Is URBANISATION AFFECTING CULTURAL

IDENTITY OF WADAS IN PUNE?

Research Question
Has new culture and progress in surrounding areas has
impact wadas identity?
KEY WORDS:
URBAN, PROGRESS AND WADAS

INTRODUCTION:
'Punaka' is the name by which Pune was known in the ancient times. Pune fondly
known as cultural capital of Maharashtra encompasses both traditional lifestyle that
is prevalent in the heart of city, as well as a modern, progressive outlook resulting
from its being a hub for education and liberal thought.

Pune‘s cultural aspect can be traced back to maratha influence in art and
architecture. A traditional residential form of maratha architecture evolved around the
reign of peshwas. It was a typically a large building of one or two or more storey with
groups of rooms arranged around open courtyards. The two types of wadas were
according to social classes, i.e middle class and richer class . Cultural identity is
important for people’s sense of self and how they relate to others. A strong cultural
identity can contribute to people’s overall wellbeing .Identifying with a particular
culture helps people feel they belong and gives them a sense of security. An
established cultural identity has also been linked with positive outcomes in areas
such as health and education. It provides access to social networks, which provide
support and shared values and aspirations. Social networks can help to break down
barriers and build a sense of trust between people, a phenomenon sometimes
referred to as social capital.

NEED TO STUDY-
1. Wadas hold cultural and historical aspect to the city areas
2. Wadas style was an amalgamation where features from Mughal, Rajasthan, and
Gujarat architecture were combined with local construction techniques.
3. The most significant features of the wadas was the way its zoning in public ,
private and semiprivate spaces was done.
4. Wadas had a social structure centred life and values around the village
community
5. The village communities were economically self reliant and self sufficient units ,
each having its own set of ethics and residential enclaves , shops , temples etc.
 AIMS AND OBJECTIVES:
1 .To understand the reasons for the lost of cultural identity of wadas in architecture

2. causes for the lost of identity

3. impacts on the people and city in terms of architecture

CAUSES OF URBANIZATION AFFECTING WADAS IDENTITY IN

PUNE
1.The causes of urbanization were the economic, social and political development in
the city areas

2. usage of new materials and styles coming from different parts of the country ,
hence losing the wadas style of housing

3. development of shops and office around the wadas eg :vishrambaugwada on

laxmi road, resulting in losing its individual identity

4. maintence of wadas and due to lack of restoration works old wadas were pulled
down for the structural stability and acquasation of space for other commercial
purpose

5. Restoration architect Kiran Kalamdani says wadas are impractical today. “A

courtyard of 20 feet by 20 feet would then be home to around 40 people. Today,
even an average person requires a room which is at least 10 feet by 10
feet.”therefore the change in the the mentality of the people

6.Built as large single-storeyed structures close to the road, they have fallen prey to
shrinking urban spaces, the breakdown of the joint family system, property disputes,
and widening of roads. There is also the issue of safety.

7.Having been constructed primarily with wood, the wadas weren’t well-ventilated.
Hanging wires and non-concealed electrical circuits pose a fire hazard, especially in
the congested, almost claustrophobic old city area of Pune, where most of them are
located.

8.This has led the PMC to embark on annual drives to determine the stability of
these structures, and identify which of them need to be demolished.
CASE STUDY

VISHRAMBAUG WADA:
Vishrambaug Wada stands as a living testimony to Pune’s rich culture and heritage
on the Bajirao Road in Pune. Built by the last Peshwa Bajirao II for his relaxation and
entertainment, Vishrambaug Wada epitomizes the rich ancient past of India under
the Marathas
INTRODUCTION:

Vishrambaug Wada is located on Bajirao Road, Near Laxmi Road, Pune.

Vishrambaug curiously was once a garden, and is said to have derived its name
from its gardener called Vishram. This Vishrambaug Wada once surrounded by
these planned gardens, was located at what was then the outskirts of Pune city. The
structure is constructed in the Peshwai architecture style, evolved under the
patronage of the Peshwas. It also has the influence of Rajput architecture. While the
entire construction is made of bricks, the fine woodwork was the contribution of the
locals as well as Gujarati craftsmen. It cost about one lack of Rupees to construct
this building at that time and six years to complete this building. .

