATION’S. PRAGATI MAIDAN is India’s one of the biggest convention & exposition center, and is one prime location that attracts a lot of tourists. The PRAGATI MAIDAN complex is easily connected through roadways and METRO RAIL. SITE ACCESSthe site is easily accessible from the GATE NO 2 & GATE NO. 11, which connects the SITE to the BHAIRON MARG & the METRO STATION of PRAGATI MAIDAN respectively.

MAP SHOWING the location of the PRAGATI MAIDAN and its BROADER CONTEXT in term of the DELHI CITY.

BROADER CONTEXT of PRAGATI MAIDAN PRAGATI MAIDAN is located in a very centralised area of DELHI city, in the city’s heart with nearby context of important buildings and places such as the SUPREME COURT, INDIA GATE, NEW DELHI RAILWAY STATION, CONNAUGHT PLACE. PANORAMIC view of the HALL of NATIONS

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WHY PRAGATI MAIDAN is CHOSEN ?

satellite imagery of PRAGATI MAIDAN

site gives an opportunity to create an architectural proposition of the envisioned program, in context of some great structures like the HALL OF NATION’S, & compliment NATIONAL SCIENCE CENTER, CRAFTS MUSEUM & supplement as a new addition to the CULTURAL NEXUS of the area. WHAT PRECISELY HA PPENS IN PRAG ATI MAIDAN ? LARGE SCALE PUBLIC EVENT’s & EXPOSITION’s, & REMAINS FULLY OCCUPIED FOR MORE THAN 250 days a YEAR. identified site

IT HAS A HIGHLY COMMERCIAL FRONTIER & MORE THAN 50,000 PEOPLE VISIT THE SITE DURING THE EXPOSITION’s & CONVENTION’s. AS THE CAMPUS IS A HIGHLY PUBLIC ZONE, BUT IT’S NOT UTILISED FULLY APART FROM THE E X P O S I T I O N & CONVENTION’s.

NATIONAL SCIENCE CENTER

SITE LOCATION The site as described previously, is precisely on the North East side of the Hall of Nations and right adjacent to it.

HALL of NATIONS

CRAFTS MUSEUM

METRO STATION

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SITE DETAIL & IMMEDIATE CONTEXT The site is accessed from gate no. 11 & gate no.2, both by vehicle and pedestrian.

LONGITUDINAL SECTION through the SITE showing its IMMEDIATE CONTEXT

PANORAMIC VIEW of the HALL of NATIONS & other EXPOSITION HALLS

SITE PARTICULARS chosen site is exactly adjacent towards the NORTH EASTERN side of HALL of NATIONâ&#x20AC;&#x2122;S, and is a divided into 2 parts by a 9mt wide road.

SITE AREA - 10.992 sq.m F.A.R. - 250 TOT. BUILT UP ALLOWED - 27,500 sq.m GROUND COVERAGE - 35%

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OTHER ASPECTS of SITE BUILT v/s OPEN the open v/s built ratio as shown in the diagram is 85% open to 15% built, calculated over an area of 25 hectares. TOTAL BUILT AREA 30,780 sq.mt.

it shows that there is greater parity of built mass configuration, but masses has more bigger footprints.

a fairly and open the built and huge

CLIMATE RELEVANT DATA VEGETATION the chosen site is well landscaped and has a modest GREEN COVERAGE of approx. 1800sqm. mostly ASO are planted.

PALAV

CLIMATE AVG. MAX. temp - 42 celsius AVG. MIN. temp - 07 celsius A V G . a n n u a l rainfall - 617 mm

Site Map showing the wind flow that is assumed to be through the site,

TOPOLOGY - the site has a very minute slope gradation, and that also not natural, but artiďŹ cially done through LANDSCAPING developments. SLOPE - 2.8m through 165. 5m length 1m gradation every 59.2m length. statement of intent the proposal inferential studies the program formulation conceptual precedents program brief functions & spaces area statement identifying strategies site brief & study

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B R OA D E R A S P E C T ’s o f t h e PROPOSAL SOCIAL & CULTURAL relevance - the program that is reflecting upon the INDIAN FREEDOM STRUGGLE, that we all know is significant to the genesis of INDIA being a sovereign domain, but unknown to many. through the proposal, in the chosen site location, which is a prominent and a significant tourist spot, with a high commercial frontier, masses in huge number are expected, which may orient the proposals purpose to reach out to masses. FUNCTIONAL RELEVANCE as established previously about the functional viability the PROPOSAL may reinstate in PRAGATI MAIDAN a n d m a k e i t m o r e appropriately used throughout the year, apart from its usage only during the CONVENTION’s & EXPOSITION’s. PRAGATI MAIDAN CAMPUS HAS SMALL PUBLIC ZONES LIKE CINEMA THEATRE & an AMPHITHEATRE, WHICH is UTILISED by the PUBLIC APART F R O M T H E D A Y S o f CONVENTION’s.

