udaipur case study slideshare

Architecture of Indian Cities Udaipur – City of lakes

“The traveller who goes there first is likened to a man who begins his banquets with master-piece and is worried to find other dishes rather dull.” – Prince of Wales.

Lying in the bowl-shaped basin of the Aravalli ranges in Southern Rajasthan, Udaipur, also called the  City of Lakes  is compared to the European city of Venice for its romantic appeal. The rugged terrain created favorable conditions for the defense and opportunities for the medieval settlement. The city became the capital when King Udai Singh of Mewar moved here from Chittorgarh and was the last capital of the Kingdom of Mewar. Therefore, the image of the city is one that emphasizes Rajput heritage making it a major tourist attraction in the country. The heritage fabric of the city creates an excellent example of harmony between its natural elements and the built form.

Like other medieval cities, the ancient city center of Udaipur is a sacred place with respect to administration, architecture, and religion. The most dominating feature of Udaipur is Lake Pichola, the urban fabric along which represents the development of the historic core. The lake influences favorable changes in the micro-climate of the region where people are faced with low humidity, scorching heat and glare. The built form uses the cooling quality of water and the reflecting surface of water increases the visual scale and prominence of the palaces built around it.

The AmbraiGhat, located on the bank of Lake Pichola serves beautiful views for enjoying the sunrise and the sunset, with water soothing the feet and giving an experience like never before.

The town is often associated with the presence of the marvelous Lake Palace which reflects the wealth and valor of the Mewar Kingdom. It was the former ruler’s summer palace, which was later transformed into a hotel. Another palace that is associated with the center of royal power in the city of Udaipur is the City Palace. It embodies the history of the Sisodia Royal dynasty.

The City Palace is the structure around which the settlement was found; buildings separated by several  chowks,  courtyards, and hanging gardens. The historic buildings are a property of the Mewar royal family and are managed by several charitable trusts. This is referred to as the ‘tourist city’ as most of the economic activities related to tourism take place within the narrow streets of these settlements.

The intricacies of this heritage can be better understood during a stroll along the streets of the old city – displaying handmade fine art paintings, mojdis, handmade leather goods, beautiful pieces of silver and stone jewelry, interesting traditional Rajasthani clothes, bed sheets, upholstery, etc.

The topography and landscape dominate the overall form and settlement pattern in Udaipur with the lake providing ‘a sense of place’ for generating distinctive organic order. The historic core of the city has mixed land-use, but with time increased tourism and change in development pattern has diluted the hierarchies in the built form. Large scale religious and administrative structures stand out as the main elements amidst the hustle-bustle of the city- a representation of grandeur of the bygone era.

The dominance set by the palace is broken down with the appearance of  shikharas  of the temples. Jagdish Chowk is the main center of the old layout of the city due to the presence of the main temple, Jagdish Mandir. A large number of Indian and foreign tourists visit the temple, especially due to its close proximity to the City Palace. The temple is dedicated to the Garuda bird, a manifestation of God Vishnu, and the architecture of this temple is particularly different from other prominent structures of the city.

The most prevalent feature of buildings is the ‘cusped’ or ‘peacock’ arch supported by fluted columns – a highlight of Rajput architectural decoration. Windows often have tinted glass, and often used with screens to offer privacy and reduce solar radiation. Other remarkable elements of Rajput architecture visible in the historic monuments and old buildings are expansive balconies that create a visual link with the water bodies, the arched elements over doorways and windows, the use of sandstone, and whitewashed walls of the  havelis  along with the beautiful  chattris on towers and forts.

Udaipur is also famous for its local handicrafts and traditional performing arts. The famous Bagore Ki Haveli, hosts daily Rajathani performing arts show in the evening called ‘Dharohar Dance Show’ that attracts a large number of tourists. Built in the 18th century by Amar Chand Badwa, the  haveli  stands magnificently on the waterfront and has been now converted into a museum. The haveli was restored using local and traditional materials and skills,  lakhori  bricks, and lime mortar, such that the royal look in the same old architectural style can be retained. It is a symbol of Mewar’s aristocratic culture and has about 138 rooms. The Chamber of the Royal Ladies is worth a visit for its renowned tinted glass windows and two peacocks made with colored mosaic, showing exceptional craftsmanship.

