BANGANGA A TRANSITIONAL PUBLIC FORUM
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I would like to thank My Guide, Aparna Surve without her guidance, understanding, and support my thesis would have not been possible.
Also I would like to thank the locals of Banganga who accompanied me during my research and explorations with full enthusiasm. I Thank my family and friends for always lending an ear and putting up with my ridiculous demands.
PREFACE 2
Banganga , is a well known heritage precinct found amidst the hustle bustle of the city’s concrete jungle at the tip Malabar hill. It is an amphitheatre with a water stage surrounded by Temples, Samadhi (memorials), Matths, Dharamshalas, permanent and temporary settlements. According to the common man ‘Myth’ is a system of communication; it allows one to perceive that myth cannot be an object, concept or an idea but a mode of signification. It exploits beliefs, concepts of rituals and practices by shaping culture. All cultures have myths, they develop their own mythology with time which includes legends of their history, religions and their deities. Myths have symbolic power which is why they have survived through these years, it is a world created to attract and influence people for it grow and spread amongst the masses. On the other hand ‘Rituals’ is a stereotype sequence of activities, involving gestures, words and objects, performed in a holy place to influence or honour people or deities. They rise amidst the traditions and beliefs of religious communities. Rituals have a close connection with reverence, thus a ritual in many cases expresses reverence for a deity or idealistic state of humanity.
Banganga- is the perfect existing example of the culmination of Myths and rituals. If one unwraps the rich history of this site, one realises it is an outcome of the various legends that we have been hearing in the past few centuries, which we now call ‘MYTHS’. There is a clear connection between Mythology and todays rituals, to keep this mythical precinct alive various rituals are being performed at this site in and around the central tank and the temples that are dotted around it, in regards of religious belief and some as an act of participation to keep the richness of the culture alive.
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CONTENTS 4
INTRODUCTION HISTORY METHODOLOGY EXISTING LAYERS TRANSITIONS
SITE DISCOVERING THE ROUTE
ACTIVITIES DESIGN PROGRAM DISTRIBUTION CASE STUDIES 5
INTRODUCTION 6
Banganga has always known to be a religious spot with over 108 temples within its boundary along with a number of local inhabitants. There are various layers to this site, starting from the centre- the main central stepped tank, a layer of heritage temples around it and through the years layers of contemporary housing structures developing around it with a number of communities. There are layers of space making that define the domain of public and private life, of religion and occupation and overlay of culture and social hierarchies superimposed in an anonymous ambiguous whole. Spaces in Banganga are layered with activities and physical growth over time. Layers of physical growth are evident by the extension made by elements , the streets of Banganga emerge via the edge conditions of them all. Independent private spaces in this sort of fabric can emerge with their own character and undefined activity. The history of Banganga in a way directs the architecture of the space. Rituals, as a system narrates the historical legends very strongly in people’s minds. There is an effort to convert these associations into built form, the temples, Matths, Samadhi, deepstambhas are built to inculcate legends and festivals. Buildings are wrapped around in stories and ritualistic activities take place around the holy kund. Personal involvement portrays a sense of memory, every element, structure and house has its own story of existence.
A framework of architectural fabric exists that surrounds the tank, to this additions have been made over time changing it in their permanent outlook. There is an overlay of people’s activities over these architectural spaces. They maybe highlighted or transparent, but they do exist. They occupy spaces that support space for activities or activate isolated spaces to support space of activities. The structure of the precinct has the participation of its communities and the culture, habits and values of the people reflects in its architecture. The shaping of Banganga goes hand in hand with its communal and architectural growth. 7
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Banganga is a festive event hub. It has celebrated various festivals in grand gestures over the years, the construct of its society and the role the numerous legends play lays the guidelines of what stands today. The space that stands today is an expression of the social and physical relationship between the people, its architecture and its usage. The enthusiastic connection that existed between the contemporary lifestyle formed and the traditional lifestyle seems to be decaying through the years, people seem to have lost the reason of settling in such an environment. Communities have become too self-oriented and have forgotten ways to keep the vibrancy of the space alive. This precinct deserves appreciation and the right to continue to exist and flourish its richness across. The social and physical fabric of Banganga are not independent of each other, they are woven together by the spaces they share. It is important to let this expression survive than decay with negligence and time.
