SET IN STONE
recreating the unintentional monument
“Both intentional and unintentional monuments are characterized by commemorative value. In the case of the intentional monument, it’s commemorative value has been determined by the makers, while we have defined the value of the unintentional ones.”
Alois Reigl, The modern cult of monuments: It’s character and origin, 1903
Memories are shaped by touch, smell, sound, and familiarity. Memory is intrinsic to life and architecture. Throughout time, humanity has commemorated significant events through monuments—objects or ideas designed to extend memories beyond those who experienced them.
However, not all markers of time are intentional. Some places and ideas, valued for their identity and purpose, evolve into unintentional monuments. As Alois Riegl notes in The Modern Cult of Monuments, intentional monuments are defined by their creators, while unintentional ones derive value from collective memory.
This thesis explores the essence of monuments, questioning whether their significance lies in scale, appearance, or the stories they evoke. It aims to craft architecture as an unintentional monument, reviving the spirit of forgotten places through tactile design and purposeful programming, creating relevance and indelible memories for generations to come.
Alois Reigl, The modern cult of monuments: It’s character and origin, 1903
Memories are shaped by touch, smell, sound, and familiarity. Memory is intrinsic to life and architecture. Throughout time, humanity has commemorated significant events through monuments—objects or ideas designed to extend memories beyond those who experienced them.
However, not all markers of time are intentional. Some places and ideas, valued for their identity and purpose, evolve into unintentional monuments. As Alois Riegl notes in The Modern Cult of Monuments, intentional monuments are defined by their creators, while unintentional ones derive value from collective memory.
This thesis explores the essence of monuments, questioning whether their significance lies in scale, appearance, or the stories they evoke. It aims to craft architecture as an unintentional monument, reviving the spirit of forgotten places through tactile design and purposeful programming, creating relevance and indelible memories for generations to come.
Photographs by Alexander John Greenlaw (1818-1870)
The bazaars of Hampi are a great example to explain the idea this thesis intends to revive. The amphibious nature of the bazaars is what made them successful. These bazaars could adapt from a regular make-and-sell function to the occasional jaathre or even accommodate periodic street music and performances.
In the present day, Hampi becoming a world heritage site has not left much room for normal life to flourish within the region. Tourism has also become an overbearing factor that influences the lives of the local people. Hence, in an effort to revive the living spirit of the place and make it more than a tourist destination, this thesis envisions creating a space for the people that could function with the spirit of the old bazaars of Hampi. It aims to establish a place where living crafts can grow while interfacing with modern culture.
The bazaar would integrate spaces for craft production, encompassing all processes from sourcing raw materials to creating the final product. It will include interactive workshop spaces to engage visitors and also function as a public community space, adaptable to various functions. Additionally, the place would serve as an interpretation center, providing visitors with an overview of Hampi before their visit, offering an experience of the culture and life before immersing themselves in the stillness of the ruins.
In the present day, Hampi becoming a world heritage site has not left much room for normal life to flourish within the region. Tourism has also become an overbearing factor that influences the lives of the local people. Hence, in an effort to revive the living spirit of the place and make it more than a tourist destination, this thesis envisions creating a space for the people that could function with the spirit of the old bazaars of Hampi. It aims to establish a place where living crafts can grow while interfacing with modern culture.
The bazaar would integrate spaces for craft production, encompassing all processes from sourcing raw materials to creating the final product. It will include interactive workshop spaces to engage visitors and also function as a public community space, adaptable to various functions. Additionally, the place would serve as an interpretation center, providing visitors with an overview of Hampi before their visit, offering an experience of the culture and life before immersing themselves in the stillness of the ruins.
The thesis is grounded in the memory of place and time. To translate this concept, the elements of Hampi are reinterpreted to create a balance between non-monumentality and monumentality, both conceptually and figuratively. Positioned at the threshold of Hampi, the project aims to ensure that visitors feel deeply connected to the essence of the place, regardless of when they visit.
To evoke these associative memories, the present-day ruins and their incompleteness are intentionally incorporated as symbols of connection between the design and its context. These fragments of history serve as a bridge, linking the architectural intervention to the spirit of Hampi.
Every element, from spatial movement to abstract visual signs, is thoughtfully designed to convey a sense of oneness with the place. This approach enables visitors to engage with the site on multiple levels, fostering both a physical and cognitive connection to its timeless significance.
To evoke these associative memories, the present-day ruins and their incompleteness are intentionally incorporated as symbols of connection between the design and its context. These fragments of history serve as a bridge, linking the architectural intervention to the spirit of Hampi.
Every element, from spatial movement to abstract visual signs, is thoughtfully designed to convey a sense of oneness with the place. This approach enables visitors to engage with the site on multiple levels, fostering both a physical and cognitive connection to its timeless significance.
Movements and Interactions
The Bazaar
Seasonal occupancy of the of the Bazaar during the year, during the jaatras and during the big festivals
The freestanding columns serve as the lightest architectural intervention, offering just enough structure to define the market spaces without restricting their openness. They maintain the fluid, social character of a bazaar—where movement, gathering, and exchange are constantly shifting. Yet, given Hampi’s hot and dry climate, comfort becomes a crucial consideration. Shaded or semi-covered zones are essential not only for vendors and visitors, but also for the goods displayed throughout the day.
To address this, the market incorporates a system of temporary tensile fabric canopies that can be installed when required. These lightweight shades rely on a simple cable-and-hook mechanism, allowing them to stretch between columns to create pockets of comfort and protection. Each column is designed with a discreet hollow at its capital, a small but intentional gesture that makes attaching and removing the tensile fabric effortless. This enables the market to respond to seasonal changes, fluctuating crowd sizes, and different programmatic needs.
The detail draws directly from architectural traditions already embedded in Hampi. Temple eaves often contain small openings or hooks used to tie decorative cloth during festivals, transforming the atmosphere without altering the sacred structures themselves. In a similar way, the temporary shades preserve the integrity of the market architecture while allowing its character to evolve during events, celebrations, and daily activity.
This approach acknowledges that bazaars have always been temporal in nature—formed through improvisation, negotiation, and community participation. Rather than imposing a fixed architectural identity, the design supports adaptability.
To address this, the market incorporates a system of temporary tensile fabric canopies that can be installed when required. These lightweight shades rely on a simple cable-and-hook mechanism, allowing them to stretch between columns to create pockets of comfort and protection. Each column is designed with a discreet hollow at its capital, a small but intentional gesture that makes attaching and removing the tensile fabric effortless. This enables the market to respond to seasonal changes, fluctuating crowd sizes, and different programmatic needs.
The detail draws directly from architectural traditions already embedded in Hampi. Temple eaves often contain small openings or hooks used to tie decorative cloth during festivals, transforming the atmosphere without altering the sacred structures themselves. In a similar way, the temporary shades preserve the integrity of the market architecture while allowing its character to evolve during events, celebrations, and daily activity.
This approach acknowledges that bazaars have always been temporal in nature—formed through improvisation, negotiation, and community participation. Rather than imposing a fixed architectural identity, the design supports adaptability.
Location
Typology
Year
Critics
Typology
Year
Critics
Kamalapura, Karnataka, India
Mixed Use Public Building
August 2020, Independent Study, Academic
Arun Swaminathan, Bakul Jani, Seema Anand, Sundeep Nagraj, Vagish Naganur
Mixed Use Public Building
August 2020, Independent Study, Academic
Arun Swaminathan, Bakul Jani, Seema Anand, Sundeep Nagraj, Vagish Naganur