In the outskirts of Udaipur, near Havala village, a one-of-its-kind ethnographic museum called the Shilpagram is located that reflects the culture and heritage of the whole western India. The main objective of the museum was to promote the culture and lifestyle of ethnic minorities and tribal communities, keeping them alive through their art forms – art, handicrafts, music, dance, theatrics, puppetry, and more – all presented in their rawest form.

The historic city of Udaipur has survived pressures of unprecedented growth and today lends itself as a very important tourist city with a unique charm, grand history, and outstanding architectural and cultural heritage. But the strategy of development and preservation must be in lieu of the characteristic heritage of the urban fabric, such that it embraces conservation activities with a more sensitive approach.

Currently pursuing her major in urban planning, she believes that design and literature are two paradigms which can alter the overall outlook of the world when backed by practical data.

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• Vernacular Architecture

Vernacular Architecture of Udaipur

• Location: Rajasthan, Situated in a valley , surrounded by the Aravalis
• Climate: Largely hot and arid
• Type of structure studied: Courtyard Haveli
• Time of construction: approx. 200 yrs ago , i.e. 1800s

March 20, 2011 at 11:26 pm

really very nicely compiled really very nicely compiled study….

August 19, 2011 at 4:11 am

I understand that these I understand that these houses built in a different age for a different social life worked very well. But how do the people today deal with issues like rain (courtyards, hence flooding), pigeons (pigeon waste and eggs falling from nests need to be cleaned constantly on the rough stone flooring), mosquitoes, flies, cleaning of the exposed surfaces, etc?

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City Palace Udaipur: A Case study for Sustainable Heritage Tourism through Services Enhancement

2011, Technology, Internationalization & Customer Experiences: Proceedings of 5th International Conference on Services Management

The City Palace Complex, Udaipur is a heritage property being used as a museum that has undergone a detailed planning exercise through an international grant, with implemented and proposed initiatives. Taking this as a case study, the planning and implementation frameworks for guiding development and management of the property have been analysed and an attempt has been made to establish the link between service enhancements and sustainability of cultural heritage properties. The quality gap model has been applied to the services provided in the Palace Complex, to establish a systematic process for ensuring customer satisfaction. Customer satisfaction is further linked to sustainability by analysing current visitor and financial data trends. The case study illustrates an exemplary process of developing frameworks for guiding management and development of a cultural heritage site. Heritage properties are resources that can act as means of sustaining the cultural heritage and local economies, if developed and managed with appropriate guiding frameworks and management tools. It can be concluded that service enhancements in cultural heritage resources can act as means of sustaining the resources, boosting the local economy and generating livelihoods. The study encourages heritage property owners and entrepreneurs to invest on service enhancements in heritage resources and urges management and service industry professionals to understand the need and process of applying management tools and frameworks in such cases.

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The tourism sector is experiencing a remarkable constant progress and becoming one of the fastest growing economic sectors globally. In this context, it is interest for the academics and destination marketing organizations to undertake a dedicated study that gives a greater understanding of the concept of satisfaction in enhancing tourists’ loyalty. The purpose of this paper is to discuss the impact of service quality as one of the key antecedents affecting tourists’ satisfaction and loyalty towards selected destinations of the World Heritage Site in Malaysia. To confine the scope of the study, the area of interest focuses on a specific type of city, namely the Heritage City. The historical cities of Melaka and George Town inscribed as UNESCO World Heritage City in Malaysia are chosen in order to gain a comprehensive understanding of the tourists’ attitudes towards heritage city. The sample consists of 450 international and domestic tourists who visited the heritage city. Theoretica...

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This paper considers the relationship between heritage tourism and sustainable development, with special reference to World Heritage Sites (WHSs). It notes that while WHS status is not necessarily linked to tourism growth, all WHSs must now develop and implement a management plan to mitigate tourism impacts and sustain site significance. The paper explores the concept of sustainable heritage tourism and identifies two key principles of sustainable practice – a planning process that is long term and holistic, and multiple stakeholder participation in that planning process. Qualitative content analysis is used to determine the extent to which these principles have been integrated into the tourism planning process at six WHSs. The study found that a formal goal-oriented planning process was in evidence at all six sites. However, the process lacked a comprehensive and holistic approach to the wider issues of sustainable development, and genuine engagement with local community stakeholders.

