The renovation of the Parvati Nandan Ganapati Temple in Ganeshkhind, Pune, which dates back to the 16th century, earned Kimaya Architects the honorable mention in the 2015 UNESCO Asia-Pacific Heritage Awards. There are a number of painstaking efforts that architects Kiran and Anjali Kalamdani have made, including the utilization of traditional materials such as stone, wood, and lime; opening up walls to natural light and ventilation; removing paint from stone and woodwork; and removing marble in order to reveal the original basalt stone flooring. As part of their approach to the project, they have been studying the details and inviting people to share their folklore about the temple and the places around it. This has helped them get a better knowledge of the development of this cultural site that is not listed. On top of that, the staggered style in which this temple is constructed has been identified using the assistance of a comparison with the structures and temples that have been constructed in and around Pune. The gabhara, which is the inner sanctuary, is a reflection of the Yadava style, the shikhar, which is the spire, is indicative of the early Maratha style, and the sabhamandap, which is the assembly pavilion, is reminiscent of the late Peshwa style. Throughout the phase-by-phase execution, intangibles such as sensitivity towards materials, respect for the original legacy, and care towards retaining the historic fabric of the temple reflect the mature choices and techniques employed to restore the temple back to its original form by undoing all of the arbitrary changes that have been implemented over the course of the years. The use of garnet powder rather than sand to remove paint from stone surfaces guarantees that there is no damage to the surrounding surfaces and other similar surfaces. For example, seats that are not relevant to the context are replaced with teak benches that have been custom-designed. However, not everything has been brought back to normal. While the deteriorated and broken brick wall of the entry gate is being repaired in stone, new shapes that are employed as ornamental features have been born out of inspiration found in oriental religious structures. Shedding the layers of filth that have accumulated on the brass Kalash (pinnacle) and plating it in silver and gold is a figurative and literal way of announcing the arrival of a new dawn. It is interesting to note that the project has supported traditional services, such as the skill of polishing and cleaning metals, which has, in turn, helped to maintain the livelihood of local artisans. Last but not least, the participation of the local community in the project has resulted in the creation of such a large amount of goodwill that acts of vandalism and the inappropriate use of property have been eliminated to the greatest extent feasible. For a look at the pictures of the temple that can be seen on indiaartndesign.com, click here.
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