Climate Responsive Design Principles in Dravidian Temples: a Case Study of Nellaiyappar Temple

Total Page:16

File Type:pdf, Size:1020Kb

Climate Responsive Design Principles in Dravidian Temples: a Case Study of Nellaiyappar Temple Indian Journal of Traditional Knowledge Vol 20(1), January 2021, pp 298-305 Climate responsive design principles in Dravidian temples: A case study of Nellaiyappar temple S Pongomathi*,†,a, R Shanthi Priyab,‡ & M Nallammal Sobanaa,$ aSchool of Architecture, Kalasalingam Academy of Research and Education, Anand Nagar, Krishnankoil 626 126, Tamil Nadu, India bDepartment of Architecture and Interior Design, SRM Institute of Science and Technology, Potheri, SRM nagar, Kattankulathur, Chennai 603 203, Tamil Nadu, India E-mail: †[email protected]; ‡[email protected]; [email protected] Fig. S1 — (a-b) The Nellaiyappar temple teppakulam (Source: Author) Fig. S2 — The Pradakshina path inside Nellaiyappar temple (Source: Author) ii INDIAN J TRADIT KNOW, JANUARY 2021 Fig. S3 — The images showcasing the corridor spacing along the pradakshinapath and a view from the dancing hall (Source: Author) Fig. S4 — The Tunneling effect (Source: Author) Fig. S5 — The plan showing the light wells inside Nellaiyappar temple (Source: Author) PONGOMATHI et al.: CLIMATE RESPONSIVE DESIGN OF NELLAIYAPPAR TEMPLE iii Fig. S6 — Light Wells in the roof shaft (Source: Author) Table S 1 — Transition of worshipping spaces across the timeline Plan/ Elevation/ Section Climatic Design Strategies Aryan village-Vedic period 6th century B.C The huts were constructed with the ancient materials available within the premises of the Huts with barrel-vaulted roofs. Villages context. These sustainable materials were used for the construction of various typologies of huts in different climatic zones in Aryan civilization were protected by a timber fence with an Materials – Bamboo and wooden construction. entrancegateway1 Structure of stupas evolved from the Buddhist philosophy, but the elements in it were adopted from timber fence of Aryan village1. Stone Vedika resembles the timber fence of Aryan village, whereas the Torana resembles entrance gateway of Vedicage1 Evolution of Buddhist Chaitya halls from Aryan huts 3rd century B.C This chaitya hall was a cave structure which had no openings except the main entrance In Buddhist architecture, the chaitya and a sun window, with a horse-shaped archway. It received light only from the entrance halls resemble the huts of Aryan and filtered light through the colonnade around the hall. The stupa was located in alignment with the entrance archway. The stupa received light village. 1 Chaitya halls had an apsidal end with only during certain times of the day from the entrance and the Sun window stupas at the end1,3 Hindu temple with Single Cella 5thcentury A.D The inner garbhagriha was meantto be dark, which was enclosed by thick massive Early stages of Hindu temples had one walls.This represents a cave with the super structureresembling the mountain. small statue to house the image of the 1,4 God/Goddess. The addition of mandapas were done to the inner sanctum in later evolutions Other rituals were done in the open air. Mostly they were carved out of the caves (Udayagiri, Tigawa, Sanchi)1,5 Evolution of Hindu templefrom Village Assemblyhall 5thcenturyA.D The temple was surrounded by a pradakshina path, which was enclosed using a wall. For lighting ventilation purposes, it was provided with jalli works around the path. Temples were built with the concept of "House of God." They adopted the form The entire structure was a prototype of a village assembly hall that was made of stone of the village assembly hall. walls and a slanting roof, which allows rainwater to drainoff1,5. Ex: Lad khan temple, Aihole1 (Contd.) iv INDIAN J TRADIT KNOW, JANUARY 2021 Table S 1 — Transition of worshipping spaces across the timeline (Contd) Plan/ Elevation/ Section Climatic Design Strategies Evolution of Hindu temple from Chaitya halls 6th century A.D Location –Aihole in Karnataka Durga temple planning was adopted Form –oblong and apsidal form imitates earliest Buddhist Chaitya halls from Buddhist Chaitya Halls. In place of Stupas, garbhagriha was placed at Climate- Tropical Climate the end with pradakshina paths Solar Passive Design Features- surrounding it. Later, the Sikara was The Durga temple stands on a high pedestal, which was