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HISTORY 10
MYTHOLOGY : Banganga predates any historical record and its origins are rooted in legends which are narrated in the puranas. With the passage of time, numerous local myths and legends came to be associated with this pilgrim site. The Sahyadri Khand of the Skanda Purana recounts the story of Parshuram, who destroyed the Kshatriyas and gifted the entire land of earth to the Brahmins. Sagara, the ocean receded to create a large tact of land west of the sahyadri mountains and here Parshurama took sanyas(renunciation) to perform tapasya(penance). Before renouncing to the world and retreating to Mount Mahendra, Parshuram divided this newly created territory into seven regions: Malabar costal areas of Travancore and Cochin(kerela), North Kanara and the region where Tulu language was spoken, Gokarna and Gomantaka(goa), the Kokan area of Malvan, Vengurla and Ratnagiri, North Konkan and Kolaba, Surat and Bharuch districts around the River Vaitarana and finally, the region comprising Shurparak, Thane and the Bombay islands. In each of these regions an ideal government was constituted under the supervision of able administators and learned priests. For the religious needs of the inhabitants, Parshuram with the aid of his Parshu(battle axe) established fourteen swayambhu(self created) jyotirrlingas(radiating lingas) and near each he shot an arrow to pierce the ground and release a gushing natural spring that emanated for River Ganga. The most sacred of these tirth-sthanas was considered to be ‘ Valukesho Mahashreshttho Banganga Sarswati’ – Banganga on one of the seven Bombay Islands. There are however various legends that trace the origin of Banganga, one such legend recounts that King Ramchandra along with his brother Laxman took rest on the shored of a hillock( the Malabar point) on one of the Bombay islands, during their search of Site who was kidnapped by King Ravana. The sage Gautama rishi and a few brahmins were meditating on this shore and on learning Ramas arrival vistited him. On seeing his anguish they advised Rama to worship Lord Mahadeo who would help him find Site, they told him to get the most superior and potent lingam possible from Varanasi and perform on it a Panchamrit puja(worship with five nectars) and Rama sent Laxman to get this lingam. Fearing that Laxman would not return in time, Gautam Rishi induced a a lingam of sand and helped him perform the ceremony. The lingam was installed and worshipped on a nearby site, it was called Valuk Ishwar or God 11 of the Sands and locality was named Valukeshwar or Walkeshwar.
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The origins of Banganga are intermingled with legends other than those mentioned in the Puranas of it being created by Parshuram. In the area, a popular legend follows that Kang Rama was thirsty and on finding no water he pierced a speedy bow in the ground an released the river Ganga which welled up to form Banganga. Such is the presence of legends in this region, kept alive by the people who reside there. There are many more intertwining stories which sometimes compliment or contradict the legends. The most important fact in that these legends were always seen as unquestionable facts by the pilgrims and residents alike. They anchored the beliefs of the people and thus lay very strong foundations for Banganga and set a definite course for its future development.
SILHARA DYNASTY TILL BRITISH ARRIVAL: The original residents of the region, Koli fisher folk worshipped Lord Shiva. Whilst out at the sea, fishing, they noticed a strangely shaped rock resembling a yoni, female emblem of reproduction. Associated with the male linga, it symbolised Lord Shivas power of manifestation. The Kolis slowly attributed to it a divine power and called in “shrigundi’ or the magic rock. The Silhara dynasty which ruled the region from 9th to mid 13th century also believed in Lord Shiva. The Shrigundi was already famous and the Silharas added to the sanctity of the place with the building of a Shiva temple. Through centuries Banganga was visited by many sages and devotees, these visits began the concept of Tirthsthanas. Building for pilgrims to stay and learn about religion (dharamshalas) Hermitages(matths) and several newer temples established a relgious locality at Malabar point. This was the only inhabited place in the thickly wooded region. The Silhara rule was follwed by a short rule of Raja Bhimdev whose reign ended swith the Sultans of Gujrat taking over. The number of temples began to increase in the locatlity. Earlier the only access to this pilgrim place was by sea but slowly Siri road today known as Chowpatty was connected. The tank thus became the center of hindu temple complex as more and more buildings kept adding to it. In 1534 the Sultans ceded the island to the Portuguese who came in search of Christians and spices to India. They began to spread Christianity and destroyed a number of temples including the original Walkeshwar 13 temple.