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The process of globalization has created the situation where the expectations of tourists are the same both with respect to the quality of services in all destinations and with respect to the authencity based on local attractions and experiences, which should be unique and different for each destination. The key element in maintaining destination attractiveness is the protection and presentation of natural and cultural heritage and its sustainable utilization for tourism development. The sustainability concept is of equal importance for long-term tourism development, destination competitiveness and heritage protection. The paper deals with the main challenges to achieving sustainable tourism and points to some key responses to them. Participation, cooperation and partnership should be a vital prerequisite for the implementation and performance of sustainable tourism and heritage protection. This attitude has been tested on several examples of good practice in heritage protection and...

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Crafting an Experiencescape for Sustainable Cultural Tourism: A Case Study of Udaipur's Craft Village “Shilpgram”

1. introduction.

Festivals and fairs in India, such as Diwali and the Kumbh Mela, provide considerable economic possibilities while reinforcing cultural values. Despite India’s long history of handicrafts dating back to the Indus Valley civilisation, the industry has failed due to a lack of exposure and marketing. Artist Villages are a possible option, providing workshops and design studios to foster creativity while linking artisans to national and worldwide forums. They give artisans a global platform to present their work, bridging the gap between tradition and modernity and helping preserve and prosper India’s distinct handmade legacy. According to Shastri (2017), an artist village is aptly characterized as

A space for recreation and interaction, where the general masses can come, see the displayed art form, watch the performing Art and interact with the artists. Artisans can reside and enlighten others about their skills. (Shastri, 2017 p. 25)

Shilpgram, Udaipur, is an exceptional illustration of an artist community that is self-sustaining. The art and craft of India, preserved in the hands of rural artisans and explored for potential connections to the modern world today. Moreover, with “Shilpgram - a Craft Village” in Udaipur, the West Zone Cultural Centre (WZCC) embodies this aim by displaying the different cultural traditions of Western Zone states. Shilpgram also holds the annual “Shilpgram Utsav,” which attracts over 500,000 visitors and hundreds of artists and entertainers. WZCC’s headquarters, ‘Bagore-Ki-Haveli,’ also has a museum dedicated to conserving royal legacy (Mehmood & Aazem, 2002). These facilities are critical for preserving and appreciating India’s diverse cultural mix.

According to UNESCO, oral traditions and expressions, performing arts, social practices, rituals and festive events, knowledge and practices, and traditional handicrafts are all areas of ICH (UNESCO, 1989). In reality, another implicit feature strongly related to the previous domains produces a liveable place for appreciation (i.e., an experiencescape). The significance of ICH lies not only in its cultural form but also in the social and economic worth of culture and tradition transmission for communities or specific social groupings. This chapter aims to apply a case study technique to determine the viability of Shilpgram as an experiencescape model. This evaluation will mostly depend on qualitative interviews with significant Shilpgram stakeholders. Finally, this chapter aims to contribute to a broader understanding of how cultural destinations such as Shilpgram can effectively serve as experiencescape models, preserving and promoting cultural heritage while addressing contemporary challenges and opportunities in the field of cultural tourism.

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Shilpgram: a glimpse into rural culture.

Domain: Traditional craftsmanship

State: Mixed

Description:

The video looks at the craft village of Shilpgram in Udaipur. Shilpgram was established in 1989 as a place where traditional craftsmen could visit and demonstrate their skills. The village boasts of Drishyam, an audio-visual centre where documentaries on the handicraft tradition of India are shown along with films on folk culture. There are 31 traditional huts representing the rural and indigenous cultures of the four member states of West Zone Cultural Centre (WZCC), that is, Rajasthan, Gujarat, Goa and Maharashtra at Shilpgram. These huts were prepared using indigenous materials and by native artisans. One can find bhunga hut of Rajasthan, Dang hut of Gujarat, Rathwa hut decorated with Pithora paintings, Rewari hut of Kutch, Koli hut from Maharashtra as well as a haveli from Pethapur in Gandhiagar which was transported to Shilpgram intact. The other attractions include four museums, a sculpture park and an open air amphitheatre.

