Showing posts with label architecture. Show all posts
Showing posts with label architecture. Show all posts

Saturday, June 08, 2019

Chalo Khajuraho!





Travelling means different things to different people. To me, one of the most interesting things about travelling is the clash between expectations and ground realities.

Long before you arrive your destination you have a picture in your mind, an image built out of words and views of folks who have been there before. In the new world of digital media the gap between expectation and reality is bridged the moment you scan through some Google searches, a few YouTube videos and articles. In most journeys you re-live the experiences of others.

Not so for Khajuraho.

Nothing prepared me for the scope and scale of artistry, human ingenuity and effort that has gone into the Khajuraho temples. I had expected to see a small town built around a couple of temples, its walls packed with erotic sculptures, a backdrop for an annual dance festival where classical dancers perform for the tourists. What I found instead was an orderly municipality built on the site of an ancient, abandoned city packed with scores of temples of astounding beauty, set in a landscape that was just as bleak and arid, a mere shadow of what it must have been a thousand years ago.

The temples are proof that an oasis of prosperity existed amidst the badlands of Bundelkhand long before it came to be known by that name. It was a city without walls, protected by the swift waters of the Karnavati river, enriched by the precious gems extracted from the Panna Mines and ruled by a dynasty that controlled the lucrative trade routes between the northern Gangetic plains and southern India.

At Khajuraho you enter time-space warp. The Karnavati river is now called Ken - an anglicised abbreviated version of a river that is a dribble of what it used to be. You look at the scorched, barren, red soil and wonder how it could have been thickly forested once, or the rich agricultural land that fed the healthy, rugged warriors and lovers that adorn the walls of all the temples here.

The site was also significant in Hindu cosmology. Just as in the case of holy city of Varanasi, here too a major river  flows northwards, towards the sacred Himalayas before it turned again towards the seas. For some reason this was also a centre for yogic austerities, a hub for Jain monks, tantric Shaivite worshipers, as well as a range of unusual deities such as Brahma, Varaha (the boar avatar of Vishnu), and Vamana (another avatar of a pudgy, dwarf mendicant).

Folklore has it that the area around Khajuraho, which was known in ancient times as Jejahoti, was home to 85 temples and 85 lakes. Only 25 temples remain now. As for the lakes, they are now mere ponds filled with murky green water and a few buffalos. Historical records indicate that the city and its temples were abandoned after the Chandela Kingdom with its capital at Kalinjar Fort 85km away, was raided by Mahmud of Ghazni  in 1022 CE. As was the norm, the survivers may have been enslaved and taken away by other invaders , including Qutub-ud-din-Aibak who defeated the Chandelas again, two centuries later.



The abandoned temples then drifted into oblivion and got covered by forests that protected it from the zeal of later invaders until they were 'rediscovered' by an Englishman travelling from Sagar to Calcutta.

Since this 'rediscovery' almost all the temples of Khajuraho have been under government control. The Archaeological Survey of India (ASI) now restores and maintains most of these abandoned temples within manicured lawns and and fenced compounds. Only two sets of temples falls outside this control - the set of Eastern Jain Temples and one temple dedicated to Matangeshwara (Shiva) just outside the fenced perimeter of the Western Group of Temples.

ASI does a fine job of preserving these heritage monuments. Each temple has been assigned a care-taker, each of whom ensures that visitors do not deface or vandalise the sculptures. We were particularly impressed with three young men - Anurag Pathak at the Chaturbhuj temple, Saurav Singh Rajput at the Vamana temple and Parasuram at the Vishvanath temple - each of them took care to ensure that the temples were safe.



While inside the Vishwanath temple a large group of village women could be heard singing songs and going from one temple to the other. In their own sing-song way they walked into the sanctum of each temple and paid their respects to the gods that once occupied them. According to the caretaker, Parasuram, many of the pilgrims who throng the Mantangeshwar temple also drop by into the fenced, ticketed ASI complex to reaffirm their ancient ties to these great temples.

Researchers have tracked available records to recreate the sequence of temple building in Khajuraho. It follows an intriguing pattern. The earliest temples built in Khajuraho were the Brahma shrine next to the lake and the Chausath (64) Yogini temple. Both are bare and austere, made out of rough hewn granite. The Matangeshwar temple came up next around 900 CE. This active temple has such a large Shiva Linga that you barely have any space to move inside.