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FROM BRITISH RULE TO POST INDEPENDENCE TILL DATE: The British were eager to encourage religious tolerance in order to create the image of Bombay as a peaceful place and attract more migrants. They needed people to inhabit these islands and therefore set to please all religious communities. Land was gifted to Rama Kamath who rebuilt the Walkeshwar temple in 1715. certain areas of Malabar hill were gifted to wealthy residents and government servants. Despite all these efforts there area still remained wooded except for the Banganga tank and its surroundings. Rich Brahmins had houses in close proximity, some families also built sanatoriums. The British Governor also at that time built his residence here at the tip of the island. With the demolition of the Fort walls in 1868, the Briti9sh officials shifted their base to Malabar hill and brought along with them their servants who resided in Banganga village, considering the nearby area was densely wooded. The place now sees its metamorphosis into a residential area with the predominance of temples and other religious buildings. The role of pilgrimage spot gets diluted with the increase in permanent residents and development of the city in its proximity. One sees linguistic mix of people in the area, Marathi speaking Brahmins to Gujrati and Hindi speaking traders and the English speaking Catholics(serving the British mainly). So the originally sacred hill only to the Hindus was becoming more cosmopolitan. This was the essence of British Bombay. Rich merchants were now shifting to this area not because of this religious complex but because the Governor thought this place was fine for living in. the shift in values was quite clear and the fading of the importance of the Banganga tank to the city was becoming apparent. Post- Independence, with the insensitive building development, technologies, property prices gave way for a whole new generation of insenstive high rise buildings. They took over once that were palatial houses of the merchants, only a handful of those exist till date. The fabric of Malabar Hill has deteriorated, that of Banganga also appears to be on a downhill path but it still retains the essence of its original character. 15
METHODOLOGY 16
EXISITING Walking through the streets and experiencing the spatial fabric of the precinct. The spatiality of Banganga is an expression of physical and associational relationships between its people, its architecture and its usage.
LAYERS Spaces in Banganga are layered with activities and physical growth over time. THE KUND is the main focus of the precinct, a multifunctional space in terms of religious and non-religious activities. STREETS derive their character from the edge conditions of religious(TEMPLES) and Residential(HOUSEHOLD) built form that line them.
TRANSITIONS On the already layered architectural spaces, the in between space that allows movement from one layer to another, establishes the inside outside relationship between it. It’s the physical change that establishes a platform of its linkage between the various observed layers.
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E X I S T I N G
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The South side, the formal entrance to the sacred kund. Shows a glimpse of the tank proximity. It is the main access through tight streets opened up by this expanse(chowk) and dotted by Deepstampbhas, Temples, Residences, high rise buildings and encroachments,.
The street is the most used pathway to approach Banganga. Three such major pathways are seen. It is a stepped street with a series of platforms flanked with temples, small side shrines and houses on either sides.
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On the South side, a distinctive chowk is observed from which the entire kund can be seen in perspective. The head of it is marked by a sacred Peepal tree under which rests a stone shivling. It is marked as a religious spot.
A view of the Western street from the edge of the chowk. It is lined with buildings with prominent Portuguese influence, were once Dharamshalas which are now residences and sanatoriums.
