Abstract
This thesis primarily deals with rituals and the
specific objects related to the rituals. The rituals in
question are the once in a life time event of the Hindu
cremation ceremony, and perpendicular to that, the
everyday rituals which constitutes daily life.
Through an existential and ontological theoretical
exploration the bridge, doorway, step and Lota
(vernacular Indian pottery) become the signified
objects which are arranged to form the existential
theatre. Which presents a reincarnation of
architecture: a hybrid pedestrian bridge with
cremation infrastructure. Furthermore parallel
theories of rationality and irrationality, solid and void,
boundaries, the structure of time and nothingness,
are explored to theoretically contextualize the
semiotics of the architecture.
The siting of the existential theatre is at the beginning
of the Ganges River, formed by various head
rivers, in Rishikesh, India. Rishikesh is at center of
intersections of religious mythology, commercialism,
touristism, a holy pilgrimage site, popular culture
and a growing local community. It is only within
this context can the existential theatre can exist, as
the multiplicity of cultural intersections allows for a
composite arrangement of various significations.
Spatial, cultural and ritual typologies are revealed
when using Learning from Las Vegas as a ruler
to measure Rishikesh. These typologies are then
employed into the scheme.
The Hindu ritual of cremation is an age old tradition
with the sole purpose of liberating the soul from its
physical form. So it may then be reincarnated into
another form. This process is governed by the law
of Karma. An in-depth analysis is done of each
stage of the ritual to highlight spaces within which
architecture can facilitate, efficiently and sustainably,
but not alter the process. The meaning behind each
stage is used to sequentially signify components of
the scheme. The first informal form of the existential
theatre is witnessed due to natural occurrences and
proximities of the once in a life time ritual of cremation
along with everyday pedestrian rituals; this thesis is a
formalization of these naturally occurring elements.
The charrette process proved to be praxis of the
existential and ontological theoretical inquiry; as
well as a metaphor for the ritual of cremation. This
was done through the abstraction of an everyday
object, the incense stick. The charrette process
produced the architectural tools with which to design
the scheme with. The resulting architecture of the
existential theatre is informed by the ceremonial
cremation procession and is paralleled with every
day rituals. The ultimate aim of my project is to
facilitate the Hindu Cremation Ritual, in a respectful
and sustainable manner while asking and suggesting
answers to existential questions. / MN (2016)
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:wits/oai:wiredspace.wits.ac.za:10539/21475 |
| Date | January 2016 |
| Creators | Nanoo, Amit |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Format | Online resource (various pagings), application/pdf, application/pdf |
Page generated in 0.0023 seconds