The Laxmana temple was perhaps the first 'grand' temple built in generous proportions with a large Varaha (boar) shrine facing it. On the same line, the Vishwanath temple was built next, paired with a Nandi shrine. Among the large temples here, the Kandaria Mahadev which came up next is considered the acme of Chandela temple architecture. From here on all the temple building went downhill, both in scale and exuberance.

Prudes and others who are embarrassed about the erotic sculptures here will tell you that only 10 percent of carvings here are 'gross'. Don't believe them. Fact is that uninhibited display of sex is exactly what the temple builders wanted to highlight. At all the three major temples (Laxman, Vishwanath, Kandaria Mahadev) the northern and southern walls are packed with 3+ feet high sculptures of uninhibited lovemaking. These are like large banner headlines that turn all the remaining sculptures into footnotes.



Amazingly, while all the Hindu shrines reserve lovemaking scenes for the outer walls, within the Jain shrines it seems to be the opposite. Here you have tangled couples on the doorway to the sanctum showing the great "Digambara" (sky-clad) Jaina saints in all their naked glory!

At the end of the day one simple fact stands out. We know very, very little about our own people who built these amazing temples. We see them through a prism coloured by the Abrahamic armies that conquered us and colonised our minds for a thousand years.

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Looking Around

Since the main set of temples - the Western Group - was walking distance from our hotel we decided to use a taxi to visit the temples that were away from the town.  First we visited the Chausath Yogini Temple, then the Eastern Group of Temples (Jain Complex - Adinath, Parasvnath, and Shanti Nath), the Southern Group of Temples (Duladeo, Chaturbhuj and Bijamandala), then back to the eastern zone to visit the temples that our driver 'forgot' to mention - the ones around the lake - Brahma, Hanuman, Javari and Vamana. The rest of the time was dedicated to the main Western Group of Temples (Laxmana, Kandariya Mahadev, Jagadamba, Chitragupta and Vishvanath).

Accommodation

Travelling during the off-season has its perks. We stayed at the Lalit hotel which was so short of guests that it upgraded our booking to a suite which turned out to be as big as an apartment - two bedrooms with attached bath, a large hall with an attached kitchen, bright French windows opening into the lawns and overlooking bright bougainvillea bushes overhanging the walls!

The location is excellent - just 750m from the Western Temples, and right next to the ASI museum, the Festival Grounds, eateries and short walk from the Tribal Museum which is worth visiting.

Travel Tips
  • Travel during the off-season (April - September). Apart from being spared the crowds you get better deals at the hotels, restaurants and with the taxi-wallah.
  • Use the Indian Railways. The Sampark Kranti Express is perfectly timed for weekend getaways from Delhi.
  • Cameras: For some strange reason, ASI does not allow tripods into the temple complex. You need to have a letter granting permission from their office in New Delhi / Bhopal (!)
  • Don't expect much from the Archaeological Museum in Khajuraho. Despite having a sprawling complex ASI displays are poorly labelled, manned only by security guards who just keep intoning the rules ("no selfies with the displays"...)
  • Guide - Satendra Kumar Dwivedi (Sachin) - Mobile: +91 9753 954 343 - Email: dsachine@rediffmail.com
  • Driver - Lakhan Singh, Old village ward no.14, Near Jawari Temple - Mobile: +91 7223 053 448, 7049 844 467




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Questions:
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* The Chandela - Chola Connection: The Chandela dynaty ruled Bundelhand from ~900 to 1100 CE while the Chola's of South India were also at their peak during the same period. Rajaraja-I (985-1016 CE) and his son Rajendra-I (1012-44 CE) stretched the boundaries of their kingdom not only across the seas to South East Asia but also northwards, all the way into the Gangetic plains. In fact Rajendra-I also earned the sobriquet "Gangaikondachola".
Rajendra-I could not have reached the Ganga river without crossing Bundelkhand. Was there a link between the massive stone temples erected by the Cholas and the ones built by the Chandela's in Khajuraho?




Friday, January 12, 2018

Jaipur, 1727

"Where do the poor in your city live?
Are they consigned to shanties and ghettos, far from the 'gated communities', 
or do they share a common, egalitarian space?"

Earlier this week, I found myself at IHC, a refugee trying to escape the evening traffic, looking for something worthwhile do until it was safer to drive back home. On the boards was a talk titled, "Architecture and Society Series: Future City Jaipur". It was apparently part of a series initiated by M.N. Ashish Ganju, and the speaker who posed these questions was Sudhanshu Mukherjee, an architect who thought that city planning in 1600's was a lot better than it is today.