surrounded by semi-open added at the top of the apsidalend1. colonnaded corridors running around the temple, thus providing lighting and ventilation, and the raised veranda enveloping the shrine acts as a thermal barrier1,4. Evolution of Dravidian temple layouts and Vimana 5th century A.D In consideration of the local climate, the garbhagriha was moved to the center of the Garbhagriha was relocated and formed temple with the pradakshina path surrounding it. as the core of the composition with The garbhagriha was buffered by corridors on all the sides to protect from the harsh solar peak- Shana path surrounding it. radiation4. The curved form of Shikara takes a stepped pyramid form with a domical structure at the apex,known as Vimana or Gopuram in South India1. Table S 2 — Temple-Architecture across dynasties Dynasty Pallava dynasty 600-900 AD Temple Form - The entire Dravida style is based on the symbolic scheme of the rock-cut models (monolithic structures) of the rathas (chariot shaped temples), and it resembles Buddhist vihara2,5 Climate – warm and Humid Solar Passive Design Elements- not considered Chola Dynasty 900 -1150 AD Temple Form- The linear planof the Brihadeshwara temple that stands in the middle of a large rectangular walled courtyard. Climate – Hot and humid Climate Solar Passive Design Elements- Gardens (Nandavanam), courtyards, Mandapams, Pradakshina path surrounding the main shrine. Materials – Locally available Granite Stone3,8 Pandya Dynasty 1100 -1350 AD Location – southern bank of river vaigai, Madurai Meenakshi Amman Temple- The great Meenakshi Amman Temple of Madurai, was thus designed with a series of concentric courtyards contained within a rectangle of High Walls resembled like Madurai City Planning2,8. Climate – Hot and Humid Climate2 Solar Passive Design Elements- clear stories and skylights bring reflected light and spread across space, Courtyards and pond enhances natural ventilation inside the temple using Evaporative cooling techniques Materials- Locally available Polished Black Granite was used for construction because of its strength and durability. Vijayanagara Dynasty 1350 – 1600 AD Location – Hampi on the banks of the Tungabhadra river. Temple complex is rectangular and designed with the principle of Fractal Geometry, which has repeated patterns. Climate – Hot and humid3 Solar Passive Design Elements- Huge walls shades Pradakshina path, high ceiling, and openings near the roof enhances stalk ventilation. Landscaped and shaded courtyards act as a heat sink. Mandapams (semi-open pavilions) enhances cross ventilation and covered corridors surrounding the sanctum acts as a thermal regulator2,8. Materials- locally available Granite and Brick .
Recommended publications
  • Unit 39 Developments in Religion
    UNIT 39 DEVELOPMENTS IN RELIGION Structure Objectives Introduction Emergence of Bhakti in Brahmanism 39.2.1 Syncretism of Deities 39.2.2 Adaptation of Tribal Rituals 39.2.3 Royal Support to Temples and Theism. Spread of Bh&ti to South India Bhakti Movement in South India Protest and Reform in the Bhakti Movement of the South and later Transformation of the Bhakti Movement Emergence of Tantrism 39.6.1 some Main Features of Tantrism 39.6.2 Tantrism and the Heterodox Religions Let Us Sum Up Key Words Answers to Check Your Progress Exercises OBJECTIVES The purpose of this Unit is to briefly discuss the major features of Eligious developments in the early medieval period with focus on the shape which Bhakti ideology and Tantrism took. After going through this Unit you should be able to : know about the origins of Bhakti in Brahmanical religious order, know the character and social context of the characteristic of later Brahmanism, know how the character and social context of Bhakti changed in the e&ly medieval period, realise how royal support to.Bhakti cults gave them wealthy institutional bases, know about the origin and role of Tantrism and its character in the early medieval period, and know hbw Tantrism penetrated into Buddhism and Jainism. INTRODUCTION You are by now familiar with certain broad stages of the religious history of early India. While archaeological material suggests that certain elements of Indian religions were present in the archaeological cultures dating prior to the Vedas, the hymns of the Rig Veda give us for the first time, an idea of how prayers were offered tc deities to please them.