TOURISM ASPECTS & GOAL's NATIONAL SCIENCE CENTER - (2011)-503779 (70% student’s & 30% general visitors) CRAFT’s MUSEUM daily 600 to 700 visitors and more during convention periods. PRAGATI MAIDAN has been enlisted in the TOP 10 TOURIST SPOT’s in DELHI & reciecves more than 1.5 million visitors yearly. OTHER ASPECTS SHALL attempt to REINFORCE the PUBLIC LEVEL ACTIVITIE’s in PRAGATI MAIDAN through its FUNCTIONAL GOAL’s & may become a PROMINENT SPOT of many YOUTH RELATED ACTIVIES & MOVEMENT’s.

PUBLIC ARENA at PRAGATI MAIDAN

PROBLEM's & OPPORTUNITIES THE PRAGATI MAIDAN is UNDER CONSIDERATION for REDEVELOPMENT, WHERE IN THERE is an OPPORTUNITY to CREATE A PROPOSAL of SUCH NATURE TO REINSTATE the CULTURAL ASPECT of the CAMPUS.

BUST STOP near GATE NO. 2

PARKING SPOT ADJACENT to the SITE

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S.W.O.T ANALYSIS STRENGTH’s strong context of NATIONAL SCIENCE CENTER, CRAFT’s MUSEUM, and PRAGATI MAIDAN’s tourist numbers. the PROPOSAL may ﬂourish under such contextual conditions where there is a high range & types of VISITOR’s. all basic public amenities & facilities are well located in & around PRAGATI MAIDAN.

OPPORTUNITIES the PROPOSAL is envisioned as a mean to provide in as a cultural input in the PRAGATI MAIDAN CAMPUS. An opportunity to create a center, socially & culturally important to INDIA, in such strong context of highly visited zone of DELHI. it shall compliment the cultural relevance of NATIONAL SCIENCE CENTER & CRAFTS MUSEUM and act as a supplement to reinforce the cultural aspect of the broader aspect of PRAGATI MAIDAN.

WEAKNESS PRAGTI MAIDAN has a strong matrix of NO. of VISITOR’s, but only during the CONVENTION’s, which is for about 250 - 300 days a year. PRAGATI MAIDAN has a lot of public peripheral activities, apart from conventions venues, but they are under utilised. there is no such programs which can be done on daily basis, like its context NATIONAL SCIENCE CENTER & CRAFTs MUSEUM are used on a daily basis. THREATsas mentioned previously, PRAGATI MAIDAN has a lot of PUBLIC PERIPHERAL zones, but under utilised, and if it remains to be inactive it will be totally a dead space. there is a descent amount of cultural aspect attached to PRAGATI MAIDAN because of NATIONAL SCIENCE CENTER & CRAFTS MUSEUM, but nothing precisely in the campus which may degrade its value over the time.

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CHAPTER 5 conceptual precedents - 5.1 the thought of ‘freedom’ & ‘struggle’ - 5.2 site response - 5.3 some imperatives - 5.4 the process - 5.5 site brief & study

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4.1 THE THOUGHT of ‘FREEDOM’ & ‘STRUGGLE’ THE THOUGHT As briefed out in the chapter in the earlier chapters, that the prime idea towards a gestation of such a program outline is to make it a center that declares the stature and relevance of the freedom struggle story. The idea was to create the disposition of the struggle phase into an enclosed space / volume, and make a bold statement by the ediﬁce of the mass. Other supplementary aspects like the interplay of light & volume shall also entwine with the thought of the freedom struggle. The more primary idea is to bring the experience of the struggle not only through volumetric expression of space, but to rather depend upon the basic essence of the long phase through intangible’s like movement / circulation, variances & elements of surprises in the massing which engages the whole journey. These variants are attempted to bring in to face the abruptness & ranges of different events & thoughts of struggle which had happen during the freedom phase. Below shown is a small play of words which quivered during the initial abstractions of the design stages. This process and play with the words were very important as propagation tools for the design.

