Acculturation explains the process of cultural change and psychological

change that results following meeting between cultures.[1] The effects of

acculturation can be seen at multiple levels in both interacting cultures. At
the group level, acculturation often results in changes to culture, customs,
and social institutions. Noticeable group level effects of acculturation
often include changes in food, clothing, and language. At the individual
level, differences in the way individuals acculturate have been shown to
be
associated
not just
withresult
changes
in groups
daily behavior,
but with
numerous
Those
phenomena
which
when
of individuals
having
measures
of psychological
and
physical well-being.
different cultures
come into
continuous
first-hand contact, with
subsequent changes in the original cultural patterns of either or both
groups...under this definition acculturation is to be distinguished
from...assimilation,
which is at
a phase
of acculturation.[6]
acculturation, the processes
of times
change
in artifacts,
customs, and beliefs
that result from the contact of two or more cultures. The term is also
used to refer to the results of such changes. Two major types of
acculturation, incorporation and directed change, may be distinguished
on the basis of the conditions under which cultural contact and change
take place.

DATIA MAHAL

Datia Mahal is only one of very few palaces and forts structure in north
and central India that boasts a spectacular amalgam of IndoIslamic architecture.
Datia Palace and the Secretariat Building in Delhi are two of the major
examples of Rajput architecture with traces of Mughal architecture. While
Datia Palace showcases quadrangular part with a Mandap, Secretariat
features
theisfour
levels.
The Palace
made
entirely of stones and bricks. It has a ribbed dome
over which is a shikar (spire) with lotus petal design. The arched
openings, brackets and dome is characteristic of the Mughal architecture,
while the lotus petals and use of animal sculpture and avian painting are
symbols of the Rajput architecture. The blend of the Mughal and Rajput
architecture forms a typical feature of the Bundela style of architecture at
the Datia Palace. It gave me an impression that the Bundela kings were
favorably
inclined
towards
theexternal
Mughalsribs
at least
as far
asIslamic
the Datia
Palace
Its domes,
for instance,
have
whereas
the
domes
ishave
concerned.
internal ribs. Large open courts let in light and air and, at one
time, virtually all the rooms had murals: only a few remain now. Many
of the brackets show the wavy style of Jain architecture. Interestingly,
however, the main door is on the east-facing side of the palace. It is
high, wide and impressive and is decorated with bright ceramic tiles.

It has a ribbed dome atop which is lotus petal-shaped shikhar, typical of

Bundela
architectural style . While the arched doorways and dome are characteristic
of Mughal architecture, the sculptures
and
paintings
birds,
suggestive
the Rajput
Bir Singh
Deo,of
the
ruleranimals
of Datiaand
andflowers
an avidare
builder
of the of
times,
laid thestyle.
foundations of Datia Mahal in 1614. History
records that the palace stands testimony to the friendship between the
Mughus emperor Jehangir and Raja Bir Singh
Deo. Bir Singh championed Jehangirs cause against Akbar and beheaded
Abul Fazal. In return, Bir Singh was made
the ruler of Datia.
Its domes, for instance, have external ribs whereas the Islamic domes have
internal ribs. Large open courts let in light and air and, at one time,
virtually all the rooms had murals: only a few remain now. Many of the
brackets show the wavy style of Jain architecture. Interestingly, however,
the main door is on the east-facing side of the palace. It is high, wide and
impressive
It
is surmounted
and isby
decorated
chatris. with bright ceramic tiles
Interior walls are magnificiently painted with hindu lores as well as courtly
figures based in large measure on mughal types.

Mahal has a five storied tower at the centre of the courtyard connected with
the sorrounding ranges by ornamental arcades or bridges on all four sides.
Balcony consists of trellis screen.
The sisde towers are octagonal.
The five storied central tower rising above these peripherial ranges can be
regardes as secular version of a temple shikhara.
The chamber overlooking the lake shows the characteristics of rajputana
architectre on the ceilings. And consists of niches, cornices and vaulted
ceiling covered with elegant designs betraying an unmistakable mughal
flavour. He tried to create an ambience of mughal palaces.
The domed ceilings on three storeys of the tower are also painted beautifully
with some geometrical designs, arabesques, dancing figures, pairs of
peacocks and a shallow petalled dome at the upper most level.
The architectural expression of the interior is complex and sculptural. The
carvings on the columns and entablatures are of flowers and geometrical
patterns. This is indicative of the Islamic influences. Carvings of animals
and
humans
arefour
from
the Hindu
and
Jain influence
At each
of the
corners
of the
landing
are small rooms with oriel
windows and intricately carved brackets. The staircase which links the
entry platform with the pool of water contains adorned columns, and
entablatures.
Along the eastern and western walls of the vav - which are actually
retaining walls there are niches and carvings of flowers and patterns
for
entire
length of
the wall.
is noticeably
coolerIndian
the deeper
you
go
Thethe
vavs
structural
system
is aIttraditional
trabeate
building
style
into
well. beams and lintels instead of arches which lend
withthe
horizontal

