ASHTAVINAYAKA

Ashtavinayaka literally means eight Ganeshas in Sanskrit. Ganesha is the Hindu deity of prosperity and learning. The term refers to a pilgrimage to the eight Hindu temples in Maharashtra state of India that house eight distinct idols of Ganesha, in a pre-ascertained sequence. The Ashtavinayaka yatra or pilgrimage covers the eight ancient holy temples of Ganesha which are situated around Pune. Each of these temples has its own individual legend and history, as distinct from each other as the murtis in each temple. The form of each murti of Ganesha and His trunk are distinct from one another.

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Third year of architecture 2009-2010

THE EIGHT TEMPLES

The eight temples/idols of the Ashtavinayak in their religious sequence are: The Moreshwar Temple, Moregaon The Siddhivinayak Temple, Siddhatek The Ballaleshwar Temple, Pali The Varadavinayak Temple, Mahad The Chintamani Temple, Theur The Girijatmaj Temple, Lenyandri The Vighnahar Temple, Ozar The Mahaganapati Temple, Ranjangaon According to Shastra, first you have to visit Moreshwar of Moregaon. Then visitSiddhatek, Pali, Mahad, Theur, Lenyandri, Ozar, Ranjangaon and then again Moregaon will end you Ashtavinayak Yatra.Some of these murtis are called Swayambhu effigies, or the self-existent in Sanskrit. This is to indicate that no human created these murtis, they were found completely formed by nature.

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Third year of architecture 2009-2010

ABODES OF GANESHA
Ganesh

Chaturti is celebrated with an extra measure of grandeur in the state of Maharashtra. The Siddhi Vinayak temple in Mumbai is visited by hundreds of thousands of devotees throughout the year.
Also

in Maharashtra are eight temples dedicated to Ganesha, related to various episodes from the puranas and other legends - and these deities are collectively known as Ashta Vinayak. Moregaon enshrines Ganapati as Mayureshwar (Moresh) or the peacock rider, who slew the demon Sindhu in response to pleas from the Gods.

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ABODES OF GANESHA
Mahaganapati

at Ranjangaon is believed to have come to the aid of Shiva in destroying the citadels of the demon Tripurasura. Mahad enrhsines Varadvinayak (the bestower of boons), in commemoration of a legend related to Rukmangada. Chintamani Vinayak relates to the legend of Kapila Muni and the Chintamani gem that he had obtained from Shiva. Girijaatmaja Vinayaka is enshrined on Lenyadri Parvat, and is believed to be a manifestation of Ganapati as an infant. Vigneshwara at Ozar is regarded as the slayer of the demon Vignaasura. Ballal Vinayak at Pali, is associated with a legend where Ganapati is said to have come to the aid of a young lad, who was a fervent devotee of Ganapati. Siddhi Vinayak at Siddhatek is said to have come to the aid of Mahavishnu as he was engaged in a long battle with the demons Madhu and Kaitabha.

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ROUTE
By Road:It is in Sudhagad Taluka near Nagothane. You can get bus at Alibag. It is at a distance of 30 k.m. from Karjat. From Mumbai via Panvel and Khopoli, Pali is at a distance of 124 k.m. From Pune via Lonavala and Khopoli, Pali is at a distance of 111 k.m. Regular bus services are available from Mumbai, Pine, Karjat and Panvel. Mumbai Khopoli is 90 k.m. and Khopoli Pali is 38 k.m.. It is possible to go to Pali from Nagpthane on Mumbai Goa highway Nagothane Pali is 13 k.m. By Rail: Nearest railway stations are Panvel, Khopoli By Air: Mumbai is nearest airport. Places to see nearby: Alibag beach, Raigad fort, Harihareshwar.