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The above sections are cut along the west-east axis of the precinct at different intervals. They highlight the fact that the Eastern street is at a higher level than the Western street. The distinct structural categories observed are: Contemporary structures, Heritage structures, encroachments and slums. 24
EXISTING SITE SECTIONS
It clearly depicts the hierarchical arrangement of Contemporary structures versus Heritage structures along the same street. It highlights the difference in scale of structures of the same category. It also shows the experience one could perceive visually or physically if you were to stand at any spot on the street. 25
L A Y E R I N G
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THE TANK (holy kund)
The kund is the most important element of the precinct, symbolically as well as physically. The entire existing fabric originates its one end from here and organizes itself around it. This is the largest expanse of open space, a series of concentric steps punctured with a stretch of platforms forms the kund. Connections are made in the form of flights of steps, stairways from temples, courtyards from residences. The edges that give form to the kund are diverse in nature but hold well together because of the continuity of built form with punctures of stepped flights at intervals. Among other things, the space of the kund is a verandah to sit out, the ghats to perform pujas, an amphitheater for religious festivals, play area for children, recreation and social hub for the residents. 28
TABLE: COMPARISON ON THE BASIS OF ELEMENTS OF CONCERN V/S FACTORS AFFECTING IT
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THE TEMPLES (institutions)
Banganga is dotted with 108 religious institutions, in the form of temples, road shrines or symbolic sculptures. Mainly there are 23 such institutions which highlight the precinct, they all have their unique deity sculptures, practices and festivals, and stories and legends. These institutions are important spaces of cultural growth, religious beliefs and social connections. There are specialists(priests) who perform and responsible for the rituals and services of each temple. The space outside a religious institute starts to support more activities, it offers the possibility of generating many patterns of movement, of activities, of relationships between people 32 and of the physical state of the street.
TABLE: COMPARISON ON THE BASIS OF ELEMENTS OF CONCERN V/S FACTORS AFFECTING IT
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THE STREET (Circumbultaion path)
The four edges of the tanks are flanked with pedestrian streets which forms the route of the holy parikrama, believed by Hindus to accrue immense benefits of purification. All the four edges are diverse in nature. The southern most holds the formal entry of the tank demarcated by two Deepstabhas and expanse of a wide chowk which withhold various activities and social spots. The northern having three discreet gaps of entry via series of steps, being an active street it is occupied with a number of shops and many hawkers. The western edge having the most number of shops and temples is the most chaotic, as it also allows vehicular access, entry to the slums and behold various communities. Wheras the eastern edge is quaint as it is merely a pedestrian stretch with no direct access to the tank and just three temple complex's, although it is a very active space for childrens play 36 and social gatherings.
TABLE: COMPARISON ON THE BASIS OF ELEMENTS OF CONCERN V/S FACTORS AFFECTING IT
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THE HOUSEHOLD (local residents)
The original residents of Banganga were priests who took performed the rituals and took responsibility of services of the temples, specialists such as flowers, coconut and incense sellers, barbers, temple cleaners and caretakers and visiting pilgrims along with their families. They stayed in the Matths and Dharamshalas. This pattern has transformed overtime, with new generations taking up different professions and jobs, as a result of shortage of space, there is a cultural mix of present day residents in the area. The edge of the tank have been encroached by migrants of various communities, they have built temporary structures and rooted their livelihood here. The western edge facing the sea beholds a number of slum dwellers which have resided here in the past few 40 decades.
TABLE: COMPARISON ON THE BASIS OF ELEMENTS OF CONCERN V/S FACTORS AFFECTING IT
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On comparing the transition from one of the earlier discussed layers to another layer in the form of spaces and spatial elements. Transition between two spaces: -Land based spaces ( Streets, Temples, Household) -Water based spaces ( Tank, Sea) Transition possibilities 1. Land / Land *Temples/Street *Temple/Household *Street/Household
2. Land/ Water *Temple/Tank *Household/Tank *Street/Tank
3. Water/Water * Tank/Sea
Types of Transition spaces -Ghats -Plinths -Courtyards -Verandahs -Entrances
T R A N S I T I O N S
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OVERALL TRANSITION STREETS OBSEREVED ON SITE
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TRANSITION STREET BETWEEN: HIGH RISE BUIDLINGS - TANK
TRANSITION STREET BETWEEN: CREMTORIUM/DHOBI GHATTANK
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TRANSITION STREET BETWEEN: HOUSING/SLUMS - TANK
TRANSITION STREET BETWEEN: ARABIAN SEA - TANK
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TRANSITION BETWEEN ( LAND/LAND) TEMPLES V/S HOUSEHOLD: STREETS: TANK
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3
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1-2. Transition between temple and street 3. Transition between temple and tank 4. Transition between temple and house
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TRANSITION BETWEEN: TEMPLES V/S HOUSEHOLD: STREETS: TANK
Courtyard entrances
Entrances Plinths
Ghats
Plinths
The above diagram shows the spatial elements that are used in the transition space from Temples to the other layers. 49
TRANSITION BETWEEN: HOUSEHOLD V/S STREETS: TANK
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2
3
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1-2-3. Transition between household and stree 4-5. Transition between household and tank 50
TRANSITION BETWEEN: HOUSEHOLD V/S STREETS: TANK
Entrances Plinths Verandas Courtyard
Plinths Verandas Courtyard
The above diagram shows the spatial elements that are used in the transition space from Household to the other layers. 51
TRANSITION BETWEEN: STREETS V/S TANK
PLINTHS
The above diagram shows the spatial elements that are used in the transition space from Street to the Tank. 52
TRANSITION BETWEEN: TANK V/S SEA
LAND STREET
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1. 2.
