THE BACKGROUND
When the royal family of Tijara in Rajasthan, India, decided to build a fort on a hill commanding the surrounding plains in the first part of the 19th century, little did they imagine the way history would take its course. In less than 15 years after initiating the effort, the construction had to be abandoned because Maharaja Balwant Singh, the initiator of the fort, was murdered. When the process of construction was stopped, the contours of an ensemble of three major buildings were clearly visible: the Mardana Mahal (at the highest point in the south) flanked on the east by the Hawa Mahal and on the west by the Rani Mahal.
For nearly two centuries this remained a derelict site, its imposing but unused structures commanding the plains, visited by the occasional cowherd and thousands of bats!
Then, after a complicated and lengthy process, early in the 21st century, the Government of Rajasthan, which had in the meantime come to own the property, finally put Tijara to tender to give the derelict ensemble a new function. The combination of Aman Nath and Francis Wacziarg of the Neemrana Group was awarded the property in 2003, but because of many bureaucratic procedures, the actual work started only in 2009.
However, since then, a stupendous effort has been underway to give history a new interpretation. To convert this derelict property on a hilltop, without even an access road, into a unique hotel cum conference center, where hundreds will be able to enjoy this majestic setting.
 |  |
Drawings: Shyam Khandekar | |
THE OBJECTIVE OF ADAPTIVE REUSE
The design approach taken by the Neemrana team aimed to attain the following objectives:
A. To restore and adapt the individual buildings in spirit with their original design and make them suitable for adaptive reuse.
B. To add a series of new built functions such as large restaurants, conference facilities, an auditorium, swimming pool and yoga center; functions which are necessary for the adaptive reuse of this complex in modern times but amenities which by their very scale and size could in no way be accommodated in any of the three historic structures (i.e. the Mardana Mahal, the Hawa Mahal or the Rani Mahal). Included in this list were also large-scale utilities like the car- parking facilities and engineering utilities such as water-tanks and pump rooms.
C. To link the three buildings through a landscape that would allow them to function not only as independent buildings but also as part of a unique complex with an attractive landscape, which would promote its use as an outdoor park with a spectacular view of the surrounding landscape.
DESIGN APPROACH
The design approach adapted by the Neemrana team led by Aman Nath has been unique in its boldness and sensitive in its details. The basic decision was to use the hilly nature of the terrain to locate all the large-scale functions at such depths that they would not clutter the historic composition of the three historic buildings above the ground.
So, in each of the three spaces between the three historic buildings, new structures have been erected which functionally link the buildings and complete the new complex.
Firstly, in the southeast, between the Mardana Mahal and the Hawa Mahal, an entrance complex has been created with a composition of walls and gates with a clever juxtaposition of old and new forming an attractive point of entry to the complex.
Secondly, in the southwest, between the Mardana Mahal and the Rani Mahal, in a natural depression that existed there, a structure of three stores has been created to house a complex of functions including a large swimming pool, a yoga and wellness center and under it all a reservoir for water, which will run-off the landscape and can be reused.
And thirdly, in the north, in the space between the Rani Mahal and the Hawa Mahal, in the natural depression which existed there, a four-storied structure is being created to house a series of restaurants and their kitchens, an auditorium and conference rooms and the promise of an Amphitheatre with a backdrop, which will itself be worth a show.
All these new structures have been designed to afford spectacular views of the plains below and yet so located that the new layer of terraced landscape that is draped over them, protects them from merciless sunrays and the heat of summer.
The new layer of landscape is conceived as a series of terraces, starting in the south at the highest point from the boundaries of the Mardana Mahal and stepping down elegantly towards the Hawa Mahal and Rani Mahal and ending dramatically at the proposed new Amphitheatre in the north. Each terrace is large enough to rest, walk around or just loiter about in and, together with other terraces, forms a landscape that will give a unique identity to the entire complex.
 |  |
 | |
Photographs: Neemrana Design Studio | |
With this creative use of the landscape, the historic trio of Mardana Mahal, Hawa Mahal and Rani Mahal are fused into a majestic complex, while smaller design features planted in the landscape (such as a series of camels crafted surrealistically in concrete) signal the entrance to one of the larger built complexes, which lies hidden under the landscape. Pergola and arcade elements, sculptures and a cenotaph dedicated to Francis Wacziarg, are finally strategically placed as icing on a cake to give visual delight to the observer and create a visual depth of field when one views the surrounding landscape.
Finally, the three historic buildings have been creatively restored and eclectically renewed with an eye for detail. Two of them, namely the Mardana Mahal and the Rani Mahal, both designed around central courts, will house the guests who decide to stay overnight at this new complex.
In the re-design of the rooms at Rani Mahal, an entirely new dimension is being added to the historic rooms. To honor some of the great names in Indian art, each of the 21 rooms in the Rani Mahal is named after a leading lady painter in Indian art including Anjolie Menon, Arpita Singh, Nayanaa Kanodia, Nilima Sheikh and Anju Dodiya. Each of these aesthetes has been involved with the design and interiors of the rooms named after them.
LESSONS FROM TIJARA
What the adventure of Aman Nath’s team at Tijara teaches us is how it’s not the relentless conservation of singular, old buildings but the creative use and adaptive reuse of a complex of historic buildings in their larger context that gives the best results. And we see that it’s not the primacy of the buildings, but the unity of the buildings in their landscape that is the ultimate goal. Without doubt, the experience of adaptive reuse at Tijara shows how, while the process can be very challenging, the results are more rewarding than building a complex of totally new buildings.
Comments (0)