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HISTORY OF PALI VILLAGE

Long ago, in Krita-Yuga this place is known as Kokan Pallir. A businessman called Kalyan Sheth was living there with his wife Indumati & son Ballal. Ballal and His friends were the great devotee of Lord Ganesha. Their parents did not like this. They complained about this to Kalyan Sheth. Kalyan Sheth wanted his son to become the devotee of Lord Ganesha, instead he wanted him to become a businessman like him. Kalyan Sheth became very angry about daily complaints of his son.

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Third year of architecture 2009-2010

Once Ballal went to forest along with other children for playing. They made a statue of Lord Ganesh and were so engrossed in performing his worship that they forgot everything even though it became dark. The parents of everyone became angry, they went to the forest where they saw Ballal and other children were playing and worshipping Lord Ganesha. They threw the idol and scattered the puja. Kalyan Sheth beat Ballal very much with the stick. Blood came out of his body. He left his son in that condition with his body fasten by rope. Kalyan Sheth asked his son, now let us see how your God will rescue you. He began to make his prayers to Lord Ganesh. In disguise of one Brahmin Lord Ganesh came to Ballal and healed his wounds. Lord Ganesha gave him a blessing that you will be the great promoter of my cult (the devotees of Lord Ganesha, great spiritual leader and you will have long life. Ballal said, Oh Lord Ganesha! you live at this place and fulfill the desires of the devotees and this place should become famous. Lord Ganesha agreed this and disappeared in a rock. The rock is nothing but the idol of Lord Ballaleshwar and the idol, which was thrown by Ballal's father, was installed in the nearby temple as Lord DhundiVinayak.

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THE TEMPLE

The original wooden temple was re-built with rock by Mr. Phadanvis during 1760s. The temple is facing towards East. Two small lakes are built near the temple. Water from the right side lake is used for Lord Ganeshas worship and other auspicious occasions. During Southern declination of the sun the rays directly fall on the idol of Lord Ballaleshwar. The temple is very strong while building the walls of the temple, lead was put in it. The pinnacle of the temple was build by bricks and a small room was built inside the pinnacle.

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There is a terrace in front of the room. There are two naves in the temple. The inner or main nave is bigger the naves were built in such a way that all right directions are covered in it. It is like an octagon. The height of the main nave is 15 feet and the height of other nave is 12 feet where the statue of mouse holding modak in its two legs was installed.

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THE IDOL

In the main nave, there is a gaily decorated frame which is made up of stone. The idol of Lord Ballaleshwar is about 3 feet. The idol is facing towards East and the trunk is going towards left. There are diamonds in the eyes and navel of the idol. The decorative frame behind the idol is made of silver. The idol is installed on the throne and decorated with silver. Idols of Goddess, Shri Buddhi and Goddess Shri Siddhi are present near the idol of Lord Ballaleshwar. Many ornaments of gold, silver & diamonds are put on the idol everyday.

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VITTHAL RUKHMINI
Vithoba (Marathi: ), also known as Vitthala and Panduranga , is a Hindu god, worshipped predominantly in the Indian states of Maharashtra Karnataka and Andhra Pradesh. He is generally considered a manifestation of the Hindu god Vishnu or his avatar (incarnation) Krishna or, occasionally, his avatar the Buddha. He is also sometimes associated with the god Shiva. Vithoba is often depicted as a dark young boy, standing arms-akimbo on a brick, sometimes accompanied by his main consort Rakhumai (Rukmini).

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Vithoba's main temple stands at Pandharpur in Maharashtra, close to the Karnataka border. Rakhumai (or Rakhamai) literally means 'mother Rukmini'. Rukmini is traditionally viewed as the wife of Krishna. Hindus generally consider Krishna to be a form of Vishnu, hence his consort as a form of Lakshmi. Rakhumai is depicted in the arms-akimbo posture, standing on a brick. She has an independent cella in the Pandharpur temple complex. Rukminia princess of the Vidarbha region of the Maharashtra kingdomwas elevated to the status of the main consort instead of Radha, because of her affiliation with the region

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Pandharpur image, when not clothed by its attendant priest to receive devotees, provides Vithoba with the dTetailed features distinctive of a male body, visible in full relief. Two distinct traditions revolve around the worship of Vithoba in Maharashtra: ritual worship inside the temple by the Brahmin priests of the Badva family; and spiritual worship by the Varkaris. Vithoba was introduced to South India during the Vijayanagara and Maratha rule. In addition to the rites at the main temple in Pandharpur, Haridasa traditions dedicated to Vitthala flourish in Karnataka.