View of LAND/sea beyond from edge of tank View of sea from path of Ramkund
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The above diagram shows the spatial elements that are used in the transition space from Tank to the Sea. 53
The Banganga precinct is located at the tip of Malabar hill, amidst the density of the high rise landscape of the city. It has its western boundary facing the expanse of the Arabian sea, its Southern edge is crowned with the Governor’s residence, Raj bhavan and its Northern and Eastern edges are demarcated with the existing landscape of the city. There are four ways to approach the site: The first route is on the North-Eastern edge along the Bhagwanlal Indraji Road, which beholds a Crematorium and Dhobi Ghat. Second being on the North-Western edge along Dongershi road which has series of High rise buildings dotted along it. Third being the First Banganga cross lane along Walkeshwar road past the Governor’s Residence entrance, Teen Batti and the Bus depot. Lastly the Second Banganga cross lane, past the first cross lane and just before the Governor’s house second entrance. These two routes are along the eastern periphery of the precinct.
SITE 54
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F I G U R E G R O U N D
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High rise buildings have come up along the Northern and Eastern edge of the precinct, Forming the new landscape PLOT A CHOOSEN FOR INTERVENTION: A garden in the matth complex which is Not used by the owners or public, proposed a multifunctional hall/bhojanalay.
PLOT B CHOOSEN FOR INTERVENTION: Initially a dispenary for 25 years now demolishe And being used as a parking area/ dump yard. Proposed a public interactive forum.
The tank is dotted with a series of Temples along the circumbulatory of the tank. Some with single shrines, some with temple complexe It highlights the diversity of deities worshipped And the cultural and religious beliefs of the residents. Along the eastern coast a fringe of informal Settlements have emerged in the past few decades, having a spectacular view of the sea. They have also become an important part of The Banganga fabric.
A Crematorium on the tank, on the NorthWestern frontier has come up in the last few Decades, rituals and ceremonies fot the dead are performed by the tank and the funeral is Conducted here, just up ahead around the Corner from the tank.
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L A N D U S E
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L A N D U S E (%)
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A G E S O F S T R U C T U R E S
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C I R C U L A T I O N
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For Hindus the tank and the rituals are what take precedence. One such ritual is the Parikrama or Circumbulation(in a clockwise direction) around the tank, which is believed to accrue spiritual benefits. The temples are only punctuations on the way with the tank always being the main focal nucleus. It is through this one can participate emotionally with the landscape of the precinct are realise its uniqueness and beauty. A parikrama can lead to exciting discoveries of the area, hearing the innumerous legends and tales from the elderly, their experiences and stories of survival and change, daily activities of householders, playfulness of the children, each and every nook and corner withholds some memory or tale that marks its existence. Although physically the state of the precinct is deteriorating, but somehow the ambience and vibe remains to be intact.
DISCOVERING THE ROUTE 62
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Banganga, other than being know for its religious and ritual purposes is also known as a cultural and social hub of various communities. Rituals performed at Banganga include those pertaining to daily worship comprising morning and evening visits and circumbulations, auspicious pujas or ceremonies connected with tradition like the holy dip, thread ceremony, pregnancy, childbirth or marriages, rites of cremation and rituals for ancestors such as shraddhas and pitru pujas and seasonal rituals and ceremonies connected with important festivals. A variety of visitors are seen in- such as tourists, pilgrims, students. Children playing cricket, flying kites, people walking around the tank, people feeding pigeons and water birds like ducks and geese are common activities seen around the tank. During auspicious months and festivals streets are filled with shops and hawkers selling a variety of thing, processions and celebrations take place at extravagant scale. This is how life revolves on a daily basis in the Banganga complex.