ABOUT THE STRUCTURE :

A magnificent work of art, this three-storied mansion is 260 ft long and 815 ft broad
and is remarkable for its beautiful entrance and its balcony that has carved
woodwork. The ceiling of the entrance is also supported by ornate winged lion
corbels. Intricately carved ornamental teardrop teak pillars shaped like surutrunks
(cypress tree), with banana flower embellishments are characteristic of the Peshwa
period. These support a teak gallery on the ground floor on either side of the
entrance.

The stone floor provides a cool respite from the blazing summer sun and people
often have taken refuge for an afternoon siesta. .
Bajirao’s musicians had once played music in the evenings from the grand teak
faced balcony. But today the balcony is off-bounds for visitors. Its weathered wooden
beams are no longer considered safe to hold human weight. The dark oxidized
ancient latches and hasps on the doors have ugly contemporary padlocks which jolt
the mind back from the glorious reverie of history back to the everyday present.
.

Vishrambaug Wada has a large dancing hall which still houses a large number of
artifacts: chandeliers, paintings, vases and other items belonging to the Peshwas.
The first floor has a large dancing/darbar hall facing the Bajirao Road. It has an
ornately carved ceiling, carved teakwood pillars and period chandeliers. The noted
historian Babasaheb Purandare has undertaken the task of restoring the inner courts
and the hall into their original grandeur adding to the beauty of the place.
PRESENT CONDITION:

After the Peshwa rule ended, the British took over Pune. Vishrambaug Wada was
used as a prison and then as a post office. From 1930 to 1958, the Vishrambaug
Wada housed the offices of the Pune Municipal Corporation. However, after its
renovation, it is now restored to its original glory and one is able to take a peek at the
setting of the Peshwa household. The famous historian Babasaheb Purandare is
responsible for this transformation. A small museum has also been set up here and
the entry fee is a nominal Rs.5/- per person. vishrambaug wadas is surrounded by
series of shops, roadside vendors who put their display on the fencing of the
structure, and fast moving bustling of the city, which leads the structure for losing its
identity in the bliss of the city.
INFERENCE:
Due to improper street facades, lacking community participations , improper
corporation rules to support the structure in terms of maintence and cultural identity
the structure is starting to become a classic example of urbanization impacts which
is leading to the identity of it .
SHANIWARWADA:

INTRODUCTION:
Shaniwarwada is located next to kasba peth along the banks of th mula mtha river.
Peshwa Baji Rao I, prime minister to Chattrapati Shahu, king of the Maratha empire,
laid the ceremonial foundation of his own residence on Saturday, January 10, 1730.
It was named Shaniwarwada from the Marathi words Shaniwar (Saturday) and Wada
(a general term for any residence complex).

ABOUT THE STRUCTURE :

The complex had an impressive lotus-shaped fountain: the Hazari Karanje (Fountain
of a thousand jets). It was constructed for the pleasure of the infant Peshwa Sawai
Madhavrao. It was designed as a sixteen petal lotus; each petal had sixteen jets with
an eighty foot arch. It was the most complicated and intricate fountain of its time
Captain More who visited the Shaniwarwada in 1791 described it as “very
magnificent. A hundred dancers can dance here at a time. In one corner is a marble
Ganapati statue and the palace is flanked by a fountain and a flower garden.”.
.

Teak was imported from the jungles of Junnar, stone was brought from the nearby
quarries of Chinchwad, and Lime (mineral) was brought from the lime-belts of Jejuri.
Shaniwarwada was completed in 1732, at a total cost of Rs. 16,110, Later the
Peshwas made several additions, including the fortification walls, with bastions and
gates; court halls and other buildings; fountains and reservoirs. Currently, the
perimeter fortification wall has five gateways and nine bastion towers, enclosing a
garden complex with the foundations of the original buildings. ). On February 27,
1828, a great fire started inside the palace complex. The conflagration raged for
seven days. Only the heavy granite ramparts, strong teak gateways and deep
foundations and ruins of the buildings within the fort survived.only descriptions of the
living areas of the fort are available. .
All the state halls in the buildings are said to have doorways with exquisitely carved
teak arches, with ornamental teardrop teak pillars shaped like Suru (cypress tree)
trunks supporting the ceilings, which were covered with beautiful teak tracery, carved
creepers and flowers. Exquisite glass chandeliers hung from the ceilings. The floors
were made of highly polished marble, arranged in a mosaic pattern and adorned with
rich Persian rugs. The walls contained paintings with scenes from the Hindu epics,
the Ramayana and the Mahabharata
. The important buildings in the palace includes the Thorlya Rayancha
Diwankhana (Marathi:The court reception hall of the eldest royal, meaning Baji Rao
I), Naachacha Diwankhana (Dance Hall), and Juna Arsa Mahal (Old Mirro
PRESENT CONDITION:

Despite its cultural value the fort is not maintained well by the Government. Its
inability to maintain the historical Shaniwarwada from the funds provided by central
archaeology department forced the fort’s advisory committee’ to woo business
houses to fund Shaniwarwada’s makeover.after years of restoration work the
structure has been maintained well with gardens.