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Udaipur, india, institutional.

Taking lessons from the historic development of the city of Udaipur, water and its catchment and storage in lakes are the in the focus of this proposal for IIM Udaipur campus. The need for water to sustain life on site is recognized and provided for. Check-dams are placed in strategic locations, based on the average annual rainfall and on the analysis of the natural water sheds of the contours, to hold a maximum amount of rainfall. The treatment and recycling of sewage has also been considered to make this a self-sufficient, water sustainable campus. Moreover the lakes benefit climatically in cooling the buildings.

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Hotels in Udaipur Rajasthan - Ananta Hotels presents The Ananta Udaipur. A well known budget hotel in Udaipur city known for its hospitality and luxurious feelings.

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Shilpgram Udaipur – The Art Hub

Here you will know about shilpgram udaipur.

On the outskirts of Udaipur lies a premise brimful of craft, art and tradition! A captivating ride to the-authentic traditions of India, you’ll receive immense knowledge as well as amusement. Shilpgram is located 3 kms west from Udaipur; you can easily get a ride to the location. Here are some keynotes on why you must visit this place.

Shilpgram Udaipur

1. shilpgram festival (mahotsava).

• The place is renowned for its Shilpgram festival which is organized each year from 21 December to 31 December.
• Artisans/craftsmen from across the nation gather in this fest to showcase their art.
• Various stalls are setup providing a delightful shopping experience; ethnic jewelry, furniture, interior, apparel, statues, paintings, you name it and you’ll find it in the fest because over 400 stalls are setup in the particular fest.
• You can also taste lip-smacking dishes from all around the country at various food counters.
• As the sun sets the open auditorium is crowded with cheerful audience assembled to enjoy various performances by over 700 folk artists each day.
• Various artists showcase their paintings, statues and other form of art in the museum.
• Especially for kids there are slides available that they cherish to the fullest.
• You can also experience horse/camel ride.
• Various entertainers display their talents like rope-walk, juggling, swinging, balancing, magic etc. to entertain the visitors.

Here are some pictures of the tremendous fest:

Image Source

2. The Huts

• There are various sand huts built in Shiplgram that depict the culture of various states. Each state is allotted a particular no. of huts that showcases their history, culture, tribes and rituals.
• 5 huts of Rajasthan – Rama and Sama huts from western desert region of Rajasthan, a hut for potters from hilly region of the state, and 2 huts dedicated to Bhil and Sehariyan from South region of Rajasthan.
• There are 7 huts depicting Gujrat – 6 huts are purely dedicated to the Banni area of Gujrat and 1 hut depicts Bhujori area.
• 6 huts symbolizing Maharashtra – Huts dedicated to Konkan cost, Koli, Kolhapur, Warli, Gond and Maria.
• 5 huts representing Goa – Bicholim (potter’s hut), Hindu hut, Christian hut, Kumbli and Mandovi.
• And there are several other huts from total 21 states respectively.

3. A Peaceful Village Experience

There has always been a point of time in our life when we thought of moving away from the fast city lives to a serene quieter village! Well you can experience a Village life in a single day and that will also comprise of getting to know the traditions of 21 states of the country. This can be the perfect escape from a hectic schedule that’ll boost up your enthusiasm and will take you away from all the stress of the busy lives. You can have a conversation with the local people care-taking the place and dig them up to discover amusing age-old stories. Apart from the village experience you will also be blessed with abundance of art picked up from all around the nation and assembled at a serene location.

4. The Place Never Rests!

Apart from the Shilpgram fest, if you’ll visit the location, you can try the authentic Rajasthani food and also enjoy various dance and other performances by artists. Entering each hut and exploring the traditions of various states is a must-do thing. You can also indulge in the acts of the artists and learn to swirl like they do!