ACTIVITIES
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ACTIVITY MAP
The above map is an illustration of the four layers of the precinct, namely the tank, the temples, the street and household. It highlights the nodes which are major active activity spots on the basis of commerce, social events and religious spots. It also maps the route of a PILGRIM in RED and a LOCAL RESIDENT in BLUE. 65
TOP(left to right) – pigeon feeding spot on chowk, child riding cycle on street, families feeding ducks and recreating at tank BOTTOM(left to right) – vegetable vendors stall on street, old lady’s tailoring shop on street, priest performing puja on tank 66
TOP(left to right) hawkers set up during festivals, ritual activities on tank, woman worshiping shivling under tree, man taking holy dip BOTTOM(left to right) –boating activity in the tank, clothes drying on the tank, charity for homeless during shraad ceremony 67
A typical temple complex layout comprises of the main Garbhagriha which houses the shrine of the deity it is dedicated to, here the main ceremonies, rituals and worship patterns are performed. It is on the upper end of the temple plan. The second element is the Sabhagriha which is the space before the main shrine, where people perform larger ceremonies in groups, hold prayer meets during festivals and people meditate her, recite prayers and shlokas. This space also becomes the route for the parikrama around the main shrine. The central space(sabhagriha) also acts like an in between space, between the outside of the temple and the main shrine, like a transit space which defines the relationship between the inside and outside of a typical temple. There are various possibilities and elements which can define this transit space and makes every individual temple unique in its own way.
PARIKRAMA PATH
C O N C E P T of a temple plan
DESIGN
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If one looks at the entire temple precinct as a plan of a typical temple, the tank and the street around it replicates the principle of the Sabhagriha where several religious activates are performed and the street is the route of the parikrama. The Southern edge which is the formal entry to the tank resembles the Garbhagriha as it is positioned exactly at the head of the tank, its an empty plot where once stood a dispensary. This plot also acts the catalytic head of the entire site, as one has to pass by its whilst taking the parikrama of the tank. This plot acts as the transit space between the Arabian sea, which is not formally accessible right now, and the central tank. It beholds the remains of the ram kund which is now submerged due to garbage disposal. This plot adds character and can redefine the importance of the precinct as it is capable of holding a function of great importance and value. (LEFT PAGE) considering a typical temple plan (CURRENT PAGE) considering the precinct as a typical temple plan.
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The prominent stone retaining wall on the Eastern edge of the tank adds great character to this site. It is a long continuous wall that spans from one end to the other end without any physical punctures of flights of steps and platforms, other than one stairway which is additionally attached to access the Siddheshwar temple complex.
This wall reflects various textures of old and new revealing the changes Banganga has gone through the years. It arouses a feeling of rigidity and a covering to the actual structures it holds behind it. The wall houses the siddheshwar temple complex and the Parshuram temples complex which are the only two temples in the precinct, other than the Venkatesh Balaji temple complex on the North east corner, that has a defined outer space. Within which the main temple complex is comprised of, the outside being in the form of courtyards and housing structures for various communities. This wall acts like a penetrable layer which gives a glimpse of the inside and also is able to hide the actual ritualistic activities taking place within, respecting the importance of privacy. It compliments the structures in such a way that the inside outside relationship is quite clear, being that the outsiders are strictly not able to even visual participate with these structures as they are at a lower level than the actual structures in the inside, whereas the inside are free to have a visual connection of the outside as they are at the higher level. Thus trying to use this concept of the wall connecting the chosen Plots A and B on the northern and southern edges respectively, a clear language is formulated. It compliments the structures well as it allows the possibility of establishing transit spaces between the inside and outside of the main function as well as it offers the privilege to enjoy privacy.