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SHANI SHINGNAPUR
Shani Shingnapur or Sonai is a village in the Indian state of Maharashtra. Situated in Nevasa taluka in Ahmadnagar district, the village is known for its popular temple of Shani, the Hindu god of the planet (graha) Saturn. Shingnapur is also famous for the fact that no house in the village has doors, only door frames. Despite this, no theft is reported in the village.Villagers never keep their valuables under lock and key. Villagers believe that the temple is a "jagrut devasthan" (lit. "alive temple"), meaning that the god here is very powerful.

They believe that god Shani punishes anyone attempting theft. The village has a post office and a high school known as Shri Shanishwar Vidya Mandir besides the primary schools run by the Zilla Parishad. The chief source of water supply in the villages is wells.

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SHRANE OF SHANI
The shrine for Shani compromises of a five and a half feet high black rock installed on an open-air platform, which symbolizes the god Shani. A Trishula (trident) is placed along the side of the image and a Nandi (bull) image is on the south side. In front are the small images of Shiva and Hanuman. Generally, the temple has 30-40,000 visitors a day, which swells to around three lakh (i.e. three hundred thousand) on amavasya (the new moon day), believed to the most auspicious day to appease Lord Shani.The village holds a fair in honour of the deity on this day. A bigger fair on new moon days that fall on Saturdays. Devotees bathe Lord Shani's image with water and oil and offer flowers, and udid to him. A palanquin procession of Shani is held on the day of the fair. Other festivals include the birthday of Shani, Shani Jayanti.

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DAILY PROGRAMSAND FESTIVALS

The temple opens at 5 Oclock in the morning and at 5.30 am one can see and worship Lord Ballaleshwar. At 5 a.m. kakad arati(prayer which is done in early morning) & Panchopachari puja(worship with sandalwood, flowers, red lead, pastin stick/dhoop and light deep) done by the priest. Before 12 noon Shodopachari puja (a worship which embodies 16 items). After sunset Panchopachari puja and at night dhoop arti (worshipping with pastin sticks) takes place. The temple closes after last prayers in the night.

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FESTIVALS

The two festivals celebrated here are during Bhadrapada and Magha (Shuddha Pratipada to Panchami). It is the experience with many devotees that Ballaleshwar fulfills all their desires and demands. Hence worshippers throng this Kshetra both to express their desires and to thank him after their desires are fulfilled. Whoever comes here on Bhadrapada Suddha Chaturthi and has my darshan all his desires will be fulfilled, is the boon given by Ganesha to Ballala. On the night of Bhadrapada Chathurthi there is Maha Naivedya and on Panchami there is Anna Santarpana. Devotees make 21 Pradakshinas of the Ganapati to get their desires fulfilled and problems solved.

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There is a firm belief among the devotees that at midnight of Magha Shuddha Chaturthi Shree Gajanan actually comes to the temple to physically partake the food offered as Naivedya. Hence there is heavy rush then. As per the advice of Lomesa Rishi, Jabali Muni performed Ganesha Vrata for four months drinking only milk. Due to that Balleshwar appeared before him. Jabali induced Vibhandaka who also completed Ganesha Vrata and had Ballaleshwars darshan on Karthiki Purnima. Such is the greatness of Shri Ballaleshwar who is the most popular among ASHTA VINAYAKA and considered to be very much alive to the devotees aspirations.