INFERENCE:

With the ever increasing urban scenario Shaniwarwada which is basically a fort now
has not lost its cultural identity due to various community

because of its landmark and cultural influence even if the surrounding of the
structure is changed from residential to commercial.the structure is a classic
example of how urbaniztion has not affected the cultural identity of the structure
because of its magnificent scale and grandeur
KUMBHARWADA

INTRODUCTION:
In Kumbhar Wada the past of old Pune lives on. Kumbhar Wada is the ancient
potterymakers’ quarter in Kasba Peth,a district in the city’s historic core. Kumbhar
means potter and wada a place or dwelling area. The kumbhars have kept their
traditional craftsmanship alive in Pune since the era of ShivajiMaharaj (1630-1680),
founder of the Maratha Empire When Pune was a small British garrison town in the
19th Century the kumbhars chose a perfect location close to the Mutha River where
they had access to the water and space required for carrying out their craft. Today
Kumbhar Wada is at the centre of Pune’s city but they still have their wadas the
potters traditionally used the pavements near their homes to display and sell their
pots, but due to the widening of the street this is now illegal.
There are not only traditional items on sale as the artisans are constantly
experimenting with new products .
 Kumbhar Wada is a valuable area from developer’s point of view however
rent control egislation makes it posibble from its inhabitants to stay in yhe areas of
high land values.both life and work in the potters colony is small scale . a small living
area with their funcition both outside anfd inside typically. The normal living space
including house holds in a three storey wadas is one room with a kitchen
PRESENT CONDITION:

Kumbhar wadas is able to control the identity of the particular place from the Deccan
times . it is a small scale neighbourhood where both commercial and residential
activities take place together.open religious and cultural practices have been carried
from many it means active community participation there and open spaces with
shared facilities are also there. But due to economic crisis many people are selling
wadas and building tall structure due to scarcity of space because of which it is
losing its identity.

INFERENCE:

There are a couple of larger wadas in the kumbhar area. To help finance their
conservation and find future solutions for their continued existence of these old
wadas , while providing a livelihood for the residents , one possibility is for families to
partially open their houses to the public. The wadas as an example of living
tradtional family house , would be an educational resolute and a perfect way for the
older generation to pass on knowledge to younger generation and interested public.
The open wadas act as a setting for story telling method has been used in cultural
planning with a great success. It involves all participant’s and is inspirational and
engaging for everyone. Kumbhar wada is thus a classic example of urbanization not
affecting the small scale wada neighbourhood
CONCLUSION:
With the above three case studies we come to know the reasons of the wadas ,a
whole or a dwelling unit being affected by the city’s urban scenario. cultural identity is
important for people s sense of self and how they relate it to others . Active
community participation , government support and new rules can save the wadas
which were identified as perfect dwelling units. Innovation of new materials and
proper planning should be done so that the true identities of wadas are not lost in
today’s scenario.

Restoration works of the old and culturally important wadas should be done , old and
structurally weak wadas should be broken and new ones should be build keeping in
mind of todays scenario like proper planning , new technology and materials .

Commercial and other economic influences should not affect the cultural identity of
the wadas and in some context of some historical wadas like eg.vishrambaug wada.
tall structures are easily gripping the face of the city with the lack of religious and
cultural activities.

But structure like shaniwarwada which used to be earlier house inside a fort is now
made completely into a fort for visitors. Due to this change and magnificent scale
affecting the surrounding of this structure it still holds an important place in the city
culture despite urbanization of the surrounding

Smaller scale wadas are thus losing its identity with time eg.kumbharwada

It can thus be said that , increase in population, economic and commercial space in
the city. new styles of housing, increase in population leading to acquisition of space
and widening of roads, non- community participation and improper government rules
it can be said that "urbanisation has affected the cultural identity of pune ”.
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