C O N C E P T of a wall
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Alongside images show the visual relation one can perceive from the raised space from the inside of the Wall.
Clear View from inside to outside
Blocked View from outside to inside
Alongside images show the visual relation one can perceive from the lower spaces of the tank from the outer side of the Wall. 71
FACTS: In October 1991 the Maharashtra State Archeological Department listed the tank area under the Protected Monuments Act. In the same year the Banganga Conservation Committee was formed under the Chairmanship of the Municipal Commissioner. In April 1995 Banganga was declared as a Heritage Precinct(DCR 67) under a notification of the Urban Development Department of the Government of Maharashtra, known as the Heritage Regulations for Greater Bombay 1995. The Tank comes under the Grade I regulation whereas the other buildings of the precinct under Grade II A.
M A S T E R P L A N
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The design of a public forum is proposed on the barren plot South of the central tank. The total area used is 2000 sq.mts. The topmost edge of the site is at a level 12m above M.S.L and the lowest edge being the M.S.L. Two buildings originally Dharamshalas have been demolished as they are being illegally rented out to tenants by local residents and only less than half of the building is being occupied.
PLOT B
There is one Jabreshwar Mahadeo temple on the top east corner of the site which can be accessed form the Second Cross banganga lane from the outside of the plot and by a series of steps provided within the plot. There is also an existing shrine in the Anurag building complex on the upper edge of the site, a pathway has been provided to access this as well. It follows a clear diagram of a horizontal axis leading from the Tank to the Arabian sea and is cut with three vertical pathways flanked with functions on either side. These pathways lead directly to two existing temples on site.
D E S I G N P L A N S
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The design comprises of a hierarchical order of spaces from Public( public platform, assembly hall, administration), Semi Public (kalakendra, Information annexxe), Semi Private ( puja platforms, Meditation spaces) to Private(dharamshala). There is a play of levels incorporated in this design due to the availability of a 9m drop on site. Punctures of courtyards are provided within the building. Stone walls with large cutouts varying according to openings of the inside envelope every structure with a transitional space behind it, before the internal walls of the formal spaces. These transitional spaces are softscaped and are used as circulation spaces or simply breathing spaces, they are also covered with pergolas to break the pattern of a simple flat roof over structures. 75
OPEN V/S BUILT
AXIS V/S PATHS
PUBLIC V/S PRIVATE
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The design of a multipurpose hall and a bhojanalay is proposed on this plot which covers 200 sq.mts. of area. This site is located at the North-East enterance of the precinct via Dongershi Road. This plot is within the complex boundaries of The Kavle matth one of the oldest in Banganga. It stands on the site of an older structure that once stood in the midst of samaddhis and a grove of mango, jackfruit and white jamb fruit trees, where neighborhood boys formerly played cricket.
The street alongside this plot is a very narrow street and is also one of the main pedestrian entrance to Banganga. This street gives space to a number of barbers who set up their temporary spots in the mornings and daily hawkers who set up theirs in the late afternoons. These streets also get heavily activated and occupied during festivals when charities and donations are conducted. Thus a multipurpose hall is proposed to house these activities so that the entry to the precinct is not blocked.
PLOT A
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SECTION AA’
SECTION BB’ 78
SECTION CC’
SECTION DD’
SECTION EE’
SECTION FF’
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V I E W S
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PROGRAM DISTRIBUTION 82
PUBLIC
SEMI PUBLIC
PRIVATE
SEMI PRIVATE
MULTIPURPOSE HALL PUBLIC PLATFORM AMPHITHETRE ADMINISTRATION ASSEMBLY HALL KALAKENDRA INFORMATION ANNEXXE Library Legend recitals/ Prayer recitals Ritual demonstrations DHARAMSHALA 12 rooms Bhojanalay Common room PUJA PLATFORMS MEDIATION COURTS
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CASE STUDIES 84
INTER-UNIVERSITY CENTRE FOR ASTRONOMY AND ASTROPHYSICS (IUCAA) CHARLES CORREA PUNE, INDIA.
THERMAL BATHS VALS PETER ZUMTHOR SWITZERLAND
INDIAN INSTIUTE FOR FOREST MANAGEMENT (IIFM) ANANT RAJE BHOPAL, INDIA.