ADALAJ STEP WELL

Ruled by the Muslim sultans then, the style of architecture known as the
Hindu-Muslim style had come into being in Gujarat. The Adalaj
step-well is a magnificent example of this fusion of Hindu craftsmanship and
the floral, geometric patterns of Islamic architecture.
All five stories of the Adalaj structure use cross beams all along their
lengths. This step-well, of the type of the three faced "Jaya stepwell"
as described in the classical manuals of Hindu architecture, is a
mesmerising procession of arabesque designs, decorated
columns, ornamental balconies with exquisite carvings, carved walls and
niches with shrines of Hindu gods and goddesses, elephants,
flowers, birds and chhatris all through its five floors of length and breadth
underground!
The practice of making wells into an art form was begun
by the Hindus but it developed under Muslim rule.
Events happened during the construction of this well are carved on the
walls of the well as it was started by hindus but decorated in a islamic
style.
The motifs of flowers and graphics of Islamic architecture blend very
well with the symbols of Hindu and Jain gods carved at various levels of
the well.
The dominant carvings on the upper floors are of elephants (3 inches
(76mm) in size, each of different design).

Adalaj Vav is adorned with intricate carvings and splendid sculptures. The walls
the well depict figures of flowers, birds, fish and other ornamental designs. The
are a number of corridors and platforms surrounding the well. The three
entrances contain steps that reach upto the stepped corridors. These corridors
meet on a platform, which has an octagonal opening on the top. The missing
canopy of the well tells us that it is still not complete
The underground cisterns known as tankas are unique features of ater
architecture of the muslim period; these were particularly associated with
mosques.
The decorations of columns, curved brackets and lintels is higly elaborate with
repeated friezes of flat pilasters and lotus ornament.
The octagonal space is overlooked by tiers of richly ornamented balcony slabs.
Animal motifs, including elephants, horses and birds, and even the ccassional
depiction of hunters and planetary deities, adorn the lintels and wall niches ;
more common are the pots hanging from chains and the arabesque designs
which are ubiquitous motifs in contemporary mosques and tombs.

AGORAPHOBIA

Agoraphobics are the miners canaries in the public space of our cities.
With their heightened sensibility, they may have a more intense visceral
experience of what most modern city dwellers face in their everyday use
of
modern
public
The
architect
canspace.
learn from the hypersensitive spatial perception
of the agoraphobic community in order to develop a heightened
sense of spatial awareness, social responsibility and design skills
when configuring public spaces. Agoraphobia is a condition
triggered by spatial environments and the problem lies within the
design
of these
spaces.that Westphal regarded the condition as a fear
However
it is thought
of the place having not mentioned people or crowds in his paper,
stating that anxiety is brought on by the sight of a large room, a long
street,
or aprovide
wide square
This
could
substance to the argument that agoraphobia is a
reasonable response to the sickness of the urban scene (Carter,
2002 : 8) which cannot be overcome unless the psychological
aspects of our built environment are thoroughly scrutinised; the
remedy to this condition lies within the fabric of our society and not
in
modern
day
medicine.
The
anxiety
attack
is a symptom of the location, the agoraphobic
is not fearful of the place, rather the panic caused by the place.
The car offers us a convenient method of transport that saves us time
and effort in our busy modern lives. We have developed an aversion to
walking, indeed why would we walk when a car is much more
convenient, but one surely has to question the ever-diminishing role of

We are losing our connection with the street as a social institution and it
could be argued that this is a symptom of something rotten in the state
of modern urban design (Carter, 2002 : 16). Today, individual expression
on the street is suppressed; taking place not in the public eye but behind
the closed doors of the home, even the city busker must obtain a licence
before they can perform in public. There is no place to play in the urban
landscape; the street where we used to play is now a steady stream of
traffic, both pedestrian and vehicular. City dwellers can find space to play
in the parks (Fig. 2), which are safe enclosed spaces, segregated from the
busy urban landscape. The mental gap (Zerubavel, 1993 : 22) created by
the
this
boundary
is similar
to that
of the
they
Thecrossing
modern of
day
courtyard
offers
the city
dweller
no commuter
separationas
from
return
home.the mental gap they create lacks a physical boundary and is
their work,
why they seek the green spaces of parks.
Traditionally our streets have been meeting places, institutions of
social standing that have provided us with the opportunity to
collectively assemble, discuss, inform, shop, exchange, play.. These
actions are, as a cluster of lifestyle choices, almost unique to the
human race.
As previously discussed, the Ancient Greek Agora was not only an
assembly point, but also a market; a meeting place around which the
entire community based their lives. The village green was not only a
place for children to play safely, but it served as a focal point, a
landmark to which the community would gather in times of trouble or
celebration.

