Adaptive Reuse of Farah Bakhsh Palace as a Museum

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Adaptive Reuse of Farah Bakhsh Palace
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BONAFIDE CERTIFICATE
Certified that this thesis titled Re-architecture: Adaptive Reuse of Farah Bakhsh Palace is the
bonafide work of Ramola Helena Lewis Registration no.: 100901055 who carried out the work
under my supervision. Certified further that to the best of my knowledge the work reported here in
does not form part of any other thesis or dissertation of the basis of which a degree or award was
conferred on an earlier occasion on this or any other candidate.
..
Director
RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace
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SYNOPSIS
Adaptation of existing buildings for new functions is not a new trend: the theoretical approach towards
adaptive reuse was established and formulated as early as at the beginning of the 19th century.
This thesis will explore an alternative strategy to a conservative adaptive reuse practice for a residential
building Farah Bakhsh Palace that not only complements but challenges and reveals the history
through the unique character and the original intent of the design by preserving the spirit of place that is
more than often lost in the process of adaptation by considering the meaning of place conveyed through
its architectural expression. The adaptive reuse strategy was formulated and tested through case study
examples.
The design illustrates and makes explicit in this specific situation, and in detail the processes,
applications and implications of adaptively reusing Farah Bakhsh Palace as a museum keeping in mind
the genius loci aspect. Every aspect of this project aims to raise awareness and actively portray the
potential of this practice in adaptive reuse as a viable and socially responsible alternative to demolition
and replacement.
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ACKNOWLEDGEMENT
I would like to thank my supervisors for their insight and guidance, for supporting me and giving me
confidence during the undertaking of this thesis. Their knowledge and patience added a great deal of
value to my experience.
I would also like to thank Christopher Noronha Associates for helping and guiding me through the 3D
modelling (existing building) for my project, the Superintending Archaeologist Mr. A.M.V.
Subramanyam for his cooperation and time during the documentation process of Farah Bakhsh Palace
and the curator of Historical Museum Ahmednagar, Mr. Santhosh Yadav for his time and imparting his
knowledge about the history of Farah Bakhsh Palace and Ahmednagar.
I would like to thank my family for their love and care throughout the entire process of the thesis and
beyond.
Last but not the least, I would like to thank the one above all of us, God, for answering my prayers and
for giving me the strength throughout the process of this thesis.
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TABLE OF CONTENTS
1
Introduction ......................................................................................................................................1
1.1
Background Information ..........................................................................................................1
1.2
Relevance .................................................................................................................................1
1.3
Aim...........................................................................................................................................1
1.4
Project Justification ..................................................................................................................2
1.5
Methodology ............................................................................................................................2
1.6
Essence of dissertation .............................................................................................................3
1.6.1
Guidelines ............................................................................................................................3
1.6.2
Conclusion ...........................................................................................................................4
Literature Study ................................................................................................................................5

2.1
2.1.1
Introduction ..........................................................................................................................5
2.1.2
Principles of Adaptive Reuse ...............................................................................................5
2.1.3
Advantages of adaptive reuse...............................................................................................6
2.1.4
Benefits of adaptive reuse ....................................................................................................6
2.1.5
Criteria for adaptive reuse ...................................................................................................7
2.1.6
Impact of adaptive reuse on city development .....................................................................7
2.1.7
Adaptive reuse as an approach for preservation .................................................................7
2.2
Adaptive Reuse ........................................................................................................................5
Interior Spaces..........................................................................................................................9
2.2.1
Space ....................................................................................................................................9
2.2.2
Interior Design ...................................................................................................................10
2.2.3
Structural Systems ..............................................................................................................13
2.3
Classification Of buildings .....................................................................................................23
2.4
Age criteria for a building to be listed as an old building ......................................................24
Introduction to site .........................................................................................................................25

3.1
History- ..................................................................................................................................25
3.2
Architectural style- .................................................................................................................25
3.3
Topography - ..........................................................................................................................25
3.4
Demography - ........................................................................................................................26
3.5
Industries -..............................................................................................................................26
3.6
Rivers - ...................................................................................................................................26
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3.7
Soil - .......................................................................................................................................27
3.8
Environment - ........................................................................................................................27
3.9
Media and communication -...................................................................................................28
3.10
Roads - ...................................................................................................................................28
3.11
Railway - ................................................................................................................................28
3.12
Airway - .................................................................................................................................28
3.13
Tourist places in and around ahmednagar- ............................................................................28
Site Location....................................................................................................................................30
Site Analysis ....................................................................................................................................31
History .............................................................................................................................................34
Documentation Drawings ...............................................................................................................37
Survey Study ...................................................................................................................................42
New Use Options ............................................................................................................................43
10
Case Studies ...............................................................................................................................45
10.1
Primary Case Study: Tipu Sultans Summer Palace, Bangalore ...........................................45
10.2
Secondary Case Study: The Alexander Palace, Tsarskoe Selo, St. Petersburg, Russia .........49
10.2.1
Survey-exterior ...............................................................................................................51
10.2.2
The objectives of the visit to the museum was to:...........................................................51
10.2.3
Project Proposal ............................................................................................................52
10.2.4
Utilization of Interior Spaces .........................................................................................52
10.2.5
Museum support facilities: .............................................................................................52
10.2.6
Museum details...............................................................................................................52
11
Standards ...................................................................................................................................61
11.1 As Per Space Planning By Building Type Time Saver Standards For Interior Design And
Space Planning ...................................................................................................................................62
11.2
As Per Museums Time Saver Standards For Building Types 2nd Edition ........................62
12
Case Study Analysis ....................................................................................................................65
13
Restoration .................................................................................................................................65
14
Conceptual Design Program .......................................................................................................65
15
Conclusions ................................................................................................................................67
16
Appendices .................................................................................................................................68
17
References..................................................................................................................................78
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TABLE OF FIGURES & TABLES

Figure 1 ....................................................................................................................................................9
Figure 2 ..................................................................................................................................................10
Figure 3 ..................................................................................................................................................11
Figure 4 ..................................................................................................................................................12
Figure 5 ..................................................................................................................................................13
Figure 6 ..................................................................................................................................................14
Figure 7 ..................................................................................................................................................14
Figure 8 ..................................................................................................................................................15
Figure 9 ..................................................................................................................................................15
Figure 10 ................................................................................................................................................16
Figure 11 ................................................................................................................................................16
Figure 12 ................................................................................................................................................17
Figure 13 ................................................................................................................................................17
Figure 14 ................................................................................................................................................18
Figure 15 ................................................................................................................................................19
Figure 16 ................................................................................................................................................19
Figure 17 ................................................................................................................................................20
Figure 18 ................................................................................................................................................20
Figure 19 ................................................................................................................................................21
Figure 20 ................................................................................................................................................22
Figure 21 ................................................................................................................................................22
Figure 22 ................................................................................................................................................22
Figure 23 SALABAT KHANS TOMB ................................................................................................29
Figure 24 AHMEDNAGAR FORT .......................................................................................................29
Figure 25 SHANI SHINGANAPUR- SAI BABA .................................................................................29
Figure 26 ................................................................................................................................................32
Figure 27 ................................................................................................................................................33
Figure 28 PANAROMIC VIEW FROM ENTRANCE .........................................................................33
Figure 29 GROUND FLOOR PLAN .....................................................................................................37
Figure 30 FIRST FLOOR PLAN ...........................................................................................................38
Figure 31 ROOF PLAN .........................................................................................................................39
Figure 32 CROSS SECTION .................................................................................................................40
Figure 33 ELEVATIONS ......................................................................................................................40
Figure 35 LOCATION ...............................................................................................................................45
Figure 36 ................................................................................................................................................46
Figure 37 PLAN .....................................................................................................................................46
Figure 38 PLAN SHOWING FURNITURE..........................................................................................47
Figure 39 ELEVATION .........................................................................................................................47
Figure 40 ................................................................................................................................................49
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Figure 41 ................................................................................................................................................50
Figure 42 SITE PLAN ...........................................................................................................................54
Figure 43 ................................................................................................................................................54
Figure 44 FIRST FLOOR PLAN ...........................................................................................................55
Figure 45 BASEMENT PLAN ..............................................................................................................55
Figure 46 MEZZANINE PLAN.............................................................................................................56
Figure 47 ROOF PLAN .........................................................................................................................56
Figure 51 SECTIONS ............................................................................................................................58
Figure 52 ................................................................................................................................................59
Figure 53 INTERIORS VIEWS AFTER RESTORATION ..................................................................60
Figure 54 ................................................................................................................................................64
Figure 55 ................................................................................................................................................64
Figure 56 ENTRANCE VIEW...............................................................................................................68
Figure 57 SEMI DOME .........................................................................................................................68
Figure 58 SEMI DOME .........................................................................................................................69
Figure 59 CENTRAL HALL .................................................................................................................69
Figure 60 NICHE ...................................................................................................................................70
Figure 61 NICHE ...................................................................................................................................70
Figure 62 FRONT FACADE .................................................................................................................71
Figure 63 DOME ...................................................................................................................................71
Figure 64 COLUMNS ............................................................................................................................72
Figure 65 STUCCO WORK ..................................................................................................................72
Table 1 International Existing Building Code .........................................................................................8

Table 2....................................................................................................................................................23
Table 3....................................................................................................................................................44
Table 4....................................................................................................................................................63
Table 5 ....................................................................................................................................................67
Table 6 ....................................................................................................................................................67
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1 INTRODUCTION
1.1 BACKGROUND INFORMATION
Old buildings give neighborhoods their distinct character and at the same time provide a tangible
connection to the past. And sometimes buildings often outlive their original purposes. This results in the
process of adaptive reuse of such buildings in order to make the existing structure and surroundings
active once again.
When the original use of a structure changes or is no longer required, architects have the opportunity to
change the primary function of the structure, while retaining some of the existing architectural details
that make the building unique.
The sustainable development and conservation of buildings in the city provide social, economic, and
environmental benefits to a community or area. The conservation of the built structures not only
contributes to the economic and environmental composition of a community, but also to the social and
cultural identity, which helps to create dynamic places, and defines the character, spirit and sense of a
place.
1.2 RELEVANCE
It is a common and significant trend to create the specific character of spaces for human use and
enjoyment. As societies continue to re-examine their stock of existing buildings, rearchitecture
becomes increasingly important to users seeking building conservation, preservation, and adaptive reuse.
1.3 AIM
To portray the potential of adaptive reuse of interior spaces in Farah Bakhsh Palace as a viable and
socially responsible alternative to demolition and replacement.
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1.4 PROJECT JUSTIFICATION

