Gramsanskriti Udyan (Village Culture Garden)
SOMESHWAR TEMPLE AND GARDEN
Someshwar temple, the temple of Lord Shiva, is worshipped every Maha-Shivaratri festival and the garden being used by people for morning walks. But other than that the garden had no life, nor was the surrounding of the temple in a particularly good shape. Thus the PMC took the project up for restoration of the Temple and design of the Garden. The theme of the garden was to refresh the self-sufficient village lifestyle of Maharashtra.
The proposal by Kimaya involved retaining the existing features and full grown trees on the site and incorporating them to the changes made accordingly so that the garden portrays an actual village.
The garden is divided into four parts –
1.The Entrance Gate and the Chowk –
Entrance plays a very important role. The entrance should be inviting so that it attracts people. The earlier entrance had an iron gate and a murum pathway which wasn’t much inviting. So the Entrance gate was design similar to theRaigad Fort. The pavement pattern was inspired from the pattern at Tulsibagh. The entrance had a statue of Shivaji Maharaj and Jijabai.
Beyond the entrance is a lawn with a ‘Ves’ at the end. Just before the Ves is a ticket counter and an orientation hall. Statues of Shivaji Maharaj and his troops are placed at the top with elephant placed at the exit gate. Rooms are provided on either side of the entry with aluminium windows, which don’t go with the theme of the garden.
There were certain changes made to the proposed Entrance gate but it still has the desired effect on visitors. Two rooms have been constructed on side of the gate. The pavement pattern of the Chowk is made up of Gokak stone and Khandki stone. The mural was designed with reference to mural in Bhopal.
2. The Temple –
The PMC had asked Kimaya architects to work on improvement of the temple. The existing elements in the temple area were a main shrine of Lord Shiva which is around 800 years old, small shrines of Lord Ganesha and Hanuman with a Yadnyamandap, a hall, Dhyanmandir and Deepmal.
While improving the Temple section, Yadnyamandap was redesigned. A water channel, lawn and fountain were provided to enhance the beauty. The hall was converted into 'Annachatra' which alone cost around 1 crore. Painting and architectural lighting was used to enhance the features of the Shrine. The illumination of the temple was similar to . The design of Chattri over Lord Ganesha shrine was proposed. A cloister contains murals and another has Dhyanmandir. There is a very old Bakul, Pipal and Audumbar trees that form the part of the temple area. The path to the Dashakriya Ghat is next to the Annachatra. The Annachatra is next to a passage that connects the garden to the temple.
The triangular space between the garden and the temple is being proposed considering the 12 Jyotirlingas. The temple has been illuminated with the help LED lighting. They are placed in such a way, that only certain area lit up. Architectural lighting is provided to give it light and shadow effect. Lights are provided for special occasions.
3. The Garden –
Lawns formed the major part of the garden. There was a well, a Padmavati Mata mandir and a watchman's cabin. A lot of trees from the colonial era (mainly exotic palms) were present in the garden. Thus while designing, these components were included in the overall scheme. A parapet wall was constructed along the well so as to give it a village well scene.
As we enter the garden, there is a ticket counter at the entrance of the garden. After the ticket counter is the Prasthavana Kaksha (orientation hall), to provide information. After the Kaksha is an entrance plaza (Ves). The garden was to portray a self-sufficient village. So the garden was divided into three parts, on the village system. 1st were the Pagadbandha (the managerial trades of a settlement), 2nd were the Balutedars (12 craft trades that included potters, carpenters, metal workers, weavers, masons etc) and the 3rd were the Alutedars. And the houses were placed according to the same. To decide the scenarios that would form the part of the garden, visits were made to Kolhapur, Hubli and few villages in Maharashtra.
