Preserving the Cultural Landscape Heritage of Bhimakali Temple and its surroundings, Sarahan, Himachal Pradesh, India

Bhimakali Temple Complex is a popular tourist attraction in the Shimla Hills. The temple complex and the dwellings surrounding are an interesting example of an architecture style developed based on the local constraints of the area. Nearly 800 years earlier, a palace was built housing a temple, by the king of the Bushahr Dynasty in Sarahan, a small town in Shimla District. Along with time, buildings were made around it and a village came up. The landscape which was once barren turned into a lively cultural landscape through a self-sustainable approach one. While the tangible heritage of monumental architecture of the temple is managed and maintained by the Temple Trust, the streets and farmlands along with building knowledge and skills of construction and the art of wood carving in vernacular houses are kept alive by the local people. The paper argues an approach to architectural preservation overlooking the significance of both tangible and intangible heritage. Traditional knowledge system of techniques and cultural values along with human efforts has shaped the landscape that we see today. This inhabited cultural landscape is dynamic rather than in a fixed state as people live here and pilgrims visit it. Such landscapes need a more holistic and comprehensive framework for conservation which integrates architectural monuments, shared spaces like roads and apple orchids because of its association with people, Wood Carving, and other forms of the Cultural Landscape. Such framework can be obtained by understanding the cultural habits and rituals and beliefs of the people, traditional architectural design vocabulary which shaped the settlements and the buildings and intimate knowledge of site geography and climate that shaped and sustained the settlements.

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Documentation and Architectural Interpretation of the Panishail Temple Complex, Maulvibazar, Bangladesh

10.20944/preprints202101.0174.v1 ◽

2021 ◽

Author(s):

Kawshik Saha ◽

Shamsul Arefin ◽

Gourpada Dey

Keyword(s):

Sacred Landscape ◽

Religious Architecture ◽

Temple Complex ◽

Heritage Buildings ◽

Historic Landmark ◽

Landscape Heritage ◽

Ancient Monuments ◽

Physical Features ◽

The Temple ◽

Architectural Interpretation

This article represents survey data of historical and architectural documentation of Sri Radha Binod Ashrama locally known as the Panishail temple. Temple architecture is a common feature of traditional religious architecture practice in Bangladesh. This article is a historical and architectural investigation of a less known and mixed type of Hindu temple style in the Bengal region. The Panishail temple complex has a collection of structures that include tomb, temples, and residences aged between fifty to two hundred years. Over the ages, these heritage buildings have displayed a unique architectural style of ancient Bengal and still serving as a living sacred landscape heritage. However, like most of the ancient monuments of Bangladesh, Panishail structures inside this complex stand against the threat of decay and anthropogenic destruction with no effort to conserve them. There is a need for immediate action of research, exploration and preservation to save this historic landmark. This research aims to investigate historic and physical features of the temple complex through a systematic survey and documentation effort. This research will lay a foundation for future conservation intervention on this site. Moreover, this work will significantly contribute to historic temple architecture study in Bangladesh.

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Preservation of Conclusion Temple With "Historic Urban Landscape" Technique in The Islamic Indonesia University Environment

International Journal of Architecture and Urbanism ◽

10.32734/ijau.v3i1.775 ◽

2019 ◽

Vol 3 (1) ◽

pp. 1-8

Author(s):

Rahmat Firdaus Bouty ◽

Arif Budi Sholihah ◽

Putu Ayu Pramanasari Agustiananda

Keyword(s):