Due to the presence of many old residential structures that have been left abandoned, creation of
character of spaces for human use and enjoyment can be done to regenerate the structures. As it becomes
increasingly important to users seeking building conservation, preservation, and adaptive re-use.
The structure being rich in Persian architecture and still standing strong after 430 years is very poorly
cared for and can be developed and revived of its lively character through restoration and adaptive reuse.
With restoration techniques, adaptive reuse will be feasible in this structure in terms of social, economic,
and environmental benefits.
1.5 METHODOLOGY
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1.6 ESSENCE OF DISSERTATION

1.6.1
Guidelines
1.6.1.1 Reuse Strategy

Typological: To understand the typology of the building of the existing and new use. Technical: To
study and analyse the structural system of the existing structure. Strategical: The building along with its
surroundings should be taken into context thus reusing the building while keeping in mind the character,
sense and spirit of the place.
1.6.1.2 Use and function
Choice of use and function depends on location, building typology, environmental factors, social factors,
and economic factors. Environmental factors include site features, climatic conditions and embodied
energy of existing building. Social factors include the needs and wants of the society and preservation
of the character, sense and spirit of the place. Economic factors include the budget for reuse, sustainable
construction and durability.
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1.6.1.3 Quality of Design
It should blend to the surroundings and the society, innovative designs, preservation of the historical
and heritage elements should be carried out. It should also be structurally sound and strong to be durable
1.6.1.4 Materials and technology
Use of old and new can be merged resulting in innovative techniques. The materials of the original
structure should be ideally maintained and used unless it is a dilapidated structure. The new additions
and preservation to be done can be a combination of old and new techniques and materials in the
construction.
1.6.1.5 Flexibility and reversibility
The building should be able to undergo future changes and adapt to other reusability options in case
change of use needs to be done due to society demands or economic demands.
1.6.2
Conclusion
Integration of adaptive reuse and development of interior space is very essential and critical as
it depends on the new use, users and suitability to the existing structure. The apt combination of
the two parameters results in preserving historical identity at the same time as it is the product
of contemporary technology.
Finally this process looks at long-term feasibility for a neighbourhood; specifically, it proposes
the transformation of uses for different building typologies.
Below listed are the possible options for change in use based on the building typology:
Residential building conversions: Flats, Two - Three Storey Town Houses, Office block,
Educational building, Retail units, mixed use development containing offices/shops/flats,
hotels, restaurant, old aged homes, museums, etc.
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2 LITERATURE STUDY
2.1 ADAPTIVE REUSE
2.1.1
Introduction
Adaptive reuse usually refers to the reuse of sites or buildings for purpose other than they were originally
built or designed for. These new uses can offer economic, social and cultural benefits to their
environments. Reuse is one approach to sustainability since it conserves original durable building
materials. Adaptive reuse deals with issues of conservation and preservation of built form as well as
strategies and policies. Once old structures become unsuitable for their functional and programmatic
requirements or has remained unused, adaptive reuse becomes a sustainable option for reclamation of
sites.
Adaptive reuse is defined as a revitalization strategy which employs a series of linked procedures to
plan for, inventory, acquire, manage and reuse surplus or abandoned real estate. [1]
An imperative aspect of adaptive reuse projects is that the land or building which is being considered
for had a previous use that is no longer suitable or the use remains unused in that type of building
location, and therefore the potential value of the property will be maximized by adapting the space. The
adaptive reuse of buildings can include modifications that are purely aesthetic, and are made to the
building while retaining its structure and character.
2.1.2
Principles of Adaptive Reuse
The challenge comes in finding the desired balance between change, adaptation and restoration to
appease the stakeholders. In finding the right balance, adaptive reuse projects should integrate five
principles into the design as stated by:
Perform the functions well for which they are redesigned
Be long lasting and adaptable to new uses
Respond well to their surroundings and enhance their context
Have a visual coherence and create delight for users and passers-by
Be sustainable non-polluting, energy efficient, easily accessible and have a minimal environmental
impact [2]
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2.1.3
Advantages of adaptive reuse

The ability to reuse the materials is mainly due to the fact that older buildings are often
constructed with materials of a higher grade and quality that therefore have a longer lifespan
than those used in current construction.
Moreover, with the envelope of older buildings generally consisting of stronger materials and
containing numerous windows, the energy efficiency of the heating and cooling can be
improved.
The social benefits of reuse projects include rejuvenating the historical and cultural values of a
building.
During the time period when the building was originally in use, it served a specific purpose in
the neighbourhood to which people, in one way or another, were connected. Older buildings
have the ability to provide character to an area and create a sense of place. [3]
2.1.4
Benefits of adaptive reuse
2.1.4.1 Environmental
Adaptive reuse of buildings has a major role to play in the sustainable development. Environmental
benefits are more significant, as these buildings offer so much to the landscape, identity and amenity of
the communities they belong to.
One of the main environmental benefits of reusing buildings is the preservation of the original building's
"embodied energy". That is, the energy consumed by all of the processes associated with the production
of a building, from the attainment of natural resources to product delivery, including mining,
manufacturing of materials and equipment, transport and administrative functions. By reusing buildings,
their embodied energy is retained, making the project much more environmentally sustainable than
entirely new construction.
2.1.4.2 Social
Keeping and reusing buildings has long-term benefits for the communities that value them. Adaptive
reuse can restore and maintain the significance of a building and help to ensure its survival.
2.1.4.3 Economic
There are several financial savings and returns to be made from adaptive reuse of buildings. Embodied
energy savings from not demolishing a building will only increase with the predicted rise of energy costs
in the future.
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While there is no definitive research on the market appeal of reused buildings, they have been popular
because of their originality and historic authenticity.
2.1.4.4 Promoting innovation
The adaptation of buildings presents a genuine challenge to architects and designers to find innovative
solutions. As development pressures increase in our cities, more buildings are being reused, producing
some excellent examples of creative designs that retain its significance. [4]
2.1.5
Criteria for adaptive reuse

The societal value of a given site and building; that is, the importance to the community of the
use of a site by its members or visitors.
The potential for the reuse of a particular site and building; the physical damage sustained to
the site and its support of future use, the character of the existing form in terms of the proposed
reuse.
The historical importance of the site and building; in terms of both the physicality of the streetscape and the area, as well as of the role of the site in the communitys understanding of the
past.
The natural ecological conditions of the site and building; whether it is suitable climatically or
can support the proposed environmental work.
2.1.6 Impact of adaptive reuse on city development

Today, one controversial concern in urban expansion is the adaptive reuse of aged urban industrial sites
or structures. These sites are known as brownfields instead of Greenfields due to the fact that they may
contain chemical contamination; it is necessary to deal with this problem before the structures can be
put to residential or commercial use. A successful adaptive reuse project can offer growth and also bring
historical tourism to its city and new life to its neighborhood.
2.1.7 Adaptive reuse as an approach for preservation
After review and evaluation of literature on the adaptive reuse of buildings, we can identify three main
strategies for conservation: typological, technical and strategic.
2.1.7.1 Typological approach
A new use for old buildings by Cantacuzino was the first publication on adaptive reuse. Its
introductory essay discusses the history of adaptive reuse and its role within current conservation
practice. It goes on to give a variety of examples from all over the world; these examples are presented
according to building type before adaptation. In contrast, many publications only deal with reuse of one
specific building type, e.g. religious buildings or industrial buildings.
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2.1.7.2 Technical approach
Several sources have considered building adaptation as mainly a technical matter and also, regarding
how to decide on a new function for adapted buildings. The rehabilitation and re-use of old buildings
by Highfield (1987) is a booklet in which the author first explains the benefits of rehabilitation. He
differentiates domestic and nondomestic buildings and in a technical chapter he discusses the upgrading
of fire resistance, thermal function, and acoustic performance, elimination of damp infiltration,
condensation and timber decay.
Also, a main portion of the work of Douglas is about technical characteristics of reuse. Highfield and
Douglas have discussed building protection but they approach the space only as a shell instead of giving
consideration to aspects of preservation and significance.
2.1.7.3 Strategic approach
The strategic approach concentrates on the processes and strategies used for adapting important
structures.
(1) building within
(2) building over
(3) building around
(4) building alongside
(5) recycling materials
(6) adapting to a new function
(7) Building in the style of.
Three strategies for conversions: (1) intervention, (2) insertion and (3) installation.
Repairs
Alterations
Change of use
Additions
Historic
buildings
Description
Restoration to good or sound condition of any part of an existing building for the
purpose of its maintenance.
Level 1 similar to a repair except newer materials, elements, equipment, or
fixtures replace the previous ones.
Level 2 includes reconfiguration of space, additions or elimination of doors or
windows, building system updates.
Level 3 where the work area, including al reconfigured spaces, exceeds 50% of
the total building area.
Applies when new occupancy of an existing building is different from the
previously approved occupancy.
Applies if the building is increased in area, number of stories, or height.
Covers buildings that are listed in either a state or national register of historic
places, designated by local or state agencies, certified as a contributing resource
within a historic district, or eligible for official historic designation.
Applies if a building is moved from one site to another, regardless of distance.
Relocated
buildings
Table 1 International Existing Building Code [5]
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2.2 INTERIOR SPACES