    [Show full text]
  • Aspects of Ancient Indian Art and Architecture
    ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE M.A. History Semester - I MAHIS - 101 SHRI VENKATESHWARA UNIVERSITY UTTAR PRADESH-244236 BOARD OF STUDIES Prof (Dr.) P.K.Bharti Vice Chancellor Dr. Rajesh Singh Director Directorate of Distance Education SUBJECT EXPERT Dr. S.K.Bhogal, Professor Dr. Yogeshwar Prasad Sharma, Professor Dr. Uma Mishra, Asst. Professor COURSE CO-ORDINATOR Mr. Shakeel Kausar Dy. Registrar Author: Dr. Vedbrat Tiwari, Assistant Professor, Department of History, College of Vocational Studies, University of Delhi Copyright © Author, 2019 All rights reserved. No part of this publication which is material protected by this copyright notice may be reproduced or transmitted or utilized or stored in any form or by any means now known or hereinafter invented, electronic, digital or mechanical, including photocopying, scanning, recording or by any information storage or retrieval system, without prior written permission from the Publisher. Information contained in this book has been published by VIKAS® Publishing House Pvt. Ltd. and has been obtained by its Authors from sources believed to be reliable and are correct to the best of their knowledge. However, the Publisher and its Authors shall in no event be liable for any errors, omissions or damages arising out of use of this information and specifically disclaim any implied warranties or merchantability or fitness for any particular use. Vikas® is the registered trademark of Vikas® Publishing House Pvt. Ltd. VIKAS® PUBLISHING HOUSE PVT LTD E-28, Sector-8, Noida - 201301
    [Show full text]
  • Rajput Temples in Bundelkhand Region Neeta
    P: ISSN NO.: 2321-290X RNI : UPBIL/2013/55327 VOL-IV* ISSUE-IV*December-2016 E: ISSN NO.: 2349-980X Shrinkhla Ek Shodhparak Vaicharik Patrika Rajput Temples in Bundelkhand Region Abstract Hindu temple is a symbol or rather a synthesis of various symbols. It is conceived in terms of the human organism which is the most evolved living form. the names of the various limbs of the human body from the foot to the hair on the crown of the head are applied in the 1 architectural texts to different parts of the temple structure. Through out the greater part of the country, the sanctuary as a whole is known as the vimana, of which the upper pyramidal or tapering portion is called the shikhara, meaning tower or spire. The garbha Graha or womb-house for the reception of the divine symbol was a dark chamber which was entered by a doorway on its inner, and usually eastern side.. In front of the Grabha graham was a pillared hall or mandapa for the assembly of those paying their devotions to the divine symbol. From about the beginning of the 7th century, the sanctum was roofed by a tall, curvilinear spire (Shikhar) which constituted the most striking cognizance of the Northern Temple. The spire was initially of three vertical projections which gradually increased to five and occasionally seven. All these projections are covered with a mesh of Chaitya- dormers and the corner ones display in addition a series of small amalakas at the angles to demarcate the division of the spire into compressed storeys.
    [Show full text]
  • The Role of Five Elements of Nature in Temple Architecture Ar
    International Journal of Scientific & Engineering Research Volume 8, Issue 7, July-2017 1149 ISSN 2229-5518 The Role of Five Elements of Nature In Temple Architecture Ar. Snigdha Chaudhary Abstract— Examine the extensive influence of the selected theories of nature in Architecture namely element of nature effects the role of five ele- ments in Temple Architecture. “Theory of five elements of nature in context to the Temple Architectural Design ‘To make student understand the basic principles of five elements of nature so that it forms the basics for study of temple design through these topics.One should have a reasonable under- standing of its operational and economic implications, and lastly “To Evaluate the understanding of the relationship between space and design through five elements of nature’’ with the help of Hindu Temple Architecture. Index Terms— Temple architecture, five elements of nature, human perception of architectural expression, and temple concept through cosmology and philosophy —————————— —————————— 1 INTRODUCTION NDIA is well known for its rich heritage and variety of India, however while the basic elements of the temple are the I culture. Temples have always played an important role in same, the form and scale varied. For example as in the case of India's history and culture. There are more than 6 lakh the architectural elements like Sikhara (pyramidical roofs) and temples in India and about 1,80,000 temples in South India. Gopurams (the gateways). India is not only famous for various states but also for the cultures and such historic background that the past still has 2 ELEMENTS OF HINDU TEMPLE so much power on the present world.