Various other fests and presentations are organized from time-to-time in Shiplgram that also will attract you to the place. A taste of each state in 70 acres of land, you cannot demand more.

Watch Video!

Let us know ‘What is the best thing you bought in the Shilpgram Udaipur Fest?’ in the comment section below, you can also share pictures of the stupendous location with us!

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• Architects: Abin Design Studio : Abin Design Studio - Abin Chaudhuri
• Area Area of this architecture project Area:  45000 m²
• Year Completion year of this architecture project Year:  2011
• Photographs Photographs: Pradip Sen

Text description provided by the architects. Inspiration

The past always catches up with you. Why shouldn’t it? Especially, when it offers you a rich heritage and timeless unparalleled grandeur. Orissa is a state widely known for its opulent cultural heritage and rich architecture. It is full of archaeological treasure dating back from the prehistoric times. As a state, it possesses soaring grandeur unequalled anywhere in India. Orissan sculpture has majesty, grace and beauty rarely to be found elsewhere. Caves of Khandagiri and Udayagiri represent Orissan cave architecture dating back to the first century B.C. These caves were cut out in the solid rock and are decorated with sculptural motifs, noted for their majesty, beauty and attention to detail.

The sculptures of these caves form a landmark in the history of Indian art. They present a vivid picture of the contemporary society and occupy an important place in rock-cut architecture in India. These historical monuments in Orissa inspire to fuse tradition with the modern style today. Instead of letting the treasures be a part of the past, we attempt to recreate it in a modern setting so we remember our roots yet grow with time.

Geographically, Bhubaneswar is situated in the eastern coastal plains of Orissa, India. The city inherits a rich cultural and traditional heritage. It is one of those rare places where tradition matches its steps with modernity, where culture and technology flourish together, where the glorious past is preserved and an illustrious future is in the making. The architecture of the city should reflect the very essence of Bhubaneswar. The city has a tropical wet and dry climate and succumbs to the heat and cold waves that sweep in from north India. The site is located about 14kms away from the city centre, in a barren and undeveloped area. It is a gently contoured site and the broad zoning of the site has been done keeping in mind all the site constraints.

Although the design of the institute is very modern a conscious effort has been made to fuse into the concept some of the local influences. The curved facade of the library block in the academic black will have sculptures, replicated from Khandagiri caves, in stone embedded into the facade. As one views the academic block, one sees a modern design reinforced with the traditional art of the culturally rich state of Orissa. The beauty of the sculptures leaves the viewer speechless as one is reminded of the rich culture and history of the state.

Interactive zones where students can spill out, unwind or just be inspired are a very essential part of campus design. A lot of attention has been paid to the spatial quality of the central plaza as it will be the biggest and most popular interactive node of the campus. Other smaller zones have been provided at nodal points. The central stepped plaza has been designed using solid laterite blocks which are locally available in Orissa. The water court at the centre acts as a natural exhaust cooling the air passing over it making the middle court a solace in the hot summer, providing relief from the hot and sultry tropical climate.

There is a strong visual link between the hostel block and the academic block by a shaded walkway which eventually becomes the central plaza of the academic block. The academic block acts as a buffer between the hostels and faculty residences, making it easy accessible from both. The campus is to be built in 3 phases and the planning has been done such that while phase 2 & 3 are being built there is no interference with the phase 1 structures. Keeping in mind the extreme summer temperatures, the structures have been designed and oriented on site to minimize heat gain and reduce use of electromechanical energy.

The site is situated 14kms away from the city centre and is in a barren and undeveloped area on the outskirts of Bhubaneswar. A strong vertical axis in the form of a tower as a feature element has been designed, with a visibility from 3kms away, making it a landmark in the surrounding areas. “Ah to build, to build! That is the noblest of all the arts!’ said Henry W. Longfellow and we whole heartedly agree.

This design is an attempt to build that which has a strong spatial quality which contains and stimulates a person, to fuse past tradition with the norms of the present. As famous architect Frank Gehry said “ Architecture should speak for its time and place, but yearn for timelessness”, this design is an attempt to do just that.

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Project location

Address: bhubaneswar, orissa, india.

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