2.2.1
Space
Space is a prime and ideal element in interior design. Through the volume of space we not only move;
we see forms, hear, feel, smell, etc. Space inherits the physical and aesthetic characteristics of the
elements in its field.
Space is not a material substance. It is characteristically formless and turgid. Universal space has no
defining borders. Once an element is placed in its field, however, a visual relationship is established. As
other elements are introduced into the field, multiple relationships are established between the space and
the elements, as well as among the elements themselves. Space is formed by our perception of these
relationships.
The geometric elements point, line, plane, and volume can be arranged to articulate and define space. In
architecture, these fundamental elements become linear columns and beams, planar walls, floors, and
roofs.
TWO COLUMNS
DEFINE A SPATIAL
MEMBRANE THROUGH
WHICH WE CAN PASS.
A COLUMN MARKS A
POINT IN SPACE AND
MAKES IT VISIBLE IN
THREE DIMENSIONS.
WHEN SUPPORTING A
BEAM, THE COLUMNS
DEFINE THE EDGES OF
A TRANSPARENT PLANE.
A WALL, AN OPAQUE
PLANE, MARKS OFF A
PORTION OF
AMORPHOUS SPACE
AND SEPARATES
HERE FROM THERE.
Figure 1
A ROOF PROVIDES
SHELTER FOR THE
VOLUME OF SPACE
BENEATH IT.
A FLOOR DEFINES A
FIELD OF SPACE
WITH TERRITORIAL
BOUNDARIES.
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Upon entering a building, we sense shelter and enclosure. This perception is due to the bounding floor,
wall, and ceiling planes of interior space. These are the architectural elements that define the physical
limits of rooms. They enclose space, clear its boundaries, and separate it from adjoining interior spaces
and the outside.
Figure 2
2.2.2
Interior Design
The interior is bound to its situation; it is enclosed within a building. The particular location of the
interior has an influence upon the design that often far outweighs other considerations.
It is an interdisciplinary practice that is concerned with the creation of a range of interior environments
that articulate identity and atmosphere through the manipulation of spatial volume, placement of specific
elements and furniture, and treatment of surfaces.
The reuse of existing buildings is a subject that is central to the evolution of the urban environment and
issues of conservation and sustainability have become vital to the development of cities.
As the approach to the design and the use of the urban environment has changed, so the prevailing
attitude towards building reuse has also altered.
Interior decoration is the art of decorating interior spaces or rooms to impart a particular character that
functions well with the existing architecture. Interior decoration is concerned with such issues such as
surface pattern, ornament, furniture, soft furnishings, lighting and materials. It generally deals with
minor structural changes to the existing building.
2.2.2.1
Criteria concerned
1. Function and purpose: it should satisfy the function thus meeting the purpose.
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2. Utility, Economy and Sustainability: this is required during selection and appropriate use of
material.
3. Form and style: design should be aesthetic and proportional.
4. Image and meaning: character of design should be defined once the users utilize the space.
2.2.2.2
Shaping the interior spaces
Although a buildings structural system sets up the basic form and pattern of its interior spaces, these
spaces are ultimately structured by the elements of interior design.
The term structure refers to the selection and arrangement of interior elements such that their visual
relationships define and organize the interior space of a room.
Non-load-bearing partitions and suspended ceilings are often used to define or modify space within the
structural framework or shell of a building.
The color, texture, and pattern of wall, floor, and ceiling surfaces affect our perception of their relative
positions in space and our awareness of the rooms dimensions, scale, and proportion.
Figure 3
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Figure 4
Within a large space, the form and arrangement of furnishings can divide areas, provide a sense of
enclosure, and define spatial patterns.
Lighting, and the light and dark patterns it creates, can call our attention to one area of a room, and
thereby create divisions of space. Even the acoustic nature of a rooms surfaces can affect the boundaries
of a space.
Finally, space is structured by the way we use it. The nature of our activities and the rituals we develop
in performing them influence how we plan, arrange, and organize interior space.
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Figure 5
2.2.3
2.2.3.1
Structural Systems
Introduction
IT IS THE VERTICAL EXTENSION OF THE

FOUNDATION SYSTEM AND CONSISTS OF
THE COLUMNS, BEAMS, AND LOADBEARING WALLS THAT SUPPORT THE
FLOOR AND ROOF STRUCTURES.
IT IS THE SUBSTRUCTURE THAT FORMS THE

BASE OF A BUILDING, ANCHORS IT FIRMLY
TO THE GROUND, AND SUPPORTS THE
BUILDING ELEMENTS AND SPACES ABOVE
Figure 6
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Figure 7
These systems must work together to support the following types of loads:
IS A STATIC VERTICAL
LOAD IS COMPRISING THE
WEIGHT
OF
ITS
STRUCTURAL AND NONSTRUCTURAL
COMPONENTS, INCLUDING
ANY
EQUIPMENT
PERMANENTLY ATTACHED
TO THE STRUCTURE.
WHICH
IS
A
MOVABLE
OR
MOVING
LOAD
COMPRISING
THE
WEIGHT
OF
ITS
OCCUPANTS
AND
ANY
MOBILE
EQUIPMENT
AND
FURNISHINGS.
DYNAMIC LOADS
Figure 8
A buildings structural system is formed according to the geometry of its materials and the way they
react to the forces applied to them. This structural form and geometry, in turn, influence the dimensions,
proportion, and arrangement of the interior spaces within the building volume.
The two basic linear structural elements are the column and the beam.
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A BEAM IS A HORIZONTAL MEMBER THAT TRANSMITS FORCES PERPENDICULAR TO ITSELF ALONG ITS
LENGTH TO ITS SUPPORTS. IT IS SUBJECT TO BENDING AND DEFLECTION, WHICH RESULT IN AN INTERNAL
COMBINATION OF COMPRESSIVE AND TENSILE STRESSES. THESE STRESSES ARE PROPORTIONALLY
GREATER ALONG THE UPPER AND LOWER REGION OF A BEAMS CROSS SECTION. INCREASING DEPTH AND
PLACING MATERIAL WHERE STRESSES ARE GREATEST OPTIMIZE A BEAMS PERFORMANCE.
COLUMN
IS
VERTICAL
SUPPORT
THAT
TRANSMITS COMPRESSIVE FORCES DOWNWARD

ALONG ITS SHAFT.
THE THICKER A COLUMN IS IN RELATION TO ITS
HEIGHT,
THE
GREATER
ITS
LOAD-BEARING
CAPACITY AND ITS ABILITY TO RESIST BUCKLING

RESULTING
FROM
OFF-CENTRE
LOADING
OR
LATERAL FORCES.
Figure 9
2.2.3.2
Linear Structural Systems

BEAMS MAKE STRUCTURAL AND VISUAL
CONNECTIONS
ACROSS
SPACE
BETWEEN THEIR SUPPORTS.

COLUMNS MARK POINTS IN SPACE AND
PROVIDE
MEASURE
FOR
ITS
HORIZONTAL DIVISIONS.
A LINEAR STRUCTURAL SYSTEM MAY

SUGGEST
GRID
LAYOUT
REPETITIVE SPACES.
OF
Figure 10
A linear structural system may consist of a grid layout of repetitive spaces, but floor, wall, and
ceiling planes are necessary for the support and enclosure of interior space. Floor and ceiling
planes may consist of planar slabs or an arrangement of girders and beams and joists.
Walls and partitions need not always be load-bearing and do not have to be aligned with the
columns of a structural frame.
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Figure 11
Linear structural systems are extremely flexible. They allow for growth, change, and the
adaptation of individual spaces to their specific uses.
2.2.3.3 Planar Structural Systems

The two principal types of planar structural elements are the load-bearing wall and the horizontal slab.
A BEARING WALL ACTS AS A
LONG, THIN COLUMN IN
TRANSMITTING COMPRESSIVE
FORCES TO ITS SUPPORT OR
FOUNDATION.
ANY
OPENING
MUST
BE
SPANNED BY AN ARCH OR A
SHORT BEAM CALLED A
LINTEL TO SUPPORT THE WALL
LOAD ABOVE AND ALLOW
COMPRESSIVE STRESSES TO
FLOW AROUND THE OPENING
TO ADJACENT SECTIONS OF
THE WALL.
Figure 12
Advantages of planar systems over linear systems: Linear structural elements only outline the edges of
spatial volumes, whereas planar elements such as bearing walls define the physical limits of space. They
provide a real sense of enclosure and privacy as well and serve as obstacles against the elements.
A slab is a horizontal, rigid plate. It supports both concentrated and distributed loads because the
resulting stresses that can fan out across the plane of the slab.
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Figure 13
2.2.3.4
Volumetric Structural Systems
A VOLUMETRIC STRUCTURAL
SYSTEM CONSISTS OF A THREE
DIMENSIONAL MASS THAT
OCCUPIES THE VOID OF SPACE.
INTERIOR SPACE
Figure 14
At a small scale, stone and clay masonry units can be seen to be volumetric structural elements.
2.2.3.5
Spatial Form
Interior spaces are defined by a buildings structural system, containing wall and ceiling planes, and
related to other spaces by windows and doorways.
18 | P a g e
Either the structure or the space can dominate this relationship. Whichever appears to dominate, we
should be able to perceive the other as an equal partner in the relationship.
IT NOT ONLY OCCUPIES SPACE, IT ALSO
CREATES A SPATIAL RELATIONSHIP
BETWEEN
ITSELF
AND
THE
SURROUNDING ENCLOSURE
Figure 15
2.2.3.6
Spatial Dimensions
The dimensions of interior space, like spatial form, are directly related to the nature of a buildings
structural systemthe strength of its materials and the size and spacing of its members.
Wood or steel beams and concrete slabs can span up to 30 feet (9 m). Wood or steel trusses can span
even farther, up to 100 feet (30 m) or more.
Longer roof spans are possible with space frames and a variety of curved structures, such as domes,
suspension systems, and membranes supported by air pressure.
2.2.3.7 Human dimensions
Our body dimensions, and the way we move through and perceive space, are prime determinants of
architectural and interior design.
19 | P a g e
Figure 16
Figure 17
20 | P a g e
2.2.3.8
The Vertical Dimension of Space
THE THIRD DIMENSION OF INTERIOR

SPACE, ITS HEIGHT, IS ESTABLISHED BY
THE CEILING PLANE.
THE RELATIONSHIP BETWEEN THE

HEIGHT OF A SPACE AND OUR OWN
BODY HEIGHT CAN BE SENSED.
Figure 18
2.2.3.9
Spatial Transitions
OPENINGS CREATED WITHIN THE

WALL PLANE FOR WINDOWS AND
DOORWAYS
RE-ESTABLISH
CONTACT WITH THE SURROUNDING
SPACES FROM WHICH THE ROOM
WAS ORIGINALLY CUT.
Figure 19
THE WALL PLANE, BEING PERPENDICULAR TO OUR NORMAL LINE