    [Show full text]
  • Temple Structure
    DR. JYOTI PRABHA ASSISTANT PROFESSOR DEPARTMENT OF HISTORY M.R.M. COLLEGE, L.N.M.U., DARBHANGA 2ND SEMESTER, SESSION: 2019-21 CC- 8: SOCIETY AND ECONOMY IN INDIAN HISTORY UNIT- 2: ART AND ARCHITECTURE Temple Structure Most of the art and architectural remains that survive from Ancient and Medieval India are religious in nature. That does not mean that people did not have art in their homes at those times, but domestic dwellings and the things in them were mostly made from materials like wood and clay which have perished. This chapter introduces us to many types of temples from India. Although we have focused mostly on Hindu temples, at the end of the chapter you will find some information on major Buddhist and Jain temples too. However, at all times, we must keep in mind that religious shrines were also made for many local cults in villages and forest areas, but again, not being of stone the ancient or medieval shrines in those areas have also vanished. Temple Architecture Gupta period marks the beginning of Indian temple architecture. Manuals were written regarding how to form temples. The Gupta temples were of five main types: 1) Square building with flat roof shallow pillared porch; as Kankali Devi temple at Tigawa and the Vishnu Varaha temples at Eran. The nucleus of a temple – the sanctum or cella (garbhagriha) – with a single entrance and apporch (Mandapa) appears for the first time here. 2) An elaboration of the first type with the addition of an ambulatory (paradakshina) around the sanctum sometimes a second storey; examples the Shiva temple at Bhumara(M.P.) and the lad-khan at Aihole.
    [Show full text]
  • Bulletin of Tibetology
    6th NOVEMBER. 1914 PR.INTED BY THE MANAGBIl. SIJ(KIM GOVEIlMNENT PREIS AND PUBLISHED BY THE DIRECTOR, NAMGY AL INSTITUTE OF TIBETOLOGY GANGTOK , ' SIR TASHI NAMGYAL MEMORIAL LECTURES 1974 BUDDHIST ART AND ARCHITECTURE IN INDIA AND NEPAL By KRISHNA DEVA ARCHAEOLOGICAL ADVISER INDIAN COOPERATION MISSION KATHMANDU (NEPAL) CONTINI'S Pages I. Buddhist Art in India 5 II. Buddhist Architecture in India 12 III. Buddhist Art in Nepal 29 IV. Buddhist Architecture in Nepal 46 PREFACIL I am indeed grateful to the Chogyal of Sikkim and Dr. A.M. 0' Rozario, the Pre~ident and Director rei>pectively of the N;:mgyd lf1stAfute of Tibetology, for h<,ving invited me to deliver the 1974 Sir Tashi Namgyal Memorial Lectures. I have been a stmknt c,f Indian art and archItecture including Buddhist art during my long senice with the Archa.eologicd Survey Jt/india and have als(l <;tudied the art and architect me oj NepJ during the last ten years and more intensively during the lest two years as l\r,~haeological Ad,:i~er to His Majesty's Government of Nepal. Nepal has been open to the artistic and religious influences fl( wing from her great southern neighbour India. and her great northei n neighbour Tibet and has had tire genius to' (so catalyse these inflm ncf' that her at and culture have become truly Nepali. Sikkim h~,.s like wise ben' ( Fen to the cultur<ll, religious and artistic impacts coming fn-.m not only India and Tibet but also from Nepal and has similarly had the genius to assimilate them into her culture.
    [Show full text]
  • Art & Architecture
    1 Art & Architecture of India Introduction India’s cultural heritage is extremely rich and counts among the most ancient in the world. The art of sculpture, the most highly respected medium for artists, was widely practiced throughout the subcontinent, and buildings were lavishly adorned with sculptures. The subject matter of Indian sculpture was almost invariably abstracted human forms that were portrayed to instruct people on the truths of the Hindu, Buddhist or Jain religions. Painting in India encompasses Buddhist murals from the Ajanta caves in Maharashtra to the Brihadeeshvara Temple in Thanjavur, from the large wall paintings of Ellora to the miniaturist tradition of Mughal and the mixed-media embellished works from the Tanjore School. Indian civilization also displays mixed architectural styles and influences, the most famous example of which is possibly the Taj Mahal in Agra, Uttar Pradesh. Indian Art Origin of art in India Art is an integral part of culture. India had always been known as a land of cultural and traditional vibrancy through its conventional arts and crafts. The 28 states and 8 union territories across the country have their own distinct cultural and traditional identities; visible through the various forms of art prevalent there. Every region in India boasts its own range of unique folk art forms. Statues and Seals of the Indus Valley Among the surviving works of the Harappan Civilisation is a miniature bronze girl with beautifully formed limbs holding a bowl against her thigh. Of the various other sculptural pieces found, the best known is that of a bearded man, probably the image of a priest.