Cultural Values ◽

Social Cohesion ◽

Urban Landscape ◽

Archaeological Heritage ◽

Campus Environment ◽

University Environment ◽

Restoration Techniques ◽

Definition Of ◽

Landscape Heritage ◽

The Temple

Mataram civilization is a Hindu-Buddhist civilization. In the ancient Mataram kingdom, many buildings or artifacts were built for ceremonies such as the temple. One of them is Kecah Temple or Pustakala Temple located in the Indonesian Islamic University (UII). The temple itself was built by a group of people around who were relics in the 9th - 10th century AD. This temple was discovered during the construction of the Library Building on December 9, 2009 which was then excavated by the Archaeological Heritage Preservation Hall (BP3K), in this temple there is a statue of God Ganesha which is interpreted as the god of intelligence and knowledge, which is very suitable for the Library Building gain knowledge. The existence of this temple is very guarded by the campus because UII is the only campus in Indonesia that has temples in the campus environment. However, this temple still lacks info about its original and historical name. The approach technique applied from the topic of "Urban Landscape Heritage" is the technique of preservation of Social Cohesion. In accordance with the definition of social cohesion, so that this building or temple can be maintained according to its function in the future, it is necessary to involve the opinions of visitors or respondents from the research. The research method used was observation and interviews of visitors to the library and the concluding temple museum to obtain statistical data and to study restoration techniques in the temple. The purpose of the study is to be able to find out information relating to the temple. Conclusion from the visitors about the concluding temple and review whether this temple is still suitable for use by Hindus as a ceremonial process or not. The results of the study can find a function of the Conclusion Temple which can be adapted to socio-cultural values so as to uphold tolerance of social values. Keyword: Kimpulan temple, Library, Universitas Islam Indonesia, Preservation.

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FIVE UNIVERSAL IMAGES OF THE ARCHITECTURAL AND LANDSCAPE FRAME OF THE TEMPLE COMPLEX

RSUH/RGGU Bulletin Series Philosophy Social Studies Art Studies ◽

10.28995/2073-6401-2018-1-133-142 ◽

2018 ◽

pp. 133-142

Author(s):

David A. Markaryan ◽

Keyword(s):

Temple Complex ◽

The Temple

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Pressures on the Balinese world cultural landscape heritage: The case of Jatiluwih Subak Village

IOP Conference Series Earth and Environmental Science ◽

10.1088/1755-1315/501/1/012032 ◽

2020 ◽

Vol 501 ◽

pp. 012032

Author(s):

D H Rahmi ◽

B Setiawan

Keyword(s):

Cultural Landscape ◽

Landscape Heritage

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CHARLES A. BIRNBAUM and MARY V. HUGHES, editors. Design with Culture: Claiming America's Landscape Heritage. Charlottesville: University of Virginia Press with the Cultural Landscape Foundation and the National Park Service Historic Landscape Initiative. 2005. Pp. viii, 215. Cloth $49.50, paper $22.50

The American Historical Review ◽

10.1086/ahr.111.3.939-b ◽

2006 ◽

Vol 111 (3) ◽

pp. 939-939

Keyword(s):

National Park ◽

Cultural Landscape ◽

National Park Service ◽

University Of Virginia ◽

Park Service ◽

Landscape Heritage ◽

Historic Landscape

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The Round Temple in the Forum Boarium

Papers of the British School at Rome ◽

10.1017/s0068246200001495 ◽

1960 ◽

Vol 28 (1) ◽

pp. 7-31 ◽

Cited By ~ 1

Author(s):

D. E. Strong ◽

J. B. Ward-Perkins

Keyword(s):

Nineteenth Century ◽

Present Article ◽

Architectural Design ◽

Second Century ◽

Early Nineteenth Century ◽

Definitive Solution ◽

Restoration Work ◽

The Temple ◽

General Opinion ◽

Ancient Remains

The name and date of the little round temple in the Forum Boarium at Rome (popularly known as the ‘Temple of Vesta’) are long-standing problems of Roman topography. Its identification is still quite uncertain. On the chronology, however, general opinion seems to have hardened and, for reasons which are discussed below, most scholars appear now to believe that the building is Augustan, rejecting the attractive theory of Altmann and Delbrueck that it was erected some time in the later second century B.C. The present article is not concerned at all with the problem of identification, nor does it attempt the full and detailed study of the design and construction without which a definitive solution of the problem of dating is clearly impossible. Its purpose is twofold: to draw attention to some significant features of the architectural design and decoration, and to illustrate and discuss some surviving fragments which can be shown to belong to the lost entablture, but which seem hitherto to have escaped attention.The foundations of the temple were first exposed by Valadier in the early nineteenth century, in the course of restoration work undertaken to free the building of later accretions and to consolidate the ancient remains.