Having visited and stayed in Jaipur numerous times, this did seem like a tall claim - until the speaker explained how the city came into being. In the early 1700s North India was in turmoil - the Mughals had weakened considerably and Raja Jai Singh thought it was an opportune time to build a new city which would attract businesses away from Delhi, Agra and Mathura, along an alternate route to the ports of Gujarat. Like any modern SEZ, the city of Jaipur offered numerous sops and incentives to traders who were willing to relocate to the new city.

The city was conceived as a nine-box grid, aligned not only to the principles of Vaastu-Shastra, but also the existing temples to the Surya and Krishna/Vishnu. While common infrastructure and services were provided by the state, each Mohalla or quarter was allowed to design living spaces as they wished, after the plans were duly approved by the chief city planner, a Bengali named Vidyadhar Bhattacharya.



The advantage of this flexible planning was that it integrated citizens from various economic and social strata into common living spaces. This, in turn, fostered a sense of belonging and an egalitarian sense of solidarity amongst various communities in the city.  This approach to city planning was later abandoned in favour of Western style grids that separated living and working spaces, in creating cities like Chandigarh and Bhubaneswar that end up looking "more like army cantonments than bustling metropolises; cities built for automobiles rather than human beings".

It seems there have been attempts to revive this approach, such as Norman Foster's Masdar City in Dubai which aims to be a "a mixed-use, low-rise, high-density development" with an emphasis on pubic transportation. Another example is Khuda-Ki-Basti (Hyderabad, Pakistan), and Incremental Development Plan which won the Aga Khan Award for Architecture in 1995.

As one of the few non-architects attending the lecture, I was struck by the pessimism of all the city planners present (were most of them Bengalis?). It also brought out the disconnect and the turf-wars going on between those who were teaching (mostly at SPA, Delhi), and those running their own studios.

In a hall that seemed full of articulate, long-winded experts, if there was one person who made an impression, it was the elderly Ashish Ganju. A practicing, teaching architect who had been staying for the past 18 years in Aya Nagar, a crowded village wedged between Delhi and Gurgaon, he seemed to be the only one walking the talk!

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References & Links
* Book - Jain, Kulbhushan(): Indian City in the Arid West - https://www.abebooks.co.uk/book-search/title/indian-city-in-the-arid-west/author/jain-kulbhushan-jain-minakshi/
* SlideShare - https://www.slideshare.net/saumyakohli/architecture-and-planning-of-jaipur
* Norman Foster's Masdar City, Abu Dhabi - https://www.fosterandpartners.com/projects/masdar-city/
* Khuda-Ki-Basti, Hyderabad, Pakisan - http://www.akdn.org/ru/architecture/project/khuda-ki-basti-incremental-development-scheme

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More Qs:

* How did Vidyadhar Bhattacharya end up in Jaipur? Is there a link between Jai Singh's tenure as Akbar's Subedar of Bengal, and his presence in the desert kingdom?

* In 1739, within a decade of Jaipur coming into being, the Persian marauder, Nadir Shah plundered what remained of Mughal Delhi. In Delhi alone, he is recorded to have massacred over 20,000 people. How many of the survivors ended up in Jaipur?


Wednesday, April 19, 2017

Zero Energy Building




A rather unusual looking building came up in South Delhi a couple of years ago. Amidst other, conventional government buildings in the Jor Bagh area, "Paryavaran Bhavan", the new office of the Ministry of Environment and Forests (MoEF), looks as though its wearing a graduation cap.

A  closer look reveals that the cap is actually an elongated, cantilevered roof which holds a vast array of solar panels. This seven-storied tower covering 32,000 sq.m, and accommodating over 600 government officials is India's first "Net Zero Energy" building. The solar panels generate 930 KWp of power, which is more than enough to meet its annual energy requirements of 1.4 million Units at 9KWh. The building actually generates a surplus of about 70,000 KWh which diverted back into the grid.

According to MoEF, this "Multi-storied Building with 100% Onsite Power Generation", is the first of its kind in India. Apart from those solar panels on the roof, it uses a Chilled Beam System of air conditioning which saves more than 50% in energy consumption. The building incorporates a Geothermal Heat Exchange System as well as seven "Machine Room Gearless Lifts (OTIS) that converts braking energy into electrical energy (regenerative brakes, as in automobiles). The building also has its own plants for water and sewage treatment -- in other words, it neither takes any energy from outside, neither does it dump its waste into the city's drains.

Who were the people behind such a pioneering effort? How did the usually hidebound CPWD, with its record of making dreadful looking public buildings actually undertake this leap of faith and technical flourish?