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SELF ASSERTION of the INITIAL PROCESS & THOUGHT's

LOST MEANING TODAY’s CONTEXT. LONG PROCESS years.

FREEDOM STRUGGLE LOT of EVENTS in H A P P E N I N G CHRONOLOGICALLY & SIMUALTANEOUSLY 190 throughout the COUNTRY.

HOLDS an IMPORTANT PLACE in HISTORY. SIGNIFICANT & DYNAMIC because of EVENTS.

EVENTS HAVING DIFFERENT KINDS of N A T U R E l i k e POLITICAL, GENOCIDALS & RADICALLY ORDERED EVENTS & HAPPENINGS.

HOW TO TRANSLATE & EXPRESS the SENSE of URGENCY & IMPORTANCE of SUCH a STORY ? ? VERY RANDOMIZED AND DIFFERENT EXPRESSION of each EVENT HAVING DIFFERENT RESOLUTIONS. ALL EVENTS & their EFFECTS ARE ENTWINED to the WHOLE PROCESS, A LONG PROCESS. STRIKING, VISUALLY APPALLING, DYNAMIC or RADICAL in EXPRESSION. As asserted and thought previously that the idea to ponder upon the design of the recognized program shall be mainly on the realm and background of using the idea 'SYMBOLISM' in architecture, the processes shown till now shall mainly give a kind of an architectural statement about the basic mass formation that will be apt for the program shall be bold but not overpowering its appearance. Also it shall be one background thought that the mass itself shall speak about the identity of the building and the functions contained, but also the internal space quality and the idea of taking the visitor through a journey, which shall justify the title of 'the paseo', which means a passage, indirectly prompting on a travel. Simply there were several ﬂickers of various thoughts right at the beginning of the designing process. As mentioned above the thought to correspond and express the importance of communicating the 'story of freedom', the idea of the mass got to be simply of an appealing quality which may not be pleasing but has to make a statement of its own. statement of intent the proposal inferential studies the program formulation conceptual precedents

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4.2 SITE RESPONSE SITE LEVEL DECISION's The following diagrams are the first of the initial processes which tries to see the basic zoning possibilities of relevant spaces and zones for public, which would indirectly help upon deciding the main zone for the built mass to flourish. Starting with the top diagram in the series, the top most diagram tries to identify the main nodes which tends to form around the site. These nodes will the main points of penetrations in to the campus of the proposed built mass. Following on to the trail of it, with references of basic marginal leftovers, basic zones were identified that will enable on finalising the tentative area for making the footprint of the built mass.

ACCESS &NODE IDENTIFICATION

BROAD PUBLIC ZONES & CONTEXTUAL RESPONSE

All the peripheral and marginal zones which are highlighted in the d i a g r a m s a r e corresponding to the public level spaces or say open spaces. Another point of reference is the site constraint of the intermediate thoroughfare, that divides the site into 2parts needs to be considered and cannot be altered on practical basis.

NON BUILDING ZONES IDENTIFIED o p e n S PA C E f o r P U B L I C.

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INITIAL PROCESS As explained previously, the idea was not mainly to identify the built mass and form, but it was mainly to identify the possible public spaces or open patches, where p o s s i b l e p u b l i c peripheral activities can take place.

The geometry & the axis of the site Mass of the building being taken into consideration, and thus linear justiﬁes the idea of a passage & can entail an a linear mass is generated. idea of a journey. The linear mass shall give a The projections depict a sense of boldness. desired appalling value.

the sketch above shows a tentative mass formation in a linear manner, with reference of the public zones on the ground.

INITIAL CONCEPTUAL SKETCHES, IN ATTEMPT OF IDENTIFYING THE MASS & FORM

schematic sectional sketches for establishing the connection between the 2 plots and respond to the site contraint

as the SITE is sub divided by the internal ROAD, it oughts to be connected. the connection is attempted to be made above ground from the FIRST LEVEL of the PASEO through its LAST LEVEL & also from the underground level.