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PALI HOUSE CLUSTERS

In

Coastal Maharashtra, houses in rural areas are nestled amidst the trees and the paddy fields. There is abundant land available to build upon and yet, the houses lie snugly next to each other. In India, the people who farmed, who fished and who have built their houses with their highly developed skills of craftsmanship always planned a house that was their own but that also belonged to the village. It was only one unit of the many that made up the village street. One house was built, then the next and the next. Streets that were thus formed were shaded from the afternoon sun.

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Here,

the roofs are built in timber understructure with Mangalor tiles. The square tiled roof is seen as a common element throughout the coastal villages of the Konkan region.

The

walls are in brick and verandahs are created with brick arches that offer structural support. The plan of the house is primarily square. The villages here are ideal watersheds. The village jungle is treated as common property and preserved. Phenomena like sacred groves and bunded water channels that were maintained traditionally are still common in the konkan.

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As one passes by Saplak, near Mhalsa, Mahad, in Chiplun and other parts of Ratnagiri, Raigad and Sindhudurg districts one notices that entire streets are lined with mangalore-tiled houses. This is a fairly prosperous town which has diamond merchants who have artisans skilled in diamond cutting. Saplak is on the way to Harihareeshwar.

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Third year of architecture 2009-2010

GOAN ARCHITECTURE

The architecture of goa is a combination of indian , mughal, and portuguese styles. The typical goan architecture is very simple and easy going and is visible in building like modern buildings. Blue and red were the favourite colours with many houses being painted in bright blues and roofs being covered by red tiles.

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Each house had a separate rooms or secluded space for keeping idol/photos of god. Most of the houses have the bust of jesus christ at entrance. Central staircase leading to verandahs and balconies upstairs are a unique features of goan architecture.

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The windows are usually curved inwards that are glazed with glass/oyster shells. A central courtyard is yet another feature of goan architecture. The goan houses are a complex amalgam of design elements, adaptations and influences all over the world. When these Goans returned they brought with them ideas and influences from the country of their expatriation."

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Third year of architecture 2009-2010

TRADITIONAL EADAS
These are built-to-edge courtyards houses with rooms built a central (multi activity) courtyard opening onto a street. Shaniwar wada is an efficient example of town planning observed during rule of peshwas. It had great fountains, courtyards, offices etc.

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Third year of architecture 2009-2010

How Architectural Features Affect Building During Earthquakes?

Importance of Architectural Features The behaviour of a building during earthquakes depends critically on its overall shape, size and geometry, in addition to how the earthquake forces are carried to the ground. Hence, at the planning stage itself, architects and structural engineers must work together to ensure that the unfavourable features are avoided and a good building configuration is chosen.

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Third year of architecture 2009-2010

The importance of the configuration of a building was aptly summarised by Late Henry Degenkolb, a noted Earthquake Engineer of USA, as: If we have a poor configuration to start with, all the engineer can do is to provide a band-aid - improve a basically poor solution as best as he can. Conversely, if we start-off with a good configuration and reasonable framing system, even a poor engineer cannot harm its ultimate performance too much.

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Third year of architecture 2009-2010

ARCHITECTURAL FEATURES

A desire to create an aesthetic and functionally efficient structure drives architects to conceive wonderful and imaginative structures. Sometimes the shape of the building catches the eye of the visitor, sometimes the structural system appeals, and in (b) too long) (a) too tall Figure 1: Buildings with one of their overall sizes much larger or much smaller than the other two, do not perform well during earthquake other occasions both shape and structural system work together to make the structure a marvel. However, each of these choices of shapes and structure has significant bearing on the performance of the building during strong earthquakes. The wide range of structural damages observed during past earthquakes across the world is very educative in identifying structural configurations that are desirable versus those which must be avoided. Size of Buildings In tall buildings with large height-to-base size ratio (Figure 1a), the horizontal movement of the floors during ground shaking is large. In short but very long buildings (Figure 1b), the damaging effects during earthquake shaking are many. And, in buildings with large plan area like warehouses (Figure 1c), the horizontal seismic forces can be excessive to be carried by columns and walls.