Unfortunately, there seems to be nothing in the 'public domain' that either chronicles, or celebrates this achievement. The CPWD website (accessed 19 April 2017), does have a  button titled "Click Here for Old PPTs", and this does lead to a list of projects that includes this building. None of the URLs work.

Dig a little deeper at other websites (ICFILD, CSE) and you would find that CPWD did indeed lack in-house expertise for such a project. So the government did the the next best thing - it employed competent consulting agencies for each of the specialized aspects of this project. CPWD then brought in its formidable project management skills and completed this building in just two years' time (Jan. 2011-Oct 2013). Among them was Deependra Prashad's DPAP -  the architecture firm that designed this building.

Is this new approach going to be the new norm in public works? Have we finally graduated to better designed public buildings?


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LINKS & REFERENCES

- MOEF Pamphlet - "A New Benchmark in Sustainable Built Habitat"
- CPWD - PPT - Technical Presentation - http://cpwd.gov.in/CPWDNationBuilding/InaugurationPM25.02.2014/Technical_Presentation.ppt
- Case Study (2014) - http://icfild.org/ire2014/seminar/06_deependra_prasad/spa_ipb_deependra.pdf
- Ramachandran, Smriti Kak (2012) - A Green Revolution in Letter and Spirit - http://www.thehindu.com/news/cities/Delhi/a-green-revolution-in-letter-and-in-spirit/article3820306.ece

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VITAL STATS

Capacity of power generation: 930 KWp
Annual energy requirement and generation: 14 Lakh Units 9KWh
Total area covered by solar panels: 4600 sqm
Building plinth area: 32,000 sqm
Structure: G + 7 floors + 3 basements
Solar Panels: Covering 4600 sqm, monocrystalline with 20% efficiency
Amenities: 440 TR HVAC Air Conditioning; Lifts, Fire Alarm System; DG Sets, UPS, IBMS and CCTV Systems; Fully automatic robotic car parking for 330 cars
Architecture, Planning and Execution: Central Public Works Department (CPWD)
Cost: INR 209 Cr. (USD 32.4 million)

Saturday, October 10, 2015

A City of Transformations


In Miyazaki's movie, "Howls Moving Castle", there is a little colored dial above the door. The world you want to see on the other side of the door, depends on the color you choose on this dial. Just a flick of this dial and your door could be opening either into a barren wasteland or into a neat city street.

Delhi feels a bit like Howl's Castle sometimes, without the doors and colored dials. It is quite amazing the way the city transforms from one district to another.

One of my favourite transformations is on the metro yellow-line, from Central Seretariat to Chawri Bazaar. You step down from the rolling green lawns of the central vista in the Lutyens Bungalow Zone (LBZ), and emerge few minutes later from the deepest underground station in Delhi, right in the middle of one the busiest market in Old Delhi.

This is where chaos hits you like a ton of bricks. The noise of a thousand blaring horns, diesel fumes mixed with the smell of sweat, urine and cooking oil, the rush of crowds heading in all directions, and narrow alleys littered with assorted garbage. And all this packed in an area smaller than some roundabouts of central Delhi.

On a different scale such transformations can be seen within districts as well. In South Delhi, the roads that take you from Greater Kailash, to Kalkaji, and then to Govindpuri would make you feel like an explorer stepping into the urban jungles of our time. From the 'Bania-Gothic' style of architecture to entire neighborhoods created out of a seemingly haphazard of collection of bricks, mortar and garish paint.

My latest addition to this list is the Ramakrishna Mission near Paharganj. It is another of those dramatic transformation of spaces within city districts. There are two ways of getting there - a metro ride down the Blue Line, or a cycle rickshaw from New Delhi railway station. The latter is better for those who are seeking a bit of drama, shock and awe. You step out of the sprawling New Delhi Railway Station and head down Pahargunj Main Market street. This crowded throughfare not very different from the roads of Govindpuri or Chawri Bazaar but almost completely oriented towards hippies and backpackers.

You make your way down this road, past the travel-agents, money-changers, garment shops selling baggy trousers and pleated cotton skirts, past signages in Hebrew, Russian and English, kiosks selling "Smoking Accessories" with suggestive cannabis leaf imprinted outside. A slight turn to the left at the far end of this road brings you the the Ramakrishna Mission.

The first thing that strikes you here is a sense of order and purpose, centered around the domed RKM shrine. Neat pathways lined with evergreen shrubs, lead you to the other buildings in the complex - a 'show room', an office complex, a large library and two auditoriums. Every little vacant space in between the buildings is lined with  flowerbeds and rows of fuits and vegetables.