Beyond the ‘Ves’(entrance archway) is a mural of ‘Vata Pornima’ or women praying a Banyan tree, a festival celebrated in villages giving an idea of the garden. The journey starts from the houses and stautes. Each house and the statue in it depict exactly the village life of the particular occupation. The houses were made of bricks, cement and thatch roof so as to make them similar to the houses in village. Proper spacing was provided and placements of murals were done to give it a real house feeling. The back side of the houses (stalls) were to be hidden by Bamboo plantation. ‘Naag Panchami’(Cobra Festival) a festival celebrated in villages is portrayed. In villages, usually we find a huge tree around which a ‘Par’ (circular tree guard platform on which people sit and exchange matters of business, gossip etc) is made where the villagers sit, sleep or meet. Similarly a ‘Par’ was constructed around an existing tree n statues were kept. The Ganesh festival being celebrated in village was seen. ‘Palkhi’ or ‘Wari’ (Annual pilgrimmage by devotees of Lord Vithala) is exhibited in the garden. A house portrays the traditional method of making oil in village. There was a mural showing the 'Gram Panchayat' (jurisprudence) of the village, were people from all communities are sitting with the 'Sarpanch' (village head) as he listens to a dispute. Statues of children playing ‘Vitti-Dandu’. A scene showing the village school, where students sit beneath a tree and the teacher teaches them is portrayed. A traditional village wedding scene is exhibited. A small mandir were women from the villages come is seen. The Padmavati Mata mandir was included in the one of the scenes. The position of houses was done in such a way that semi-private, indoor and outdoor areas were created which can be used by villagers. A mural exhibiting ‘Gondhal’ (a traditional devotional song that is full of commotion) was observed. Next to it are statues of market area of the village. A scene portraying goats fighting as their masters react was seen. After that is the Ramila scene with Hanuman with his ‘Gada’ (mace) and Ram, Laxman are holding bows are arrows aiming at Ravana as he laughs. A Patil-wada (house of the village head man) is situated along the pathway, as one goes through it, one can actually get the feeling of the most luxurious house of the village. Further are the statues wild animals like Lions and Leopards are placed, the pathway leading to the exit that are a bit of a fantasy in the context of a village.
The murals are design and made in such details that every person’s expression are remarkable. Even the animal statues are made keeping every minute detail. After placing the houses, the lights were provided in such a way that emphasis was given on the murals and the sources were placed in equipments or hidden. Light poles of ferrocement having wooden covers along the pathways were provided. Signage have been provided outside the houses to give proper information about the scenes in Marathi. A look alike bamboo railing made in ferrocement is provided along the pathway.
While construction certain changes were made to the placement of the houses. Some murals of animals were also included and placed in the garden which didn’t go with the theme. Tin roof was provided on steel tubular sections in the village bazaar scene of poor quality, which is covered by cloth showing a wedding scene, which doesn’t go with the surroundings. The ramp in between is not constructed properly.
4. The River-front area-
The temple and the garden sit on the bank of river Ram, a small land drain that flows out of the Pashaan Lake. Only a Kund and pathway to the Kund formed the existing elements. A ghat, similar to the one seen in villages, was proposed for visitors. A pathway connecting the ghat to the Kund and temple was proposed. A Kartikeya Temple is yet to be restored. Diversion of a channel from river Ram was proposed so that it passes from the Kund having a kund known as the ChakraTirtha. The area around the diversion has pathway, sitting area alongside and redevelopment of landscape proposed. A bridge was made over the river and a pathway connecting the bridge to the Kartikeya temple and causeway.
The ghat was converted into Dashakriya ghat. As the flood line of river Ram is yet to be decided the ghat is yet to be constructed.
The final cost of project is approximately 11 crores, with a few proposed things yet to be constructed.
Vinayak Nimhan, former MLA and 'Aamdar' supported the project throughout. The other agencies who were the part of the project were Pune Municipal Corporation Garden Department, Civil Consultants, Electrical Department and the Fountain designers.
PMC have been asked to provide a parking area for the garden. There were a lot of changes to the proposed design in the end, with a few more proposed and yet to be completed, but even after all that the garden still gives visitors the desired traditional village impact. Combining various ideas along with the complexity of the design was in itself a fascinating task. The project was recently inaugurated. The excellent planning and the work on the statues and placement along with the composition give a feeling of an actual village and how the lifestyle goes on in a village. Though with few compromises in details, there has been no sacrifice made in the amenities. The garden gives a feel of real Village lifestyle and will give the future generations to come, a clear idea of what a self-sufficient village was.