OF SIGHT, HAS THE GREATEST EFFECT AS A SPATIAL BOUNDARY.
21 | P a g e
INDIVIDUAL PLACES ARE

DESIGNED AND FORMED AS THEY
ARE FUNCTIONALLY RELATED TO
ONE ANOTHER WITH COMMON
PEOPLE AND ACTIVITIES.
Figure 20
Interior spaces are related to one another is determined not only by their relative position in a buildings
spatial pattern, but also by the nature of the spaces that connect them and the boundaries they have in
common.
2.2.3.10 Modifying Space
The architectural planning and design for a new building take into account the nature of the activities to
be housed; the spatial requirements for form, scale, and light; and the desired relationships among the
various interior spaces.
Whereas an existing building is to be used for activities other than those for which it was originally
intended, however, activity requirements must be matched with the existing conditions. Where there is
a mismatch, an alteration of the existing spaces is required.
Two major types of alteration can be considered:
1. It involves structural changes in the boundaries of interior space and is more permanent in nature
than the second.
2. The second type of alteration involves non-structural modifications and enhancement
accomplished through interior design.
22 | P a g e
Figure 21
A structural change may involve removing or adding walls to alter the shape and rearrange the pattern
of existing spaces, or to add on new space. When doing so, it is vital to understand the distinction
between load-bearing walls and non-loadbearing partitions. [6]
DOORWAY MAY BE MOVED OR ADDED
FOR BETTER ACCESS TO A ROOM SPACE
OR TO IMPROVE THE MOVEMENT PATHS
WITHIN THE SPACE.
A LARGE DOORWAY MAY BE CREATED TO
MERGE TWO ADJACENT SPACES.
WINDOWS MAY BE ENLARGED OR ADDED

FOR BETTER DAY LIGHTING OR TO TAKE
ADVANTAGE OF A VIEW.
Figure 22
WHEN
ADDING
A
STAIRWAY, SKYLIGHT OR
CREATING
VERTICAL
RELATIONSHIP BETWEEN
LEVELS,
STRUCTURAL
CHANGES NEED TO BE
DONE.
Figure 23
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2.3
CLASSIFICATION OF BUILDINGS: [7]
INDUSTRIAL
RELIGIOUS
SEMI-PUBLIC BUILDINGS
RESIDENTIAL
MILITARY
COMMERCIAL
Factory
Warehouse
Barn
Granary
Mills
Brewery
Mining site
Railway station
Church & Chapel
Convent
Presbytery
City Hall
Museum
School
Hospital
Observatory
Court House
Office
Library
Theatre
Hotel & Hostel
Post Office
Castle
Country house
Farm
Town house
Fortress
Barrack
Gate
Craft shop
Department store
Exchange
Bank
Market
Boutique
Passage
Table 2
24 | P a g e
2.4 AGE CRITERIA FOR A BUILDING TO BE LISTED AS AN OLD BUILDING
Age and rarity: most buildings built before 1700 which survive in anything like their original
condition are listed, as are most of those built between 1700 and 1840
The criteria become tighter with time, so that buildings built within the last 30 years have to be
exceptionally important to be listed, and under threat too. A building has to be over 10 years
old to be eligible for listing
Architectural interest: buildings which are nationally important for the interest of their
architectural design, decoration and craftsmanship; also important examples of particular
building types and techniques.
Historic interest: this includes buildings which illustrate important aspects of the nation's social,
economic, cultural or military history.
Close historical association with nationally important people or events.
Group value, especially where buildings are part of an important architectural or historic group
or are a fine example of planning (such as squares, terraces and model villages). [8]
25 | P a g e
3 INTRODUCTION TO SITE
3.1 HISTORY
Ahmednagar is a city of Ahmednagar District in the state of Maharashtra, India, about 120 km
northeast of Pune and 120 km from Aurangabad.
It was the seat of the Ahmednagar Sultanate of late medieval period and was founded by Ahmad
Nizam Shah (14961636 CE). This district is known for the town of Shirdi associated with Sai
Baba.
The
neighboring
districts
to
Ahmednagar
district
are Solapur (SE), Osmanabad (SE), Beed (SE), Aurangabad (NE), Nashik (NW), Thane (NW),
and Pune (SW). It consists of fourteen talukas.
3.2 ARCHITECTURAL STYLE
Persian Architecture was the main influence on all buildings present in Ahmednagar-
Use of abundant symbolic geometry, using pure forms such as circles and squares, and plans
are based on often symmetrical layouts featuring rectangular courtyards and halls.
Materials used Heavy clay, moulded mud, heavy plastic earth, in conjunction with a tenacious
lime mortar, brick.
Unique techniques of casting metal, carving stone, and painting were also done.
3.3 TOPOGRAPHY There are various land forms founds in Ahmednagar district. These different types of land forms in the
region constitute its physical set-up. The physical of Ahmednagar district are the following divisions1) Western hilly region- The main Sahyadri range touches Akola Tahsil in the western area of
Ahmednagar and forms this main range three spears viz. Kalsubai, Baleshwar and
Harishchandragad. Kalsubai is the highest peak of Sahyadri (1654 mtr.).
2) Central plateau region- Parner, Ahmednagar Tahsil and parts of Sangamner, Shrigoda and
Karjat Tahsils are included in this region.
3) Northern and southern plain regions- It includes northern Koperagaon, Rahata, Shrirampur,
Rahuri, Newasa, Shevgaon and Pathardi Tahsils. This is the region of the Godavari and the
Pravara river basins. Parts of the southern tahsils of Shrigoda, Karjat and Jamkhed are also
26 | P a g e
included in this physical division. This region covers basins of the Ghod, Bhima and the Sina
rivers.
3.4 DEMOGRAPHY
In the 2011 census Ahmednagar district recorded a population of 350,905. It has a sex ratio of
934 females for every 1000 males, and a literacy rate of 80.22%.
Language spoken: Marathi, Hindi
There are four visible festivals in Ahmednagar city- Ganesh Festival (Hindu, in
August/September), Tabut festival (Muharrum, Islamic, month varies), Navratri/ Dasara
(Hindu, in October),and Makar Sankrati (Kite-flying, in January).
According to census, Hindus were 82%, Muslims 9%, Christians 5% and others were 4%.
3.5 INDUSTRIES
Small Scale Industries- Separating grains of rice from husk by pounding, and gathering
medicinal plants, Weaving cloth on handlooms and power looms, Weaving rough blankets of
sheep, Making ropes from agave and ambadi, Bidi rolling are some of the few. Kopargaon,
Rahata, Ahmednagar and Rahuri are markets for selling jaggery. There are oil mills at
Shrirampur, Sangamner, Ahmednagar and Vambori.
Large Scale Industries- Milk chilling plants, production of Ayurvedic medicines,

manufacturing mopeds and T.V. sets are done. Pharmaceutical factories are located at
Kopergaon and Kanhegaon. Industries making engines and pump-sets are located at Shrirampur.
There are spinning mills at Shrirampur, Haregaon and Rahuri. Ginning and pressing industries
are also.
Sugar Industries- Ahmednagar district is called Sugar Bowl of Maharashtra. At present 17

co-operative sugar factories are operating with full capacity.
Agriculture- Farming is the main activity of the people in Ahmednagar district. Out of total
workers 75.42% people were working in farming as farmers, agricultural labour, animal
husbandry and allied agricultural activities. Agriculture in the district mainly depends upon
rains, wells and dams, but the rainfall in district is inconsistent and irregular.
3.6 RIVERS
Godavari and Bhima are the major rivers of the district.
27 | P a g e
The Pravara is the tributary or Godavari. The Mula, Adhala and Mahalungi are the important
tributaries.
The southern part of the district consisting of Parner, Ahmednagar, Pathardi, Shrigonda.
Karjat tahsils constitute the Bhima basin with the tributaries of Kukadi and Ghod.
Among the rivers, the Pravara, Mula and Godavari have been a boon to this district.
3.7 SOIL
The entire district is occupied by basaltic lava flow, which is popularly known as the Deccan
Traps. These lava flows are sometimes associated with intertrappen beds such as lime stones,
sand stones, clay shales, red bole beds, porous thin mantle of black cotton soil present almost
everywhere on the basaltic area.
The soils in the district can generally be classified into three groups, viz., black orkali, red
or tambat, and laterite and the gray of inferior quality locally known as barad including white
or pandhari.
3.8 ENVIRONMENT
The climate of the district is characterized by a hot summer and general dryness during major
part of the year except during south-west monsoon season, when the relative humidity is
between 60% and 80% thereafter it decreases.
Ahmednagar gets rain mainly from south-west monsoon but the distribution is mostly uneven.
The average rainfall in the district was 579 mm during 2007-08.
The district can be divided into following agro-climatic zones encountered from east to west:
i.
Scarcity Tract- out of 13 blocks of the district 12 blocks and eastern one third part of the Akola
tahsil fall in the scarcity tract.
ii.
Transition Zone I- Western part of Akola taluka and the limited area from south east portion of
Sangmner taluka is covered by this zone. This part of the district receives rainfall of about 700
mm to 1,250 mm.
iii.
Transition Zone II- Area of the western side of the high rainfall zone comes under this zone.
This zone receives of about 1,250 mm to 2,500 mm.
iv.
High-Rainfall Zone- This zone includes the narrow strip of land west to the ghat zone and
receives rainfall of 2000 mm to 3000 mm.
28 | P a g e
Ahmednagar is home to the Indian Armoured Corps Centre & School (ACC&S), the
Mechanised Infantry Regimental Centre (MIRC), the Vehicle Research and Development
Establishment (VRDE) and the Controllerate of Quality Assurance Vehicles (CQAV). Training
and recruitment for the Indian Army Armoured Corps takes place at the ACC&S.
Formerly, the city was the Indian base of the British Army's Royal Tank Corps / Indian
Armoured Corps, amongst other units.
3.9 MEDIA AND COMMUNICATION
Newspapers: Lokmat, Sakaal, Punyanagri, Samana, Loksatta, Nava Maratha, Nagar Times,
Divya Marathi, Maharashtra Times, Samachar
Radio: AIR Nagar FM, Radio City, Dhamaal 24, Radio Nagar FM
Internet: Internet facilities are provided by several suppliers
3.10 ROADS
Roads in old days were mainly earthen tracts which had to be made even and repaired very often
so as to serve traffic needs.
A few roads were however surfaced with gravel and stones.
3.11 RAILWAY
Daund-Manmad line of the Central Railway is the only railway line passing through the
Ahmednagar district. It is a broad gauge single line covering a length of 197 k.m. and 24 stations
in the district.
The railway line almost bisects this district vertically and traverses through Shrigonda,
Ahmednagar, Rahuri, Shrirampur, Kopergaon and Parner talukas.
3.12 AIRWAY Ahmednagar district does not have the benefit of air transport service. However, an aircraft landing strip
had been provided by the Indian Air Force near Ahmednagar town.
3.13 TOURIST PLACES IN AND AROUND AHMEDNAGAR
The Ahmednagar Fort is one of the major attractions in the city. It signifies the Ahmed Nizam
Shahs victorious capture of the Daulatabad fort. The fort interestingly also served as a prison
29 | P a g e
for our noted National Leaders who fought the Freedom Struggle. The fort held a lot of
noteworthy figures as prisoners including Jawaharlal Nehru, during the Quit India Movement.
The Salabat Khans Tomb, the Bagh Rauza and the Kot Bagha Nizam are a few other historical
sites that must be paid a visit.
Ahmednagar also proves to be an excellent religious destination. The Mohata Devi Temple, The
Siddheshwar Temple, the Shri Vishal Ganpati Temple and the Sant Dyaneshwar Temple are a
few brilliant pilgrim spots that will evoke the religious and spiritual side in you.
The Shani Shinganapur village nearby is a major attraction, with the pious village of Shirdi
the abode of Sai Baba a few kilometres away.
The architecture enthusiast in you would love to explore the Historical Museum and Research
Centre found here.
The Tank Museum is a marvellous spot to learn more about the different kinds of tanks used
during different iconic wars through the chapters of world history.
Nature lovers will definitely enjoy the Mulla Dam and the Bhandardara Dam two scenic
places that will soothe your senses and help you indulge in a luxurious retreat. Whether you
have come alone or along with your family, these sites are ideal for a bit of relaxation.
Figure 24 SALABAT KHANS TOMB
Figure 25 AHMEDNAGAR FORT
This building depicts the heavy influence of