MURICIA CITY HALL RAFAEL MONEO SPAIN
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The Inter University Centre for Astronomy and Astrophysics, is Correa’s own attempt of expressing contemporary notions of what the universe is about. The site consists of three contiguous pieces of land, with two campus roads connecting it. He has used local basalt stone with courses of surmounted black Kuddapah stone as his building material. In his main building elements he has used plastered walls of different colors varying according to the functions it beholds. He has very craftfully formulated every façade with respect to scale and shape. There is distinct relation with the inside and outside. He has used double walling systems, where the outer façade does not comprise of any elements other than the cut outs to see the openings of the actual internal walls of the rooms. Pathways within the structure are semi-covered with the system of pergolas.
INTER-UNIVERSITY CENTRE FOR ASTRONOMY AND ASTROPHYSICS PUNE, CHARLES CORREA
86
The idea was to create a form of cave or quarry like structure. Working with the natural surroundings the bath rooms lay below a grass roof structure half buried into the hillside. The Therme Vals is built from layer upon layer of locally quarried Valser Quarzite slabs. This stone became the driving inspiration for the design, and is used with great dignity and respect. The combinations of light and shade, open and enclosed spaces and linear elements make for a highly sensuous and restorative experience, is a principle kept in mind while designing the entire building. The Architect had a fascination for the mystic qualities of a world of stone within the mountain, for darkness and light, for light reflections on the water or in the steam saturated air. His intention to work with these elements, to implement them consciously and to lend them to a special form was there from the beginning. The stone rooms were designed not to compete with the body, but to flatter the human form (young or old) and give it space.
T H E R M A L B A T H S V A L S SWITZERLAND, PETER ZUMTHOR
87
Built in concrete, the building’s interiors interact with the exteriors through a medium of concrete arched skin that seems to wrap around, standing lightly along the periphery giving the overall building a certain lightness of form. The façade displays a variety of textures in concrete and stone. It is in the geometry of these arches that one could understand the architect’s faith in precision of form. The internal corridors, larger than what one would require for such a small number of users tend to hold the building together formally, tying down its ends and making way for the spaces such as the landscaped courtyards to breathe out towards the open. The external skins aimed at affecting the atmosphere inside, seem to be the highlights of the volumes of the building, even at times failing to provide comfortable light and ventilation conditions. These volumes, although without any formal functions attributed, help frame the natural environs. Looking at the main building, one observes in the institute, the compactness of the plan, righteous use of material and respect shown towards precision of form.
NDIAN INSTIUTE FOR FOREST MANAGEMENT
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The Architect faced a great challenge in designing a modern institutional building between two religious buildings of strong heritage tradition. The faรงade is the most important element of this building. The Architect focused all his efforts to compose it and that this one could compose in a dialogue with its environment. He thought about a musical score for the order of the columns, accepting the system of horizontal levels of the floor slabs and about a glass balcony to break the symmetry. The Town Hall has not an entrance on the square. It respects the pre-eminence of those buildings which have occupied it for so long. The main entry is in a wings, this way not to break the composition of the faรงade. The material used for the exterior of the building is brick and a sandstone typical of the Region of Murcia.
M U R I C I A C I T Y H A L L SPAIN, RAFAEL MONEO
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BIBLIOGRAPHY 90
1. BANGANGA, SACRED TANK ON MALABAR HILL, 1996 RAHUL MEHROTRA & SHARADA DWIVEDI 2.
THEMATIC SPACES IN INDIAN ARCHITECTURE, 2002 KULBHUSHAN JAIN
3.
VISTARA, 1986 THE FESTIVAL OF INDIA
4.
INDIAN MYTHOLOGY, 1975 VERONICA IONS
5. THE GAZETTER OF BOMBAY CITY AND ISLAND,1909 S.M. EDWARDS & JAMES M CAMPBELL VOLUME THREE 6.
INDIAN ARCHITECT AND BUILDER MAGAZINE ISSUE MAY ’13 JULY ’13
7. IN THE SERVICE OF THE SACRED, 1998 KOZHIKODE BIJOY RAMACHANDRAN 91