Someshwar temple, the temple of Lord Shiva, is worshipped every Maha-Shivaratri festival and the garden being used by people for morning walks. But other than that the garden had no life, nor was the surrounding of the temple in a particularly good shape. Thus the PMC took the project up for restoration of the Temple and design of the Garden. The theme of the garden was to refresh the self-sufficient village lifestyle of Maharashtra.
The proposal by Kimaya involved retaining the existing features and full grown trees on the site and incorporating them to the changes made accordingly so that the garden portrays an actual village.
The garden is divided into four parts –
- The Entrance gate and the Chowk.
- The Temple Area.
- The Garden.
- The River-Front.
1.The Entrance Gate and the Chowk –
Entrance plays a very important role. The entrance should be inviting so that it attracts people. The earlier entrance had an iron gate and a murum pathway which wasn’t much inviting. So the Entrance gate was design similar to theRaigad Fort. The pavement pattern was inspired from the pattern at Tulsibagh. The entrance had a statue of Shivaji Maharaj and Jijabai.
Beyond the entrance is a lawn with a ‘Ves’ at the end. Just before the Ves is a ticket counter and an orientation hall. Statues of Shivaji Maharaj and his troops are placed at the top with elephant placed at the exit gate. Rooms are provided on either side of the entry with aluminium windows, which don’t go with the theme of the garden.
There were certain changes made to the proposed Entrance gate but it still has the desired effect on visitors. Two rooms have been constructed on side of the gate. The pavement pattern of the Chowk is made up of Gokak stone and Khandki stone. The mural was designed with reference to mural in Bhopal.
2. The Temple –
The PMC had asked Kimaya architects to work on improvement of the temple. The existing elements in the temple area were a main shrine of Lord Shiva which is around 800 years old, small shrines of Lord Ganesha and Hanuman with a Yadnyamandap, a hall, Dhyanmandir and Deepmal.
While improving the Temple section, Yadnyamandap was redesigned. A water channel, lawn and fountain were provided to enhance the beauty. The hall was converted into 'Annachatra' which alone cost around 1 crore. Painting and architectural lighting was used to enhance the features of the Shrine. The illumination of the temple was similar to . The design of Chattri over Lord Ganesha shrine was proposed. A cloister contains murals and another has Dhyanmandir. There is a very old Bakul, Pipal and Audumbar trees that form the part of the temple area. The path to the Dashakriya Ghat is next to the Annachatra. The Annachatra is next to a passage that connects the garden to the temple.
The triangular space between the garden and the temple is being proposed considering the 12 Jyotirlingas. The temple has been illuminated with the help LED lighting. They are placed in such a way, that only certain area lit up. Architectural lighting is provided to give it light and shadow effect. Lights are provided for special occasions.
3. The Garden –
Lawns formed the major part of the garden. There was a well, a Padmavati Mata mandir and a watchman's cabin. A lot of trees from the colonial era (mainly exotic palms) were present in the garden. Thus while designing, these components were included in the overall scheme. A parapet wall was constructed along the well so as to give it a village well scene.
As we enter the garden, there is a ticket counter at the entrance of the garden. After the ticket counter is the Prasthavana Kaksha (orientation hall), to provide information. After the Kaksha is an entrance plaza (Ves). The garden was to portray a self-sufficient village. So the garden was divided into three parts, on the village system. 1st were the Pagadbandha (the managerial trades of a settlement), 2nd were the Balutedars (12 craft trades that included potters, carpenters, metal workers, weavers, masons etc) and the 3rd were the Alutedars. And the houses were placed according to the same. To decide the scenarios that would form the part of the garden, visits were made to Kolhapur, Hubli and few villages in Maharashtra.