Persian architecture.
It is one of the major attractions in the city. It signifies the

Ahmed Nizam Shahs victorious capture of the Daulatabad
fort. The fort interestingly also served as a prison for our
noted National Leaders who fought the Freedom Struggle.
The fort held a lot of noteworthy figures as prisoners
including Jawaharlal Nehru, during the Quit India
Movement.
Figure 26 SHANI SHINGANAPUR- SAI BABA

This village nearby is a major attraction, with the pious village
of Shirdi the abode of Sai Baba a few kilometres away.
30 | P a g e
4 SITE LOCATION
AHMEDNAGAR DISTRICT
SITE WITH CONTEXT
SITE
31 | P a g e
5 SITE ANALYSIS
The selected building and site is located approximately 120km from Pune, in a desirable residential
suburb. The area is rich in amenities with community and retail nodes within proximity with respect to
the site. It is well served by public and private transport with the MH-SH 141 highway being within half
mile radius from the site. The site is also connected to arterial road (that joins the highway) via a 3 metre
wide access way.
The site is flat containing various levels due the formerly present moat around the building. This is the
only remaining building (i.e. the palace) on the site and is centrally positioned on the square site.
Vehicular and pedestrian access to the site is available only from the north access way present. The
immediate surrounding area is covered with barren land, shrubby ground and clumps of trees.
The site has been listed as a protected monumental site by the Archaeological Survey of India and all
details regarding this monument is present in the ASI office - Aurangabad circle.
Years ago, during the frequent training sessions performed from the Cavalry Tank Museum present to
the north west of the site, all the firing caused vibrations on ground surface that severely affected the
palace and site thus leading to its present state. To avoid further damage to this monument, such
activities have been stopped. But though listed under ASI, no concern has been given to the structure
for the past 430 years in terms of preservation/ conservation to revive the building.
32 | P a g e
Figure 27
SITE
PLACES OF WORSHIP
ROADWAYS
HOSPITALS
MH-SH 141
WATERTANK
HOTELS/RESTAURANTS
SCHOOLS/COLLEGE
MH-SH 141 is the highway heading to Sholapur situated to the south east of the
site.
Within half mile radius around the site, barren land is present on all the sides
except to the North West is the Cavalry Tank Museum, extreme North West and
east are residential zones.
Temperature: 7C - 29 C
Annual rainfall: 501.8 mm
The site contains a 3m wide passage from the north.
Soil characteristics: Black soil
33 | P a g e
Figure 28
Figure 29 PANAROMIC VIEW FROM ENTRANCE
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6 HISTORY
Ahmednagar is situated about 2000 feet from sea level and is almost a barren piece of land surrounded
on asides by the ranges of the Sahyadri Mountains. Hence the soil is not very rich and the area is void
of mineral water. Therefore this district has to face drought and famines. However, efforts are on to
supple the area with water irrigation, on the strength of dams built on the various small rivers. The
Bhandardara Dam, The Mula Dam, The Ghod Dam, The Kukadi Dam, are the main sources of water
system which tries to irrigate the surrounding lands through the network of canals.
A large number of beautiful and interesting monuments of all types of palaces, mosques, tombs etc.
were constructed by the kings as well as some other nobles not only of the newly founded city of
Ahmednagar but also neighbouring towns. Of the royal palaces, very little is left in Ahmednagar fort
and changes were carried out to make them suitable for military offices and residences. [9]
Farah Bakhsh is about 2 miles south east of the city and was built by Chenghiz Khan and Nyamat Khan
for Burhan Nizam Shah (1508-1553).
The foundation of Farah Bakhsh garden was initially laid by Chenghiz khan. It was built under the
supervision of Nyamat Khan and was completed in 1575.
When Murtaza Nizam Shah went to that garden for amusement, it did not appeal to him. He dismissed
Nyamat Khan from the post as superintendent of that garden and instructed Salabat Khan to pull down
the building on which immense sums of money had been spent, and construct in its place. Thus Farah
Bakhsh was first built by Nyamat Khan in 1574-1575 and them rebuilt by Salabat Khan II in 1583-1584.
Nagabai and Shendi channels were used to supply to the Farah Bakhsh garden. Imampur and Pimpalgaon
aqueducts were constructed to supplement the water supply of Farah Bakhsh garden which was
expanded by Malik Ahmed Tabrizi. Later the Bhingar aqueduct was constructed to supply water to Farah
Bakhsh garden. During the reign of Husain Nizam Shah, two channels were constructed. Bhandara duct
for Farah Bakhsh garden was one of them. The Shendi channel was constructed to supply water to the
Farah Bakhsh garden in 1506.
The pond and the palace on its bank are located on the higher ground. The water from the pond was led
to the garden through a double row of pipes fixed in the mortar. The water supply through the conduits
had been regulated through the underground reservoirs measuring 20 X 12 X 4 feet.
A seven feet deep pond is 150 feet wide on all the 4 sides of the platform which 130 sq. feet. The bottom
of the pond is paved and plastered. The outer edge of the pond has a broad 30 feet wide step. The palace
35 | P a g e
is constructed on the square platform in the middle of the pond approached by a 10 feet broad passage
from north. The palace is octagonal, 130 feet broad from one end to the other. The plinth is 96 feet long,
while the octagonal sides are 24 feet each. 4 huge arches rise to a spectacular height of 25 feet covering
the upper storey.
These arches on all the four facades give a picturesque appearance to the whole structure. On the either
side of these arched entrances are a set of 12 feet high arches, one above the other, representing each
storey. All the arches on the ground floor and upper floor have a semi domical curvatures adorned with
different patterns in stucco relief, each pattern is different and reveals superb workmanship in stucco
work.
5 rectangular doors lead into an octagonal hall having a small cistern in the centre. 2 antechambers on
either side of this hall have entrances on all the four sides. 2 of them lead to the arched halls in the
foreground of each side while 2 lead to the octagonal chambers. A set of 5 passages in each chamber,
on 4 sides lead to a 20 feet square hall having a cistern in the centre. The central hall has a high domed
roof about 30 feet high. The walls have a nest of niches to break the monotony.
The 5 rectangular entrances into the central hall in the upper storey had wooden railings. There are 4
staircases leading to the upper storey. The flight of stairs from the upper storey lead to the terrace. Except
the central dome which is like a copula of ogee shape, the roof is flat. The walls are 5-7 feet thick. A 6
inches thick like covered the walls in stones and rubbles in mortar. Fine plaster was quoted over it.
Big quadrangular recesses are seen in each and every room. Recesses in the upper storey had
compartmental shelves. The doorways and the recesses in the walls have thick wooden blocks fixed in
the wall. This facilitated fixing the door frames and hinges. Since most of the wood had been stolen
away, before the palace was protected by the central archaeological department. The structure with its
huge arches and beautiful stucco work presents a beautiful sight and dominates the landscape. The
massiveness and solidity of the structure are the striking features of this memorial of Murtaza Divana.
Architecture was of low domes, dressed stones and dry masonry embossed the local stamp.
The four centred arches of huge dimensions are apparent in the stupendous structure of Farah Bakhsh
palace. The arch rises to a towering height of 25 feet. All the arches that appear on all the sides of the
faade are of the same type. The archway in Farah Bakhsh palace leads to the portico which has a flat
roof while the wall at the back has 5 rectangular doorways having arches windows above them. The
same pattern is repeated, representing an upper storey. A band in relief having two niches in each block
that appears between the set of upper and lower doorways demarcate the lower storey from the upper
storey.
36 | P a g e
The arches that appear on either side of the lofty arch of Farah Bakhsh palace, are also given the same
treatment (rectangular low doorway is placed at the back of the recessed opening which is crowned by
a semi dome.-openings lead up to the high enclosing arch of the outer wall by an easy gradation giving
all the size and dignity required for a noble portal without disturbing aesthetic qualities of scale). Interior
of the arches are crowned with semi domes.
Excellent mahogany and acacia/catechu wood has been used. Apparently the frames and doorframes
and the window frames and the railings in the upper floor were made of teak and mahogany. Wooden
blocks were used in the construction. These blocks have been placed over the lintels and on both the
sides of doorways and windows. The wooden blocks are approximately 10 sq. feet in size and 4 to 6 feet
long, with chipped off surface to hold the lime plaster. Wooden blocks have been used on a larger scale
on the upper floor. The technique of using wood in the construction is obviously an Indian innovation.
Wooden screens with jallis and carvings provided the necessary privacy. Satin curtains hanging from
the ceiling was in common use. [10]1
37 | P a g e
7 DOCUMENTATION DRAWINGS
Figure 30 GROUND FLOOR PLAN
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Figure 31 FIRST FLOOR PLAN
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Figure 32 ROOF PLAN
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Figure 33 CROSS SECTION
Figure 34 ELEVATIONS
41 | P a g e
42 | P a g e
8 SURVEY STUDY
Majority of the population living in Ahmednagar comprises of armoured corps families and
localities.
Most of them own individual houses, have average economic status and are governmentemployed.
Due to the absence of regular public transport facilities, people are forced to use private vehicles
or go by foot.
Recreational activities are minimal as there are no spots present.
Memory/ importance of Farah Bakhsh to each - Historical monument of great importance