    [Show full text]
  • Temples of India
    TEMPLES OF INDIA A SELECT ANNOTATED BIBLIOCRAPHY SUBMITTED !N PARTIAL FULFILMENT FOR THE AWARD OF THE DEGREE OF iHagter of librarp Science 1989-90 BY ^SIF FAREED SIDDIQUI Roll. No. 11 Enrolment. No. T - 8811 Under the Supervision of MR. S. MUSTAFA K. Q. ZAIDI Lecturer DEPARTMENT OF LIBRARY SCIENCE ALIGARH MUSLIIVi UNIVERSITY ALIGARH 1990 /> DS2387 CHECKED-2002 Tel t 29039 DEPARTMENT OF LIBRARY SCIENCE AUGARH MUSLIM UNIVERSITY ALIGARH 202001 (India) September 9, 1990 This is to certify that the PI* Lib* Science dissertation of ^r* Asif Fareed Siddiqui on ** Temples of India t A select annotated bibliography " was compiled under my supervision and guidance* ( S. nustafa KQ Zaidi ) LECTURER Dedicated to my Loving Parents Who have always been a source of Inspiration to me CONTENTS Page ACKNOWLEDGEMENT i - ii LISTS OF PERIODICALS iii - v PART-I INTRODUCTION 1-44 PART-II ANNOTATED BIBLIOGRAPHY 45 - 214 PART-III INDEX 215 - 256 ACKNOWLEDGEMENT I wish to express my sincere and earnest thanks to my teacher and supervisor Mr. S.Mustafa K.Q. Zaidi, Lecturer, Department of Library Science, Aligarh Muslim University, Aligarh who inspite of his many pre-occupation spared his precious time to guide and inspire me at each and every step during the course of this study. His deep and critical understanding of the problem helped me a lot in compiling this bibliography. I am highly indebted to Professor Mohd. Sabir Husain, Chairman, Department of Library Science, Aligarh Muslim University, Aligarh for his able guidance and suggestions whenever needed. I am also highly indebted to Mr. Almuzaffar Khan,Reader, Department of Library Science, Aligarh Muslim University, Aligarh whose invaluable guidance and suggestions were always available to me.
    [Show full text]
  • Concept and Features of North Indian and South Indian Temples with Special Reference to Temples in Kerala
    International Journal of Scientific and Research Publications, Volume 10, Issue 4, April 2020 246 ISSN 2250-3153 Concept and Features of North Indian and South Indian Temples with Special Reference to Temples in Kerala Sumitha SS Research Scholar , Department of History , University of Kerala DOI: 10.29322/IJSRP.10.04.2020.p10029 http://dx.doi.org/10.29322/IJSRP.10.04.2020.p10029 Abstract- The paper tries to analyse the similarities and monuments to last for centuries and give us a fairly good idea what differences which are generally seen in North Indian and South the contemporary religious architecture built Stupas and Indian temples. It was visible in iconographs, design and Chaityas, which are in essence temples, in the Estern Andhra and architecture of temples. The influence of Buddhism and Jainism northern Karnataka regions, too have survived because of the in the construction temples are also discussed. The prevalence of adoption of stone for their protective casing and sculptured veneer Nagara and Versa architecture in the construction temples and its not to mention the stone railings which totally imitated timber expansion to differed parts of India is also analysed. The work in their journey and fixtures. These Stupas and Chaityas expansion of the temple architecture of the Pallavas, Pandyas and show their own distinct regional characters as against their Cholas to Kerala is another area of discussion in the paper. Kerala compeers in North an North –Western India. has great cultural legacy of temples and temple arts. Most of the Buddhism almost went into complete eclipse soon. The temples are constructed either in Pallava or Pandya style of Hindu temples to a greater extent and the Jain ones to a lesser architecture.
    [Show full text]
  • Mandapa: Its Proportion As a Tool in Understanding Indian Temple Architecture
    International Journal of Scientific & Engineering Research Volume 10, Issue 7, July-2019 2104 ISSN 2229-5518 Mandapa: Its Proportion as a tool in Understanding Indian Temple Architecture Ragima N Ramachandran Abstract- Proportion and measurements were the guiding tools for Indian temple construction starting from the 5th century onwards and it continuous even now. Through out the history proportion dominated as a tool, which determined the monuments both spatial arrangements as well as form. The ancient texts, therefore, insist on a high degree of precision in their measurements. The standard text Mayamata mentions- ”Only if the temple is constructed correctly according to a mathematical system can it be expected to function in harmony with the universe. Only if the measurement of the temple is in every way perfect, there will be perfection in the universe as well.” In this paper Mandapas in Indian temples are studied with respect to various parameters like its expression, function, proportion, orientation, chronology etc. Proportions of Mandapas both spatial and in form is studied and taken as a tool to understand how it influences various other parameters of mandapa or how its been influenced by others. This study analysis proportion of mandapa in Indian temple architecture, especially focusing on Nagara style as mentioned in ancient texts. The evolution of Mandapa and other parameters are discussed in general. These factors are studied with respect to a selected sample. Temple between 8th C to 15th C is taken for the study as Mandapas were added proportionately from 8th Century onwards. This comprises the literature part, and expressed through drawings and diagrams.