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Horizontal Layout of Buildings

In general, buildings with simple geometry in plan (Figure 2a) have performed well during strong earthquakes. Buildings with re-entrant corners, like those U, V, Hand + shaped in plan (Figure 2b), have (a) Simple Plan :: good (b) Corners and Curves : : poor (c) Separation joints make complex plans into simple plans Figure 2: Simple plan shape building do well during earthquakes sustained significant damage. Many times, the bad effects of these interior corners in the plan of buildings are avoided by making the buildings in two parts. For example, an L-shaped plan can be broken up into two rectangular plan shapes using a separation joint at the junction (Figure 2c). Often, the plan is simple, but the columns/walls are not equally distributed in plan. Buildings with such features tend to twist during earthquake shaking. A discussion in this aspect will be presented in the upcoming IITK-BMTPC Earthquake Tip 7 on How Buildings Twist During Earthquakes?

(a) too tall Figure 1: Buildings with one of their overall sizes much larger or much smaller than the other two, do not perform well during earthquake

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Vertical Layout of Buildings

The earthquake forces developed at different floor levels in a building need to be brought down along the height to the ground by the shortest path; any deviation or discontinuity in this load transfer path results in poor performance of the building. Buildings with vertical setbacks (like the hotel buildings with a few storeys wider than the rest) cause a sudden jump in earthquake forces at the level of discontinuity (Figure3a). Buildings that have fewer columns or walls in a particular storey or with unusually tall storey (Figure3b), tend to damage or collapse which is initiated in that storey. Many buildings with an open ground storey intended for parking collapsed or were severely damaged in Gujarat during the 2001 Bhuj earthquake. (a) Setbacks Unusually Tall Storey (b) Weak or Flexible Storey (c) Slopy Ground (d) Handing or Floating Columns Reinforced Concrete Wall Discontinued in Ground Storey (e) Discontinuing Structural Members Figure 3: Sudden deviations in load transfer [path along the height lead to poor performance of buildings

(a) Setbacks Unusually Tall Storey (b) Weak or Flexible Storey

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(c) Slopy Ground

(d) Handing or Floating Columns Reinforced Concrete Wall Third year of architecture in Ground Discontinued Storey 2009-2010 (e) Discontinuing Structural Members

Buildings on a sloping ground have unequal height columns along the slope, which causes ill effects like twisting and damage in shorter columns (Figure 3c). Buildings with columns that hang or float on beams at an intermediate storey and do not go all the way to the foundation, have discontinuities in the load transfer path (Figure 3d). Some buildings have reinforced concrete walls to carry the earthquake loads to the foundation. Buildings, in which these walls do not go all the way to the ground but stop at an upper level ,are liable to get severely damaged during earthquakes.

Reinforced Concrete Wall Discontinued in Ground Storey (e) Discontinuing Structural Members

Figure 3: Sudden deviations in load transfer [path along the height lead to poor performance of buildings

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Third year of architecture 2009-2010

Adjacency of Buildings

When two buildings are too close to each other, they may pound on each other during strong shaking. With increase in building height, this collision can be a greater problem. When building heights do not match (Figure 4), the roof of the shorter building may pound at the midheight of the column of the taller one; this can be very dangerous. Pounding can occur between adjoining buildings due to horizontal vibrations of the two buildings

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Third year of architecture 2009-2010

Building Design and Codes

Looking ahead, of course, one will continue to make buildings interesting rather than monotonous. However, this need not be done at the cost of poor behaviour and earthquake safety of buildings. Architectural features that are detrimental to earthquake response of buildings should be avoided. If not, they must be minimised. When irregular features are included in buildings, a considerably higher level of engineering effort is required in the structural design and yet the building may not be as good as one with simple architectural features. Decisions made at the planning stage on building configuration are more important, or are known to have made greater difference, than accurate determination of code specified design forces.