- Picnic spot since childhood
- Massive structure
Most people felt that the historical importance of Farah Bakhsh should be made aware of, the building
revived and brought back to its former glory and to turn the site into a tourist/recreation spot.
43 | P a g e
Relationship between old and new use
By creating a museum in this structure it would contain historical information, findings and
portray the Persian architectural influence of the structure during the Nizam period.
For the site, by creating garden spaces along with seating to enjoy light and sound shows that
can take place reflecting the past on the palaces faade.
Therefore, this new use to the building links to the old use as it brings people together for
recreation purpose as well as making them aware about the importance of the structure.
9 NEW USE OPTIONS

TYPOLOGY OF
OPTION
2-STOREYED
BUNGALOW
PROS
OFFICE
EDUCATIONAL
BUILDING
SHOPPING
COMPLEX
CONS
THE CHAMBERS CAN BE CONVERTED

TO SPACIOUS ROOMS
CENTRAL HALL CAN BE USED AS A
COMMON GATHERING PLACE FOR THE
FAMILIES.
PROXIMITY TO SCHOOLS AND WORK
PLACES.
CENTRAL HALL CAN BE THE COMMON
RECEPTION AND LOBBY.
INTO VARIOUS CABINS.
THE SURROUNDING SITE CAN BE USED
FOR PARKING SPACE
IT CAN BE CONVERTED INTO A
PRIMARY
SCHOOL
WHERE
THE
CHAMBERS ARE THE CLASSROOMS.
THE CENTRAL HALL CAN BE USED AS
AN AUDITORIUM.
THE SURROUNDING SITE CAN BE
CONVERTED INTO A PLAY GARDEN FOR
THE STUDENTS.
TO SHOPPING UNITS.
CENTRAL HALL CAN BE THE FOOD
COURT/ STAGE PERFORMANCES.
FOR PARKING SPACE
HOTEL

INTO SPACIOUS ROOMS.
RECEPTION AND LOBBY
FOR
PARKING
SPACE
AND
GARDEN/PARK.
DUE
TO
WATER
SHORTAGE,
INSUFFICIENT WATER
SUPPLY TO THE HOMES.
EXCESSIVE HEIGHT OF
THE CEILING.
EXCESSIVE HEIGHT OF
THE CEILING.
TRANSPORTATION
PROBLEMS
DUE
TO
WATER
SHORTAGE,
INSUFFICIENT WATER
SUPPLY
CHALLENGES
IN
PROVIDING ADEQUATE
LIGHTING SYSTEMS.
EXTENSIVE
STRENGTHENING
OF
FLOOR
NEEDED
TO
HOLD
HEAVY
APPLIANCES
AND
GOODS.
DUE
TO
WATER
SHORTAGE,
INSUFFICIENT WATER
SUPPLY
DUE
TO
WATER
SHORTAGE,
INSUFFICIENT WATER
SUPPLY
44 | P a g e
MUSEUM
(CHOSEN)
OLD
HOMES
AGE
HOSPITAL
THE CHAMBERS CAN BE USED TO

PORTRAY THE VARIOUS IMPORTANT
HISTORICAL EVENTS DURING THE
NIZAM PERIOD IN THE FORM OF
BOOKS/ARTIFACTS/ETC.
THE CENTRAL HALL CAN BE THE
LIBRARY WITH SEATING SPACES.
FOR PARKING SPACE, GARDEN, AND
AN AMPHITHEATRE TO VIEW LIGHT
AND SOUND SHOWS.
INTO SPACIOUS ROOMS.
GATHERING PLACE
THE SURROUNDING SITE CAN BE
CONVERTED INTO A PARK
INTO
WARDS/DOCTORS/NURSES
CHAMBERS/DEPARTMENTS.
CENTRAL HALL CAN BE THE RECEPTION
AND WAITING AREA
FOR PARKING SPACE
CHALLENGES
IN
PROVIDING ADEQUATE
LIGHTING SYSTEMS.
DUE
TO
WATER
SHORTAGE,
INSUFFICIENT WATER
SUPPLY
EXCESSIVE HEIGHT OF
THE CEILING.
EXTENSIVE
STRENGTHENING
OF
FLOOR
NEEDED
TO
HOLD
HEAVY
APPLIANCES
AND
GOODS.
DUE
TO
WATER
SHORTAGE,
INSUFFICIENT WATER
SUPPLY
TRANSPORTATION
PROBLEMS
EXTENSIVE
STRENGTHENING
OF
FLOOR
NEEDED
TO
HOLD
HEAVY
APPLIANCES
AND
GOODS.
DUE
TO
WATER
SHORTAGE,
INSUFFICIENT WATER
SUPPLY
TRANSPORTATION
PROBLEMS
RECREATION
SPOT

INTO VARIOUS GAMING ZONES.
CENTRAL HALL CAN BE THE FOOD
COURT
FOR
PARKING
SPACE
AND
GARDEN/PARK.
Table 3
45 | P a g e
10 CASE STUDIES
10.1 PRIMARY CASE STUDY: TIPU SULTANS SUMMER PALACE, BANGALORE
Figure 36 LOCATION
Tipu Sultan's Summer Palace was the summer residence of the Mysorean ruler Tipu Sultan.
Its construction was started by Hyder Ali within the walls of the Bangalore Fort and completed
during the reign of Tipu Sultan in the year 1791. It is built within the fort walls of Bangalore,
next to the Sri Ventakaramana temple.
Today it is a tourist spot located at the center of Old Bangalore near Kalasipalyam Bus Stand
and maintained by Government of Karnataka.
The structure has been built entirely with Teak Wood along with stone mortar and plaster and
stands adorned with pillars, arches and balconies. It is an example of Indo-Islamic architecture.
It is believed that Tipu Sultan used to conduct his durbar (court) from the eastern and western
balconies of the upper floor. There are beautiful floral motifs embellishing the walls of the
palace.
46 | P a g e
Figure 37
The rooms in the ground floor have been converted into a small museum showcasing various
achievements of Tipu Sultan and his administration. There are newly done portraits of the
people and places of that time. There is a replica of Tipu's Tiger, which is presently in
the Victoria and Albert Museum at London. The clothes of Tipu Sultan and his crown are
present in silver and gold pedestals. The silver vessels given by a general to Hyder Ali is also
displayed.
The space in front of the palace is developed as a garden and lawn by Horticulture Department,
Government of Karnataka.
Figure 38 PLAN
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Figure 39 PLAN SHOWING FURNITURE
Figure 40 ELEVATION
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49 | P a g e
10.2 SECONDARY CASE STUDY: THE ALEXANDER PALACE, TSARSKOE SELO,

ST. PETERSBURG, RUSSIA
The Alexander Palace was built between 1792 and 1796, commissioned by Catherine the Great as a gift
for the future Alexander I, her eldest grandson.
The World Monuments Fund (WMF) undertook a preliminary reconnaissance mission to the palace, in
1995. The purpose of this mission was to examine the feasibility of repairing the structure of the
building, authentically recreating the interiors, and returning to the palace its original furnishings,
including Faberge objects and other pieces now housed in various Russian museums, in order to interpret
the life of the Tsar and his household during the era of the early twentieth century.
Figure 41
This project was undertaken to determine the feasibility of adapting the magnificent eighteenth-century
Alexander Palace for use as a museum devoted to interpreting the history and lives of Russia's last
Imperial Family.
Located approximately twenty-five kilometres from St. Petersburg, the Alexander Palace is situated on
land granted by Peter the Great to his wife, the future Catherine 1. This estate later became known as
Tsarskoe Selo or "Tsar's Village."
50 | P a g e
Figure 42
Later the Director of the naval institute resident at the palace, expressed concerns about the difficulties
of maintaining the property, especially roof repairs and high operating costs, and that the Navy had
decided to relocate the institute to new facilities.
In July 1996 WMF conducted a third visit to the Alexander Palace. This mission accomplished the
following:
A detailed survey of the palace exterior and roof;
A visual examination of additional rooms within the building and the exterior of the adjacent kitchen
building.
A review of archival materials in the offices of the St. Petersburg Commission for the Preservation of
Historic Monuments which included pre-1917 photos of the palace and diagrams detailing the proposed
post-war restoration;
A contract between the Museum-Preserve of Tsarskoe Selo and the Finish restoration firm IPR GroupPaanurakenne for the partial replacement of the roof over the southeast wing of the palace.
Further study of the architecture and structure of the Alexander Palace will be required to gain a
complete understanding of its overall condition in order to make recommendations for rehabilitation and
restoration.
Innovation in design and decoration returned to the Alexander Palace when Nicholas II and
Alexandra renovated the southeast wing, which would become their private apartments.
After the war, amid heated controversy over the future use of the palace, the Soviet Ministry of
Culture and the Leningrad Commission for the Preservation of Historic Monuments made
51 | P a g e
detailed plans to restore the palace and convert it to service as a museum devoted to Alexander
Pushkin and other Russian literary figures.
The Alexander Palace has already undergone several interior and exterior improvement and
redecorating campaigns. Some of these have been documented and are referred to in military
archival records. The last substantial series of exterior improvements took place between 1946
and 1949.
Repairs caused by explosives and concussion damage by munitions.
10.2.1 Survey-exterior
Stucco has fallen away from the brick Substrate
Fading and flaking of the pigmented stucco coat.
Green algae was growing between stucco layers and holding moisture against the masonry
The unevenness of recent exterior painting attempts indicate that surfaces were not properly
prepared, or that the coating materials were not compatible with existing pigmented stucco.
It is also likely that a waterproofing sealant was applied to the stucco surfaces. Some of the
surfaces have received dense cementitious coating products which served to seal the exterior
skin of the building.
Beneath the eaves and adjacent to leader cracks
The stuccoed exterior walls of the Palace appeared to be in poor to fair condition depending on
orientation and proximity to storm drainage disposal piping. Only in the uppermost areas,
directly beneath the overhanging cornice and at locations where the roof drains penetrate the
overhang, are there signs of extreme damage to wall structure
The wooden ornamental balustrade surrounding the roof is in a bad condition
Small (approximately 60 cm. x 1.5 m) semi-circular roof vents with wooden louvers are mostly
flattened on their top edges, though they appear to be sound at their junctures with the roof
surface.
That is trusses, rafters, purlins, and flooring - appeared to be in relatively good condition.
10.2.2 The objectives of the visit to the museum was to:

Assess the present situation of the Alexander Palace collections stored or displayed off-site,
determine the extent of those collections, and assess their immediate needs;
52 | P a g e
Assess the feasibility of establishing a centralized physical inventory and registration of the
collections according to current museum standards; and
Suggest requirements, procedures and policies for the future.
Conservation issues at the Alexander Palace can be divided into the following components:
Restoration of the building exterior;
Rehabilitation of the building structure, including the insertion of upgraded mechanical,

electrical and plumbing systems;
Restoration and rehabilitation of interior architectural details, furnishings, and
Fittings;
Reinstallation of decorative objects and furnishings and interpretation of the 'story' of the
building; and
Restoration of the landscape at the entrance and rear garden.
10.2.3 Project Proposal

Visitors will see the palace and gardens as they were fashioned and maintained by the last
Romanovs. As a museum collection, the palace, gardens and furnishings assumed their last
significant form as a domestic setting in the 1890s and 1900s. The standard tour should be
located within that period, and the principles noted will guide the way in which the story will
be framed for visitors.
10.2.4 Utilization of Interior Spaces
The large scale of the palace, with about 70,000 square feet on the principal (ground) floor,
comprises about forty-five rooms; of these, a little more than half - roughly 25 rooms or 40,000
square feet - can be used for museum facilities.
This includes, in the southeast wing, the private suite of Nicholas and Alexandra and in the
northwest wing the formal neoclassical reception rooms, which the family also used.
10.2.5 Museum support facilities:

Changing Exhibition Galleries, Video Interpretation Room/Auditorium, Exhibition Galleries for
Historic Clothes, Museum Shop, Restaurant, Ticket sales, coat check, public toilet.
10.2.6 Museum details
Humidity
53 | P a g e
Temperature control
Light
Code compliance
Rehabilitating historic structures for modem building code compliance is one of the chief challenges in
the building conservation field today. A number of special considerations must be made relative to the
protection of the building, its contents and, of course, people using the building.
Three basic special standards should be considered in any upgrading of a structure such as the Alexander
Palace to satisfy current building code requirements. These standards require that:
There be the least possible disturbance to the historic fabric of the building during the rehabilitation
process,
The interpretive value of the house not be compromised by physical intrusions, and
The appearance of the palace during the tsar's occupancy be faithfully retained.
54 | P a g e
Figure 43 SITE PLAN
Figure 44
55 | P a g e
Figure 45 FIRST FLOOR PLAN
Figure 46 BASEMENT PLAN
56 | P a g e
Figure 47 MEZZANINE PLAN
Figure 48
ROOF PLAN
57 | P a g e
58 | P a g e
Figure 52 SECTIONS
59 | P a g e
Figure 53
60 | P a g e
Figure 54 INTERIORS VIEWS AFTER RESTORATION
61 | P a g e
11 STANDARDS
1) Requirements for light and sound shows:
Major sound Equipments consists of Main PA System(Speakers), Amplifiers, Crossovers, Mixing
Console or Desk from where everything is controlled, Main Signal Cables, Stage gears like Guitar
Amps, Keyboard Amps etc. and Stage Monitors (Speakers) for the artists to listen to themselves while
performance.
Major Light Equipments: Convention Parcans, LED Pars, Moving Heads Wash & Spot, Special
Effect Lights, Strobes, Smoke and Haze Machines, Lighting Mixer, Cables etc.
They deal with quiet heavy equipment where each equipment weighs an average of 80-110 kgs.
For outdoor concerts most of the light equipment are hanged on the truss while the main
speakers are hung on truss and also on Scaffolding using motors.
The main PA could weigh between 1500-2500 kgs or more (One stack) depending upon what
kind of sound systems are being used while lights could weigh between 3000-5000kgs or more
depending upon inventory. So, Trussing is very important w.r.t the amount of weight hanged on
them.
For Indoor venues like theatres the sound system is either hanged in open from the ceiling next
to the stage or behind the screens as you find in multiplexes. Sometimes even a mesh is used to
cover the speakers in front so as to look tidy. For theatre the acoustics play a great role for good
sound. There should be a balance between absorbing and reflecting materials.
All cables from the speakers to console mostly run underground and that should be designed in
such a way that there shouldn't be any wear and tear of cables and also keeping the rodents
away.
2) Factors to choose right System:
Venue Size
Crowd
Stage design
Budget
Artist requirements etc.
62 | P a g e
3) Mechanism, Technology & Science Involved:
Everything in the event and live industry is technology based. All equipments that are used are
of high standards. For sound one problem in the smallest of things can be a problem for the
whole show. For e.g. a small cut in the cable can ruin the whole flow of sound even if the rest
of the equipments are of highest quality and so I mentioned about rodents above specifically for
theatre setups.
Similarly lights also play a great role in creating a scene and giving a visual delight for the
crowd and technicians have to make sure nothing goes wrong.
4) Safety:
It is one of the most important things to take care off as the equipments used are quiet heavy
and very expensive too. For open concerts where power comes from generators the connections
have to be of high standards and regularly checked. Power leakage can cause serious damage to
equipments as well as can be threat to life.
In open concerts technicians working on the truss are generally on a height of 30 to 50 ft. and
safety harness, shoes, helmets etc. are important.
11.1 AS PER SPACE PLANNING BY BUILDING TYPE TIME SAVER STANDARDS

FOR INTERIOR DESIGN AND SPACE PLANNING
Square feet per person for museum space planning = 15
Square feet per person for seating area- fixed = 7.5
11.2 AS PER MUSEUMS TIME SAVER STANDARDS FOR BUILDING TYPES 2ND
EDITION
A museum should be easily accessible from all parts of town by public transport/ walking
distance.
TYPES OF LIGHTING:
Lighting from above-
1. A freer and steadier supply of light, less liable to be affected by different aspects of the various
room in the building and by any lateral obstacles which might tend by causing refraction or by
casting shadows to alter the quantity or quality of the light itself.
2. The possibility of regulating the amount of light cast on the pictures or other exhibits and of
securing full and uniform lighting, giving good visibility with a minimum of reflection or
distortion.
63 | P a g e
3. The saving of wall space, which this remains available for exhibits.
4. The maximum latitude in planning space inside the building, which can be divided without
requiring courtyards or light shafts.
5. The facilitation of security measures owing to fewer openings in the outside walls.
Lateral lightingThis is provided by either by ordinary windows of various shapes and sizes, placed at suitable
intervals in the walls or by continuous openings.
TYPES OF MUSEUMS:
1. Art and archaeology

2. Historical or archival
3. Ethnographic and folk museums
4. Physical and natural sciences, technological or educational
SERIAL
NO.
1.
2.
3.
4.
5.
FUNCTIONS
SPACE REQUIRED
CURATORIAL FUNCTIONS
a. COLLECTION,
PRESERVATION,
IDENTIFICATION,
DOCUMENTATION,
STUDY,
RESTORATION
b. STORAGE OF COLLECTIONS
DISPLAY FUNCTION
THEMATIC AND CHARGING DISPLAYS OF
SELECTED OBJECTS AND DOCUMENTS
FROM THE COLLECTIONS ARRANGED TO
TELL A STORY.
DISPLAY PREPARATION FUNCTION
THE PREPARATION OF EXHIBITS
EDUCATIONAL AND PUBLIC FUNCTIONS
THIS TERM HAS BEEN EXPANDED TO
INCLUDE ALL PUBLIC FUNCTIONS.
a. LECTURES,
SCHOOL
TOURS,
SOCIETY MEETINGS, FIRMS AND
SOCIAL FUNCTIONS.
b. RECEPTION, INFORMATION, SALES,
SUPERVISION
OF
DISPLAY
GALLERY.
c. PUBLIC REQUIREMENTS
OTHER SERVICES
a. MECHANICAL
b. JANITORIAL
a.
b.
OFFICE WORKROOM, WORKSHOP

RESERVE COLLECTION
DISPLAY GALLERY
WORKSHOP, OFFICE-WORKROOM
d.
f.
LECTURE ROOM, CHAIR STORAGE

CLOSET, KITCHENETTE,
LOBBY, SALES AND INFORMATION
COUNTER
CLOAK ROOM, WASHROOMS
a.
b.
HEATING-VENTILATION PLANT
JANITORS CLOSET
e.
Table 4
64 | P a g e
Figure 55
Figure 56
65 | P a g e
12 CASE STUDY ANALYSIS

The case study analysis was done between the 2 case studies explained above along with the comparison
with the standards thus arriving at the necessary inferences.
The Case Study Analysis sheet is attached in the thesis portfolio at the end of the document.
13 RESTORATION
Standard restoration techniques were studied to understand the criticality of each damage. Based on
every damaged element in the building, the various damages were noted. Then the agent for the
damage was studied further thus leading to a few initial solutions.
The Restoration sheet is attached in the thesis portfolio at the end of the document.
14 CONCEPTUAL DESIGN PROGRAM

The building and site was converted adaptively by:
1. Converting the building
Ground floor as a museum along with offices.
First floor as partial museum along with a Persian themed restaurant.
2. The site was developed with lush lawns, fountains, pathways as per the classic Persian garden
theme. Along with this is the amphitheatre seating on 4 corners of the site.
3. For easier maintenance and services, the toilet and kitchen block is constructed to the rear side
of the building.
4. Parking area is provided to the west and east of the site.
Amphitheatre
1. Seating
Based on the survey,
Daily no. Of visitors to monuments 20