    [Show full text]
  • Unit 15 Sculpture and Architecture*
    UNIT 15 SCULPTURE AND Languages and Literature ARCHITECTURE* Structure 15.0 Objectives 15.1 Introduction 15.2 Post-Mauryan Phase (c.200 BCE-200 CE) 15.2.1 Architecture 15.2.2 Sculpture 15.3 Gupta Phase (c. 300-600 CE) 15.3.1 Architecture 15.3.2 Sculpture 15.4 Post-Gupta Phase 15.4.1 Pallava Architecture 15.4.2 Pallava Relief Sculpture 15.4.3 Architecture under the Chalukyas 15.5 Summary 15.6 Key Words 15.7 Answers to Check Your Progress Exercises 15.8 Suggested Readings 15.0 OBJECTIVES After reading this Unit, you will be able to learn about: stupa architecture in post-Mauryan period; evolution of Buddhist rock-cut architecture; temple architecture of the period under study in the context of both cave temples and free-standing temples; and various sculptural schools and their chief features. 15.1 INTRODUCTION This Unit is a survey of art and architecture between the period c.200 BCE- c. 750 CE. It is a vast period that can be divided into three phases: post-Mauryan, Gupta and post-Gupta. Each period was marked by significant contributions to art and architecture. We shall start with the post-Mauryan period: a time of great prosperity. It was marked by refinement of Mauryan architecture whether it is the stupa or cave-buildings. Accompanying this was the emergence of three schools of sculpture: Gandhara, Mathura and Amravati. Gupta epoch set new standards in rock cut architecture and sculpture. There was also the first emergence of Hindu cave and structural temples. In post-Gupta era major contributions were made by Pallava and Chalukya dynasties to temple architecture.
    [Show full text]
  • [5 Year Full Time U Recognised by the C Regulations
    B.ARCH BACHELOR OF ARCHITECTURE [5 YEAR FULL TIME UNDER GRADUATE DEGREE PROGRAM] RECOGNISED BY THE COUNCIL OF ARCHITECTURE, NEW DELHI REGULATIONS, CURRICULUM AND SYLLABUS 2016 – 2017 Batch (New Syllabus) CHOICE BASED CREDIT SYSTEM (CBCS) FACULTY OF ARCHITECTURE KARPAGAM ACADEMY OF HIGHER EDUCATION (Deemed to be UniversityEstablished Under Section 3 of UGC Act 1956) Pollachi Main Road, Eachanari Post, Coimbatore – 641 021. INDIA B.ARCH SYLLABUS: 2016-2017 BATCH SEMESTER 1 16ART101 ENVIRONMENTAL SCIENCE SEMESTER-I Marks Internal 40 External 60 Total 100 Exam Hours 3 Instruction Hours /week L 2 T 0 P/S 0 Credits 2 COURSE OBJECTIVE: . To create the awareness about environmental problems among people. To develop an attitude of concern for the environment. To motivate public to participate in environment protection and improvement. To understand the renewable and Non – renewable resources . To gain knowledge about Biodiversity and Conservation . To understand the primary concept of Social impact & Pollution COURSE OUTCOME: 1. Student will be able to master core concepts and methods from ecological and physical sciences and their application in environmental problem solving. 2. Student will master core concepts and methods from economic, political, and social analysis as they pertain to the design and evaluation of environmental policies and institutions. 3. Student will know to appreciate the ethical, cross-cultural, and historical context of environmental issues and the links between human and natural systems. 4. Student will able to relate the environmental studies to the city planning strategies and Architecture 5. Student will be able to understand about the biodiversity and the conservation techniques 6. Student will be able to know methods to mitigate pollution UNIT I- THE MULTIDISCIPLINARY NATURE OF ENVIRONMENTAL STUDIES Definition, Scope and importance; Need for public awareness.
    [Show full text]