Our technological advances have taken us from the invention of the

wheel, to the development of the internal combustion engine, to the
digital transfer of information, all of which have greatly improved the
efficiency of our lives. But at what cost to our social understanding of
Architectural
design has developed into a materialistic concept. In the
space?
nineteenth century, we designed our spaces with the acceptance of
imperfections. The modern day lifestyle insists that everything be
symmetrical and practical. Traditionally, society has been modelled
around religion, and as such the squares around our churches and
cathedrals were culturally significant spaces. In the modern day
consumerism is arguably the new religion and as such the shopping
centre is the new church. The squares around them are the culturally
significant
spaces of
our time,
and yetthe
they
are, in general, merely
Ugly
architecture
greatly
intensifies
fear.
voids
buildings.
In
thisbetween
connection
I would remark that I have come to wonder if there is
real art in many of the so-called improvements in some of our cities,
for, judging from the effect they produce on me, they constitute bad
art.
These large scale buildings that sit in the centres of open squares are
typical of any urban landscape in the United Kingdom. They bare the
scars of agoraphobia, forcing their uneasy relationship with space onto
those
them.is projected across the vast open landscape, the
The
fear around
of the crowd
buildings frown as they overlook the anxious individual. They offer no
assistance; instead imitating and mocking any involuntary actions. They bow
under the pressure of modernity and practicality. These buildings serve the
crowd on a functional level, but offer nothing more to stimulate our minds;
the lack of imperfections within them provides no interactive experience.

The collective and integrative design of the entire urban landscape allows us
to find our place within it, and informs our feelings or emotion; acceptance,
unease, fear, anxiety, happiness and the like. When the buildings tower over
us and overshadow our individuality we begin to suffer the effects, we catch
the urban disease that the landscape is forcing upon us; it absorbs us until
we become one of a million passers-by. Our journey through such space
becomes our everyday ritual, with no inclination to stop and appreciate the
Our
built environment
shouldon
embrace
its surroundings,
rather than
elements
that were realised
the architects
drawing board.
unceremoniously turning its back on the very community it serves.
This will not cure agoraphobia but it initiates the discussion of addressing
the problem of spatial estrangement in the modern world.
The landscape opens in front of me, offering no place to hide.
To travel through I must find my place within it, do I belong here?
There is no identity, the landscape is transitional, experienced only
through travel. There is only empty space here, there is only the
essence of a space, there is no frame to house that essence.
This is not a place to stay.
Its quiet, too quiet.
The street narrows ahead,
This is the suburban calm before the city storm.
In this place I am consumed by the [INFINITE VASTNESS] of the
To the agoraphobic mind the landscape we surround ourselves with has
landscape.
emerged as a hostile space, a space through which we must travel but
The
small
roads that zigzag across the countryside are much more pleasant
cannot
escape
and offer an interactive experience to be enjoyed by the content mind of

Man walks in a straight line because he has a goal and knows where he is
going ; he has made up his mind to reach some particular place and he goes
straight to it. The pack-donkey meanders along, meditates a little in his
scatter-brained and distracted fashion, he zigzags in order to avoid larger
stones, or to ease the climb, or to gain a little shade ; he takes the line of
least
resistance.
(Le DONKEYS
Corbusier, 1929
: 11)
To
travel
[THE PACK
WAY]
is to experience life.
It is to twist and turn through the landscape,
It is to feel the bumpy stones beneath your feet,
It is to move in the direction that appeals to you,
It is to appreciate the steady incline of the path,
It is to smile at the dandelions poking through the paving slabs,
It is to enjoy the view,
It is to anticipate the secrets of the next turn.
It is to embrace a new way of seeing, of feeling and of experiencing.
It is to ease [AGORAPHOBIA].
The modern day street is estranged from our social instincts and we no
longer have time to communicate with each other. As a result agoraphobics
experience a high level of visceral ineptitude. The breakdown of our social
understanding through urban landscape design and developments in
transport links has resulted in the street becoming an ever-moving
anonymous crowd (Kraucer, 1960 : 72 cited in Vidler, 1991 : 31).

ANTHROPOLOGY
Anthropology is a global discipline where humanities, social, and natural
sciences are forced to confront one another.
BIOLOGICAL/PHYSICAL : It examines the biological and social factors
that have affected the evolution of humans
Cultural anthropology: where man is viewed as an animal of culture. In this
regard, studies of archaeology, linguistics and ethnology comprise cultural
anthropology.
Ethnology: where the racial and cultural distributions of man are
studies.
Applied Anthropology: where applications of the findings of the
Urban anthropology is the study of cultural systems and identities in
study are applied.
citiesas well as the various political, social, economic, and cultural
forces that shape urban forms and processes.
Using research methods developed for and through studies of small
tribes and primitive societies, anthropologists studied spatially
bounded communities such as ghettos, ethnic neighbourhoods, and
urban villages. Social problems (especiallypoverty) were the focus
of
most urban anthropological
ANTHROPOLOGY
OF URBANISMresearch.
: Urban anthropologists investigate
the cultural roles played by cities on their societies, and they crossculturally analyze cities with distinctive physical forms and internal
social
organization.
Anthropology
of urban poverty : This anthropology sees the city
reflected through the ghetto and views urban man mirrored in the
customs of the poor.

Anthropology of urbanization: This form of urban anthropology comes

from the contemporary large scale physical movement of rural peoples
to cities and the adaptations of these immigrant populations to the new
urban environment.