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Tirumala Tirupati: Wait a Moment

Darden Business Publishing Cases ◽

10.1108/case.darden.2021.000060 ◽

2015 ◽

pp. 1-10

Author(s):

Stephen E. Maiden ◽

Gerry Yemen ◽

Elliott N. Weiss ◽

Oliver Wight

Keyword(s):

Waiting Times ◽

Throughput Rate ◽

Religious Traditions ◽

Temple Complex ◽

The World ◽

Hindu Temples ◽

Challenging Students ◽

The Many ◽

The Temple

This case examines the queueing issues caused by the growth in popularity of one of the most visited Hindu temples in the world. On January 2, 2015, Ramesh and Vasantha Gupta visit Tirumala Venkateswara Temple, just a day after some 210,000 people crowded the 2,000-year-old site. The case describes the many enhancements that the temple administrator, Tirumala Tirupati Devasthanams (TTD), has implemented since its management of the temple complex began in 1932. The soaring popularity of the temple, however, has led to safety and comfort concerns for pilgrims. While challenging students to consider additional improvements that might benefit pilgrim throughput rate and time in the temple system, the case highlights the tension TTD must manage between maximizing efficiency and maintaining religious traditions. Additionally, the case demonstrates the importance of perceived waiting times in the management of queues.

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Tūrangawaewae | A place to stand

10.26686/wgtn.16969345.v1 ◽

2021 ◽

Author(s):

◽

Jonathan Morrish

Keyword(s):

Architectural Design ◽

Design Research ◽

Place Identity ◽

Urban Landscapes ◽

Urban Architecture ◽

Architectural Drawing ◽

Life Lessons ◽

Science And Politics ◽

Landscape Heritage ◽

The Right

The landscape concealed beneath the concrete surfaces of our cities is replete with heritage stories representing the transformative evolution of the land, our culture and our ever-evolving society. The architecture upon these urban landscapes, however, is often only challenged to represent an architectural style (aesthetic), function (programme) or a public mask (branding) of the building. As a result, architecture tends to neglect the evolving identity of its context, allowing the stories of the site’s heritage to become lost beneath the growing layers of urban development. This thesis asks:How can urban architecture help to reawaken the transformative heritage stories that form place identity, enabling architecture as well as its inhabitants to have a place to stand | tūrangawaewae? Place identity for Māori is embodied in the concept of tūrangawaewae––a place to stand. For Māori, the place where a person learns important life lessons and feels a connection with their ancestors is usually the marae. In this place they have earned the right to stand up and make their voices heard. In this place they are empowered and connected to both the land and to one another. Tūrangawaewae––a place to stand––embodies the fundamental concept of our connection to place (“Papatūānuku – the land”). The research site selected to explore this question is the urban area in and around Te Aro Park in central Wellington, which was once the site of Te Aro Pā. This site provides the thesis with a rich polyvalent layering of stories, interweaving landscape heritage, Māori heritage and colonial heritage within a single architectural context. This thesis is framed as an ‘allegorical architectural project’, which is defined by Penelope Haralambidou as a critical method for architectural design research that is often characterised by speculative architectural drawing. The allegorical architectural project integrates design and text to critically reflect on architecture in relation to topics such as art, science and politics (Haralambidou, “The Fall”, 225). The design-led research investigation explores how an allegorical architectural project can help to enable urban architecture to reawaken the transformative heritage stories that form place identity—utilising speculative architectural drawing as a fundamental tool for enabling architecture as well as its inhabitants to manifest a sense of belonging. The thesis proposes an allegorical architectural project as a research vehicle through which place identity can be challenged and fulfilled. By positioning an architectural intervention and its context within a dialectic confrontation, it examines how an allegorical architectural project can represent and communicate the temporal and multi-layered nature of place identity within a static architectural outcome. By reconnecting architecture with site, and interpreting this connection allegorically within the design process, this thesis investigates how architecture can allegorically become the living inhabitant of a site, where the site itself gives architecture its tūrangawaewae, a place to stand.