Weekly no. Of visitors 100
Therefore no. Of people for an amphitheatre - 600
2. Projection room it is controlled in the IT room located on the ground floor of the building.
Parking
Considering for every 4 people 1 car, therefore total no. Of cars = 400; total no. Of 2-wheelers = 120
66 | P a g e
Exhibition display 1
Display of paintings in a self-illuminated stand where in the paintings act as touch screen for
virtual learning and thus explaining the story of the nizams of the period.
The setting of the spaces will be adorned with islamic art wall paper with constant light mood
regulator.
Display of artefacts symbolizing history of the time period by placing on different levels thus
making using of the height of the room.
Use of the niches to display items.
Display of coins as flooring art piece in the centre and protected with glass covering.
Display stands present where users can view from all sides.
Sculptures on display stands at varying levels.
The setting of the spaces will be adorned with Islamic art wall paper with constant light mood
regulator.
Virtual museum
The main cistern will be the focal point of the museum towering sculpture with lighting
fountain and circular ornamented floor pattern.
Sculptures of the dancers displayed at the 4 corners of the hall.
Display of archaeological remains and pottery on a stepped display stand.
Display of clothing, furniture and cutlery of the period by creating the setting of bedroom
spaces.
These space will contains doors and windows in teak wood with ornamentation.
Restaurant
Islamic style setting containing spaces with furniture/ diwaniya/ private seating.
Mosaic tiles for flooring
Lanterns for lighting
Balcony overlooking the central square hall.
67 | P a g e
New building blockKitchen:
Contains various divisions for workstations, washing, cooking and storage.
Storage is divided with veg and non-veg separately.
Toilets: [11]
PUBLIC
MEN
WOMEN
WC
12
URINALS
38
WASH BASIN
12
20
DRINKING FOUNTAIN
Table 5
STAFF
MEN
WOMEN
WC
URINALS
WASH BASIN
4
20
DRINKING FOUNTAIN
Table 6
15 CONCLUSIONS
Overall, this has been a very interesting thesis. The Farah Bakhsh Palace is a wonderful example of turn
of the century architecture by the Nizams at that time.
With thorough research and analysis, the palace has the potential of housing an adaptive reuse that will
ensure its preservation and enjoyment for the people of Ahmednagar and visitors.
With this design, the palace can be made aware of amongst the people, bring it back to its former glory,
earn revenue and thus help future generations to understand the rich past.
68 | P a g e
16 APPENDICES
Figure 57 ENTRANCE VIEW
Figure 58 SEMI DOME
69 | P a g e
Figure 59 SEMI DOME
Figure 60 CENTRAL HALL
70 | P a g e
Figure 61 NICHE
Figure 62 NICHE
71 | P a g e
Figure 63 FRONT FACADE
Figure 64 DOME
72 | P a g e
Figure 65 COLUMNS
Figure 66 STUCCO WORK
73 | P a g e
CHECKLIST FOR SITE STUDY
General Features
Accessibility
Climatic Condition
Site zoning and given land use (as per the bye-laws or master plan) existing.
Site Study (about the site)
Plot size
All Natural and Man-made features present
Topography
Contours/Slope present (if any)
Vegetation
Any existing structures (like: poles, electric poles, drains, water bodies)
Drainage Patterns of the site
Accessibility inside the site
Site Surrounding
Surrounding building use and various land uses
Surrounding building heights and elevation
Surrounding building foot-print
Any specific feature or landmark in the surrounding
Views
Elevations and sections
Site Services
Plumbing
Fire safety
Electrical
Building Bye-law of the city
Maximum FAR
74 | P a g e
Maximum Coverage
Maximum Heights & Set Backs
Maximum % of Built up area.
Building level study
Prevailing climatic conditions
Detailed building documentation- (Floor plan, elevations, sections and details)
Planning concepts
Identification of spaces/ Bubble diagram (Amenities and facilities/ Multiple use/ Functional
spaces)
Human scale proportions
Community interest/participation
Capacity/ Users in terms of types and numbers
Floor plans inclusive of areas
Foundation details
Circulation pattern of the interior
Users/ Activity/ Functionality
Services (Plumbing/ Electrical/ HVAC/ Light and ventilation/ Security/ Fire safety)
Aesthetics (Form/ Material/ finishes/ facades/ styles)
Structural systems (Columns/ Beams/ Roofing systems)
Interior views and documentation of interior spaces (through sketches/photographs)
QUESTIONNAIRE FOR SURVEY STUDY

Name:
Age group range of the family members0-15
16-25
Origin-
Ownership of the house-
Family income-
26-40
41-60
Above 60
75 | P a g e
Up to 10000
10000-20000
20000-30000
30000-40000
Above
Retired
40000
No. of earning members in the familyone
three
More than 3
none
Occupational statusPrivate
two
Government
Corporate
Self-employed
Retired
Time taken-
Workwalking
private
public
walking
private
public
walking
private
public
5mins
10mins
distant
School/ colleges
5mins
10mins
distant
Groceries-
5mins
10mins
distant
76 | P a g e
Hospitalwalking
private
public
walking
private
public
5mins
10mins
distant
Places/worship-
5mins
10mins
distant
Vehicles ownedCars
Bikes
Weekday activities- (9am-5pm)

Office
School/College
Retired
Occupied
Vacation
Social Gathering
1ce
a 1ce
year
Housework
Weekend activitiesHome
none
in 1ce
6mths
2mths
in 1ce
month
a 1ce
in
2 Rarely
Dont attend
weeks
Services Water supply Electrical-
77 | P a g e
Gas Garbage Disposal
Problems faced Structural Environmental- heat/cold/rain

Amenities1. Security/Safety2. Parking3. Space/circulation in locality
4. Any other problems
How often do tourists come to visit this city? Which are the common/popular places for their
stay? What is the proximity from places of visit?
How are old people taken care off in this area in case of no presence of family/friends?
Is there any form of structure/activity that you wish for to be present as a part of your
surroundings?
What do you think of the Faria Bagh palace?

Importance/meaning/thought
Memory/location
If the building of Faria Bagh was to be converted, would you agree towards adaptive reuse,
demolition or preservation of the structure without any changes?
78 | P a g e
17 REFERENCES
[1] Burchell, R.W. and Listokin, in The adaptive reuse handbook: procedures to inventory, control,
manage, and reemploy surplus municipal properties, New Brunswick, N.J, Rutgers University,
Center for Urban Policy Research., 1981.
[2] Loures, L. and Panagopoulos, in Sustainable Development and Planning III, Southampton, UK,
WIT Press, 2007.
[3] Langston, C., Wong, F.K.W., Hui, E.C.M and Shen, in Strategic assessment of building adaptive
reuse opportunities in Hong Kong. Building and Environment, 2007.
[4] C. o. Australia, in Adaptive Reuse: Preserving our past, building our future, Australia, 2004.
[5] I. C. Council, 2012 International Existing Building Code, Third Printing, U.S.A, Third Printing:
2012.
[6] C. B. Francis D. K. Ching, in Interior Design Illustrated, New Jersey, John Wiley & Sons, Inc.,
2012.
[7] S. Cantacuzino, in ReArchitecture: Old buildings/ New Uses, New York, Abbeville Press
Publishers, 1989.
[8] in Principles of Selection for Listing , 2010.
[9] P. B. P. H. K. Sherwani, in HISTORY OF MEDEIVAL DECCAN (1295-1724)- Volume II, Andhra
Pradesh, The Authority Of Govt. Of Andhra Pradesh 1974, 1974, pp. 261-268.
[10] P. B. Gadre, Cultural Archaeology of Ahmednagar during Nizam Shahi Period (1494-1632),
Poona, 1969.
[11] National Building Code Of India 2005, Bureau of Indian Standards, 2005.
[12] D. D. Nagarkar, GLIMPSES OF AHMEDNAGAR, Shri N. N. Barshikar M.L.A, 1st Edition 1977.
[13] CHAPTER VI- A PROFILE OF AHMEDNAGAR DISTRICT, pp. 221-237.

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Adaptive Reuse of Farah Bakhsh Palace

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

Background Information ..........................................................................................................1

Project Justification ..................................................................................................................2

Essence of dissertation .............................................................................................................3

Literature Study ................................................................................................................................5

Principles of Adaptive Reuse ...............................................................................................5

Advantages of adaptive reuse...............................................................................................6

Benefits of adaptive reuse ....................................................................................................6

Criteria for adaptive reuse ...................................................................................................7

Impact of adaptive reuse on city development .....................................................................7

Adaptive reuse as an approach for preservation .................................................................7

Adaptive Reuse ........................................................................................................................5

Interior Design ...................................................................................................................10

Structural Systems ..............................................................................................................13

Classification Of buildings .....................................................................................................23

Age criteria for a building to be listed as an old building ......................................................24

Introduction to site .........................................................................................................................25

Architectural style- .................................................................................................................25

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

Media and communication -...................................................................................................28

Tourist places in and around ahmednagar- ............................................................................28

Site Analysis ....................................................................................................................................31

Documentation Drawings ...............................................................................................................37

Survey Study ...................................................................................................................................42

New Use Options ............................................................................................................................43

Case Studies ...............................................................................................................................45

Primary Case Study: Tipu Sultans Summer Palace, Bangalore ...........................................45

The objectives of the visit to the museum was to:...........................................................51

Project Proposal ............................................................................................................52

Utilization of Interior Spaces .........................................................................................52

Museum support facilities: .............................................................................................52

Case Study Analysis ....................................................................................................................65

Conceptual Design Program .......................................................................................................65

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

TABLE OF FIGURES & TABLES

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

Table 1 International Existing Building Code .........................................................................................8

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

1.4 PROJECT JUSTIFICATION

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

1.6 ESSENCE OF DISSERTATION

1.6.1.1 Reuse Strategy

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

Principles of Adaptive Reuse

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

Advantages of adaptive reuse

Benefits of adaptive reuse

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

Criteria for adaptive reuse

2.1.6 Impact of adaptive reuse on city development

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

2.2 INTERIOR SPACES

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace

Shaping the interior spaces

RE-ARCHITECTURE: Adaptive Reuse of Farah Bakhsh Palace