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Dances of Maharashtra
Maharashtra, is a land of culture and traditions, where religious festivals are great occasions of social entertainment. Various folk dances are performed during festive or special occasions, representing rich its cultural heritage.

Lavni
Lavani is a combination of traditional song and dance, which particulary performed to the enchanting beats of 'Dholak', an drum like instrument. This dance is performed by attractive women wearing nine-yard saris. The women gyrate on the pulsating beats of traditional music. The word Lavani originates from "Lavanya", meaning beauty. Earlier, this art form dealt with different and varied subject matters such as society, religion, politics, romance, etc. Lavani was used as a form of entertainment and morale booster to the tired soldiers during the 18th and 19th century Maratha battle. Many famous Marathi poets like Honaji Bala, Ramjoshi, Prabhakar, etc. contributed to the popularity of Lavani.

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Lezim dance
Lezim dnace is popular folk dance form of maharahtra . It is performed with colours full costumes and lezim or a small mallet. The word lezim is a sanskrit word which means beauty with its beautiful pattern of sound and music, the dance attracts large no. of people.

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Dhangari Gaja

This particular dance form is performed by Dhangars or shepherds of Sholapur district of Maharashtra. The Dhangars earn their living by rearing sheep and goats. Their poetry is mainly inspired by the evergreen trees all around. The poetry is in a form called 'Ovi' which is made up of couplets. These poems also contain tales of the birth of their God "Biruba", in simple and basic lines. The Dhangari Gaja Dance is performed to please their God for his blessings. The traditional Marathi dresses that Dhangar dancers wear are, Dhoti, Angarakha, Pheta and a colorful handkerchiefs. The group of dancers surround the drum players and move at the rhythm.

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Povadas & Koli

Povadas
Povadas are Marathi ballads, describing the events in the life of the great Maharashtrian leader, Shri Chhatrapati Shivaji Maharaj. He holds a highly respected position in the hearts the people of Maharashtra. Through these ballads they remember Shivaji, a great hero of his time.

Koli
Koli is one of the most popular dance form of Maharashtra that derives its name from the fisher folk of Maharashtra - Kolis. These fishermen are famous for their distinct identity and lively dances. Their dances consists elements from their occupation that is fishing. This dance form is performed by both men and women, who are divided in groups of two. These fishermen portray the movement of the rowing of a boat in this dance form. The dancers also portray the movements of waves and the casting of nets to catch the fish.

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Tamasha
Tamasha is one of the most important form of folk theater of Maharashtra. The word Tamasha is Persian and means fun or entertainment. This form is a blend of several different influences. Some scholars believe that this form of theater has been inspired by two forms of Sanskrit drama - the "Prahsana" and the "Bhana". This dance form developed in 16th century. The love songs ('Lavanis') are the heart of Tamasha and are very popular. Instruments used are the Dholki drum, 'Tuntuni' (a single string instrument), 'Manjeera' cymbals, 'Daf' (a tambourine-like instrument with a single leather surface), 'Halgi' (smaller Daf), the metal triangle called 'Kade', the 'Lejim' (an instrument with a jangling sound), the Harmonium and 'Ghunghroos' (ankle bells). Tamasha is associated with two of the communities of Maharashtra, they are Kolhati and Mahar.

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Religious & Festive Folk Dance

Folk dances generally evolve from the rural areas. In Maharashtra different folk dances are performed during festive occasions that represent their culture and merry-making.

Dindi
Dindi is a folk dance of Maharashtra that is usually performed during Ekadashi day in the month of Kartik. This religious devotional dance describes the playful attitude of Lord Krishna. Dindi is a small drum, like a 'Tamate'. The dancers dance to the rhythm by surrounding the musicians, providing the essential musical background.

Kala
Kala is another folk dance form that describes the playful attitude of Lord Krishna. This dance form features a pot symbolizing fertility. The main attraction of this dance is the beat and the rhythm.

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Third year of architecture 2009-2010