THE BASIC SITE FORCES as shown ABOVE ARE DERIVED FROM THE BASIC UNDERSTANDING OF THE SITE AND ITS PHYSICAL DIMENSIONS AND SHAPE. THERE is a SUBTLE EFFECT of the SITE & Its PHYSICAL CONTEXT of the BUILT MASS AROUND THAT SHALL GOVERN THE FORM of 3D VIEWS SHOWING THE PROPOSED BUILDING GROUND LEVEL SPACE the AND OVERHEAD CONNECTIONS MASS.

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4.3 SOME IMPERTAIVES Below are some series of sketches, in the initial process, which were important points in the whole process. These sketches are some indicative parts that shows the important decision making points throughout the design.

sketches showing the final mass with the thoroughfare provision in b e t w e e n .

From these points the design was propagated towards the ﬁnal product.

the opening is a large ‘urban void’ that not only provides in for the thoroughfare of the existing road but also shows the grandeur of the proposal, through indicating a space that gives a break to the mass.

schematic section shown above gives an indication of the built mass and height of the mass. also it shows the functions which are distributed in the main block. the functional allocation is shown in the sketches shown, which gestates an indication of the different functions that needs to be contained within the built mass.

the following sketches shown here are of the initial conceptions of different gallery layouts. the idea to organize the galleries were mainly based upon the idea of having or fit in all kinds of displays namely - paintings, sculptures, models, floor mounted displays etc.

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Series of sketches that shows the ideation of various spatial requirements and qualities of galleries and display types. Also the idea of how the display shall be given the effect of providing artiﬁcial lighting and how display shall be located as per the basic standards that needs to be provided. SOME IMAGINATIVE FUNCTIONAL SPACES -

conceptual sketch of ancillary block

conceptual sketch of library

void of hope detailed sketch schematic section showing intervention of ‘void of hope’

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schematic section through the tower of tribute

schematic section through the final pass

the sketches showing ideas of Final Pass & the Tower of Tribute. the Final Pass is conceived to be discreet thus it shall be kept underground.

schematic layout processes upon the site planning, so as to cover the whole site through relevant space making

s e r i e s o f schematic layouts based on the zoning at SITE L E V E L INTERVENTION of EVENTS SHOWN AS PROJECTED DECK.

THE SKEWED DECKS / PROJECTIONS ACTS as GALLERIES & EXPRESSES the INTERVENTION IN T H E W H O L E PROCESS. THE 3D VIEWS SHOWING THE RECOGNISED MASS.

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schematic section through the paseo depicting a tentative movement pattern

The sketch shown above is a tentative that was imperatively chosen as a pattern of the movement through the paseo, which is kept intentionally long so as to reﬂect upon the long journey of the freedom.

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4.3 SOME IMPERTAIVES Below are some of the process drawing which is more towards the ﬁnal outcome.

SITE PLAN showing DIFFERENT PARTS of the DEVELOPMENT Layout of a floor of ‘the paseo’

1 - the paseo, 2 - ancillary block, 3 - tower of tribute, 4 - contemplation quad

schematic site section that shows the whole mass against the context and site response

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FORM EVOLUTION & GENESIS -

THE ABOVE SHOWN IMAGES form an IMPORTANT PROCESS THAT EXPLAINS THE IDEATION OF THE MASS AND FORM EVOLUTION, WITH RESPECT TO THE SITE AND its ORGANIZATION. THE IDEA of GENERATING THE MASS & FORM with the THOUGHT of REFLECTING upon the IDEA OF VARIATION AND MULTIPLICITY in the LANGUAGE.

THUS THE LINEAR MASS IS KEPT as the MAIN FORM & MASS GENERIC to the CONTENTION of the FREEDOM STORY, but the ENDS are PURPOSELY CHOPPED OFF, the BASIC GEOMETRICAL ALIGNMENT & the SHARP EDGES are PURPOSELY CONCEIVED as the ATROCITIES & the DIFFICULTIES that WERE FACED DURING THE FREEDOM ERA. THE VARIATION of the BLOCK WHICH is SURMOUNTED on the LINEAR MASS that INTERVENES WITH ONE of the VOID of HOPE, is AGAINST the FORCE of the WHOLE MASS, to DEFINE the EXHIBITION it CONTAINS of some MILESTONE EVENTS, and at the SAME TIME GIVES BOLD STATEMENT of ITSELF & ADDS VALUE to the WHOLE MASS. statement of intent the proposal

inferential studies

the program formulation conceptual precedents

the thought of ‘freedom’ & ‘struggle’ site response some imperatives the process

final outcome

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