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MUSEUM SONGKET PALEMBANG DENGAN PENDEKATAN ARSITEKTUR NEO-VERNAKULAR

Arsitektura ◽

10.20961/arst.v14i2.9046 ◽

2017 ◽

Vol 14 (2) ◽

Author(s):

Abdul Aziz Arrosyid ◽

Samsudi Samsudi ◽

Ummul Mustaqimah

Keyword(s):

Intellectual Property ◽

Property Rights ◽

Cultural Heritage ◽

Cultural Values ◽

Intellectual Property Rights ◽

Architectural Design ◽

Raw Materials ◽

Vernacular Architecture ◽

Museum Design ◽

Limited Process

Traditional weaving as a national cultural heritage is being abandoned, including songket in Palembang city. Songket weaving craft has been abandoned due to the limited process of the making, expensive raw materials, and competitiveness, either other crafters or modern weaving. There are hundreds of Palembang songket motifs that have not been documented and collected well. Only 77 motifs which have been registered as intellectual property rights. The lack attention of this matter would give possibility for neighboring countries to claim it such an accident ever exist. Songket Museum is needed as conservation center, exhibition, research, and songket craft workshop. Neo-Vernacular Architecture approach is used to make museum architectural design which is in line the cultural values of Palembang in contemporary design. The design issue is how to apply the principles of Neo-Vernacular Architecture into Palembang Songket Museum design. The method is designing the museum by taking both the physical and non-physical elements of local culture. Beside, re-interpretation the shape and philosophycal value of local architecture and Palembang songket are apllied in a new composition of Neo-Vernacular Architecture. The result is a design of Palembang Songket Museum which applies Neo-Vernacular Architecture principles. Keywords: Architecture, Neo-Vernacular, Palembang Songket, Songket Museum.

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Фотографии артефактов монгольского цама, сделанные чехословацкими исследователями в 1950-х и 1960-х гг.: новый взгляд на старые документы

BULLETIN OF THE KALMYK INSTITUTE FOR HUMANITIES OF THE RUSSIAN ACADEMY OF SCIENCES ◽

10.22162/2619-0990-2020-52-6-1513-1523 ◽

2020 ◽

Vol 13 (6) ◽

pp. 1513-1523

Author(s):

Veronika V. Kapišovská ◽

Keyword(s):

Diplomatic Relations ◽

Religious Ritual ◽

Black And White ◽

Unique Position ◽

Temple Complex ◽

Ritual Dance ◽

Artistic Heritage ◽

The Temple

Introduction. This paper deals with two sets of colour photographs of Mongolian tsam masks taken by Czechoslovak archaeologist Lumír Jisl (1921–1969) and art photographer Werner Forman (1921–2010) in Mongolia during the period of 1956–1963. Werner Formanʼs photographs appeared in Lamaistische Tanzmasken. This unpretentious, slim volume, with a text composed by B. Rinchen (with the apparent assistance of a former tsam ceremony master, giving it unequivocal authenticity) holds a unique position: it was published 32 years after the last eye-witness description of the Mongolian tsam given by Shastina in 1935 (including black-and-white photographs), and some two decades before the series of tsam mask photographs featured in Tsultemʼs Mongolian Sculpture and Iskusstvo Mongolii ʻMongolian Artʼ. In contrast, Lumír Jislʼs photographs, apart from the few that were published during his lifetime, were preserved in a family archive for more than fifty years. The goal of this paper is to describe the circumstances under which these colour photographs came into being. A brief account is given of the visits to Mongolia undertaken by Lumír Jisl and Werner Forman. The general background of Czechoslovak-Mongolian cooperation in its first decade after the establishment of diplomatic relations between the two countries is also sketched out. At that time, tsam masks were stored in the Choijin Lama Temple, one of the very few monastic complexes to survive the antireligious campaign of the late 1930s; the temple became shelter to many religious artefacts. In addition to photographing this temple complex, Lumír Jisl photographed the tsam masks during research trips to at least three regional museums. This paper also describes the different goals and visions of both Lumír Jisl and Werner Forman when photographing the tsam masks, resulting in differing modes of execution. In conclusion, I examine the changes in perspective of the Buddhist monks following the general atmosphere of mistrust and fear engendered by the antireligion campaigns and repressions of the late 1930s, as well as the subsequent partial easing of these repressions. Not only were Forman and Jisl both invited to take photographs of religious artefacts, but they also received assistance in doing so. The Mongolian monks who helped Forman and Jisl had to accept, however, the drastically changed status of these artefacts: once sacred items used in religious ritual dance, they were now objects of Mongolian artistic heritage.

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