RKM seems like the antithesis of everything that exists beyond its neat whitewashed walls. On one side there is pushing and shoving, abusing and haggling, and on the other, you have the 'order of monks', silence, polite conversations and sonorous prayer songs.

It is quite amazing to see how people flit between the different worlds that exist on either side of the walls. The lady who had just been haggling at the gates with a cycle-rickshawallah over a fiver will, fall at the feet of a swami in ochre robes and drop a few ₹500 notes into the donation box, to 'serve the needy'.

The ways in which buildings and spaces transform people, is quite astounding.

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LINKS

* LBZ to be reduced by 5.1 sqkm, -- http://pib.nic.in/newsite/PrintRelease.aspx?relid=126433

Sunday, July 01, 2012

South Indian Iconography




At 5AM today morning, I found myself standing next to a strange yet familiar creature at the Uttara Guruvayur Temple in Delhi. Next to the Madhya-Haara or Vilakumattam, was a cement & paint rendition an architectural element quite common in South Indian temples: a gargoyle with the head & claws of a tiger, the trunk of an elephant and legs of a horse.

As if to balance out the ferocity of its bulging, glaring eyes it has a full election, and right below it, a rather comical looking elephant holding on to dear life.

What is this creature called? When did it first make an appearance in South Indian temples?
What could be the iconography behind this South Indian imagery which is conspicuously absent in the Northern temples?

Wednesday, October 10, 2007

Tadao Ando & Miyake Issey

I read today, an interesting article - "Enhancing Japan's Cultural Crafts" - a discussion between two living legends of Japan - Tadao Ando and Miyake Issey (JapanEcho, August 2007).

The discussion started off with 21_21 Design Sight which was inaugurated on March 30 at the new Tokyo Midtown complex in Roppongi. It is a 'design museum' that preserves and introduces "Japan's legacy of design and faces the future while reflecting the trends of the current age".

The facility is operated by the Miyake Issey Foundation and, and was designed by Tadao Ando. Across Tokyo Midtown you also have Toto's architectural gallery, called Gallery Ma, as well as the National Art Centre and the Mori Art Museum.

But this post is not about galleries in Tokyo. It is about the thoughts of two individuals who represent the brightest facets of the island nation; ideas that have turned Japan from post-war rubble to an economic powerhouse.

I keep looking for the secrets of Japan's dynamism -- can some aspects of it be replicated in India? Having worked for ten years in a Japanese government agency, I am convinced that in today's Japan, the government machinery is the last place to seek dynamism. It is more like a sluggish, paranoid giant that lives in delusions of past grandeur (a familiar attitude in India), oblivious of world that is rapidly changing. It was wonderful to know that great minds are grappling with this problem.

Here are some excerpts:

"The really important thing is to have a goal -- to have a goal and to carefully manage your time...Japan became a powerhouse after the war because manufacturers took time to make their products while solving problems one by one. Lamenting about the current state of affairs with complaints about "kids these days" won't change anything; my idea is to increas the number of people with this patient, problem-solving mind-set, even if only a few.

"If we trace the roots of Japanese design, we discover that its origins lie in "daily-life design". In the late 1920's Yanagi Muneyoshi, the father of industrial designer Yanagi Munemichi, led what was called the Japanese folk-craft movement. It emphasized discovery of beauty amid daily life and produced work of wonderful quality that were highly praised by Bernard Leach, a British potter who visited Japan during that period...

"Without a past, you cannot have a prestnt. And because there is a present, there will be a future.

"If you look at redevelopment projects like Shinagawa and Shiodome, you can see that they've been built neatly, quickly, and beautifully, but they don't respond to people's curiosity. We need to build city communities where you can enjoy yourself without spending money and that satisfy curiosity.

"In Japan people think it's "cultural" to bring objects from other countries, but this is nothing more than paying money to borrow things...

"With few exceptions, bureaucrats are a rather dull bunch. And even politicians are mostly indifferent -- they only apply their mind to elections. Most bureaucrats have done nothing but study since they were children, and they haven't cultivated their sensibilities. People like these, who have grown up without time to think freely on their own, are the ones leading the country. In this light it is imperative that we make changes in the current structures and systems.

"All government ministries and agencies are structured vertically, and there is complete lack of dialogue among them...

"Japanese havn't managed to inteact will with the rest of the world. People may blame this on the language barrier, but it's more a matter of psychological inertia. It is more important than ever for Japanese to enter into dialogue with the rest of the world. We have to realise that we are living in such an age."

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