Beyond the ‘Ves’(entrance archway) is a mural of ‘Vata Pornima’ or women praying a Banyan tree, a festival celebrated in villages giving an idea of the garden. The journey starts from the houses and stautes. Each house and the statue in it depict exactly the village life of the particular occupation. The houses were made of bricks, cement and thatch roof so as to make them similar to the houses in village. Proper spacing was provided and placements of murals were done to give it a real house feeling. The back side of the houses (stalls) were to be hidden by Bamboo plantation. ‘Naag Panchami’(Cobra Festival) a festival celebrated in villages is portrayed. In villages, usually we find a huge tree around which a ‘Par’ (circular tree guard platform on which people sit and exchange matters of business, gossip etc) is made where the villagers sit, sleep or meet. Similarly a ‘Par’ was constructed around an existing tree n statues were kept. The Ganesh festival being celebrated in village was seen. ‘Palkhi’ or ‘Wari’ (Annual pilgrimmage by devotees of Lord Vithala) is exhibited in the garden. A house portrays the traditional method of making oil in village. There was a mural showing the 'Gram Panchayat' (jurisprudence) of the village, were people from all communities are sitting with the 'Sarpanch' (village head) as he listens to a dispute. Statues of children playing ‘Vitti-Dandu’. A scene showing the village school, where students sit beneath a tree and the teacher teaches them is portrayed. A traditional village wedding scene is exhibited. A small mandir were women from the villages come is seen. The Padmavati Mata mandir was included in the one of the scenes. The position of houses was done in such a way that semi-private, indoor and outdoor areas were created which can be used by villagers. A mural exhibiting ‘Gondhal’ (a traditional devotional song that is full of commotion) was observed. Next to it are statues of market area of the village. A scene portraying goats fighting as their masters react was seen. After that is the Ramila scene with Hanuman with his ‘Gada’ (mace) and Ram, Laxman are holding bows are arrows aiming at Ravana as he laughs. A Patil-wada (house of the village head man) is situated along the pathway, as one goes through it, one can actually get the feeling of the most luxurious house of the village. Further are the statues wild animals like Lions and Leopards are placed, the pathway leading to the exit that are a bit of a fantasy in the context of a village.
The murals are design and made in such details that every person’s expression are remarkable. Even the animal statues are made keeping every minute detail. After placing the houses, the lights were provided in such a way that emphasis was given on the murals and the sources were placed in equipments or hidden. Light poles of ferrocement having wooden covers along the pathways were provided. Signage have been provided outside the houses to give proper information about the scenes in Marathi. A look alike bamboo railing made in ferrocement is provided along the pathway.
While construction certain changes were made to the placement of the houses. Some murals of animals were also included and placed in the garden which didn’t go with the theme. Tin roof was provided on steel tubular sections in the village bazaar scene of poor quality, which is covered by cloth showing a wedding scene, which doesn’t go with the surroundings. The ramp in between is not constructed properly.
4. The River-front area-
The temple and the garden sit on the bank of river Ram, a small land drain that flows out of the Pashaan Lake. Only a Kund and pathway to the Kund formed the existing elements. A ghat, similar to the one seen in villages, was proposed for visitors. A pathway connecting the ghat to the Kund and temple was proposed. A Kartikeya Temple is yet to be restored. Diversion of a channel from river Ram was proposed so that it passes from the Kund having a kund known as the ChakraTirtha. The area around the diversion has pathway, sitting area alongside and redevelopment of landscape proposed. A bridge was made over the river and a pathway connecting the bridge to the Kartikeya temple and causeway.
The ghat was converted into Dashakriya ghat. As the flood line of river Ram is yet to be decided the ghat is yet to be constructed.
The final cost of project is approximately 11 crores, with a few proposed things yet to be constructed.
Vinayak Nimhan, former MLA and 'Aamdar' supported the project throughout. The other agencies who were the part of the project were Pune Municipal Corporation Garden Department, Civil Consultants, Electrical Department and the Fountain designers.
PMC have been asked to provide a parking area for the garden. There were a lot of changes to the proposed design in the end, with a few more proposed and yet to be completed, but even after all that the garden still gives visitors the desired traditional village impact. Combining various ideas along with the complexity of the design was in itself a fascinating task. The project was recently inaugurated. The excellent planning and the work on the statues and placement along with the composition give a feeling of an actual village and how the lifestyle goes on in a village. Though with few compromises in details, there has been no sacrifice made in the amenities. The garden gives a feel of real Village lifestyle and will give the future generations to come, a clear idea of what a self-sufficient village was.