Shaniwarwada Pune Restoration

PUNE MUNICIPAL CORPORATION,
CORPORATION, SHIVAJINAGAR, PUNE 411005

HERITAGE CELL
CONJECTURAL RESTORATION OF SHANIWARWADA, PUNE
In the history of Conservation of the world there are several instances of reviving a certain period of the past to express the
t will and
aspirations of a people. Some of the most prominent among such instances being the restoration of Shakespear’s Globe Theatre in
London 1 and the restoration of the Historic Centre of Warsaw2. Such restoration is based on extensive research and several practical
aspects of build ability, availability of material and construction

construction techniques and about not falsifying historic record. As a part of the
initiative taken in 2002, the Shaniwarwada Executive Committee (under the National Culture Fund) headed by the late Mr B G
Deshmukh (former cabinet secretary) released a CD Rom publication

publication that contained 112 talking screens on the history that is related to
the places and people around Shaniwarwada from its very early beginnings to the present day. A conjectural virtual computer based
b
model was generated and made a part of an interactive

interactive presentation that was made available for the tourists visiting Shaniwarwada in
the Warsaa Shop ( a joint venture of the Pune Municipal Corporation and the INTACH Pune Chapter). An architectural scale model
mode that
recreates the form and spaces of the various

various structures inside the wada was also commissioned to a model maker (Mr Ratnakar Raste
of the Acme Model Studio in Pune). This model is in a half done condition with Mr Raste who has agreed to complete the project
projec within
two months once the project is revived. Space has been given in the Vishrambagwada for the same. Once complete the model will give
an exact idea of the various buildings and spaces that were a part of the history of Shaniwarwada.
ARTISTS’ IMPRESSIONS BASED ON DRAWINGS PREPARED BY CONSERVATION ARCHITECTS FOR CONJECTURAL
RESTORATION OF SHANIWARWADA PUNE
Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

PAR ‘KIMAYA’ ARCHITECTS URBAN DESIGNERS CONSERVATIONISTS
VALUERS INTERIOR DESIGNERS, 1/C-1, ‘SHANTIBAN
SHANTIBAN’ CHINCHWAD, PUNE 411033,, TEL 020 27357514; 09850718204;
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Marathi Miniature painting from Bharat Itihas Samshodhak Mandal

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REFERENCES
3. The Pune Municipal Corporation gratefully acknowledges the contribution of following persons and institutions for their supportive
suppo role.
1) Indian
n National Trust for Art and Cultural Heritage (INTACH), New Delhi for their report ‘Revitalizing Environs of Shaniwar Wada, Pune’, 1991.
2) Bharat Itihas Samshodhak Mandal, Pune for various paintings and visuals
3) ‘Marathi Riyasat’ by Late Shri. V.K. Rajwade, Vol. 1 to 6, 1900-1906
4) ‘Shaniwar Wada’ by Late Shri. G.H. Khare, 1950
5) Pune District Gazetteer Vol. 3, Mumbai, 1885
6) Map in possession of Shri. Vasant Yashwant Athawale, Shukrawar Peth, Pune, copied from original in possession of Shri. Keshavrao Keshav Narayan
Manolikar, Inamdar, Pune, roughly dating to the first half of the 19th
19 century.
7) ‘Peshwe’ Shriram Sathe, Pune 2013.
4. GLIMPSES OF SHANIWARWADA ACROSS THE AGES (text copy of 8 page publication by Pune Municipal Corporation under the
National Culture Fund.
PUNE MUNICIPAL CORPORATION

present

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INTERIORS OF GANAPATI RANGA MAHAL,

NACHACHA DIWANKHANA AND THE
PUSHKARINI HAUD

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COMPILED & COMPOSED BY NINAD BEDEKAR & KIRAN KALAMDANI
FOREWORD
Shaniwarwada today represents new hopes, aspirations and attitudes of Puneites towards
their past and their Future. To be able to gracefully live with the past and yet express our
own times is an ideal, which the recent project for
for ‘Revitalizing Environs of Shaniwarwada’
represents.
On the occasion of the inauguration of the son-et-lumiere
son lumiere at the hands of the
Honourable Minister for Culture, Govt. of India, Shri. Ananta Kumar, the Pune Municipal
Corporation has sponsored this souvenir
souvenir to elucidate on what Shaniwarwada was in the
past, what it is today and what it will be tomorrow. It is a unique project where several
forces of a resurgent India have converged to open yet another golden chapter in the
history of the country.
Jai Maharashtra! Jai Hind!
Members of the Shaniwarwada Implementation Committee.

Chairman (Shri. B.G.Deshmukh) Member Secretary , National Culture Fund, (Mrs
Humera Ahmed)
Mayor of Pune (Mr.
Mr. Dattatray Gaikwad.)
Gaikwad. Standing Committee Chairman (Mr. Anees
Sundke)
Municipal Commissioner. Pune Municipal Corporation (Shri.Ratnakar Gaikwad )
Additional
onal Municipal Commissioner, (Capt. Ashok Deshpande)
Superintending Archaeologist, Archaeological Survey of India (Mr.S.V.Venkateshaiah,)
Shri Ninad Bedekar, Historian and Scriptwriter
Shri. Kiran Kalamdani Architect and life member INTACH
ACKNOWLEDGEMENTS
The Committee gratefully acknowledges the contribution of the following agencies towards
the realization of the project for Revitalizing Environs of Shaniwarwada, Pune.
All members of the Advisory Committee
Private Donors Venkateshwara Hatcheries Ltd. Shri. P. P.. Chabriya(Finolex Cables Ltd.)
Times Bank Shri. B. G.. Shirke Bajaj Trust Amar Builders Navarang
Associates Promoters and Developers Naiknaware Associates Rachana
Architects and Interior Designers
Development Engineer, Development Plan, Mr. Madhav R. Latkar Garden Superintendent
Mr. Yashwant Khaire Electrical Department Mr. Navgire
Assistant Engineer, Mr. Musale Junior Engineers, Mr. Amol Bahadkar, Mr
Khaladkar.
Civil
ivil Contractors’ M/s Rajkamal Constructions M/s Krishna Constructions
M/s Yojana Constructions M/s Mane Constructions
Lighting Contractors M/s Mysore Lamps Fountains Contractors M/s Sandeep
Naik & Associates
Bharat Itihas Samshodhak Mandal.

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Early Pune and the contribution of Chattrapati Shivajiraje
Pune! Once upon a time a small village situated

on the eastern banks of the rivers Mula and
Mutha. The oldest remains were the ninth century
Pataleshwar rock-cut
cut caves. The village had a
bastioned wall and gates. Kedarves, Kumbharves,
Mavalves were the names of the gates which
guarded the ‘Kasba’ of Pune. Sardar Rairav a
vassal of the Adilshahi Kingdom ransacked Pune
in A.D.1630. The walls and gates were destroyed.
A donkey’s plough was run over houses in the
village, as a stern warning for future settlers. The
prosperous village was plundered and reduced to
dust.
Painting of Chattrapati
rapati Shivajiraje Bhosale
In A.D.1637 the chequered history of

the place entered a bright phase. Shahajiraje
Bhosale was gifted the Parganas of Pune and
Supa. His wife Jijabai came to Pune from the fort
of Shivneri with her seven-year-old
seven son, Shivaji.
After paying obeisance
sance to the Kasba Ganapati
she ordered Subhedar Dadaji Kondadev to
revitalize the settlement not heeding to the
warning of the donkey’s plough ordered that the
land be ploughed with a golden plough-share
plough at
the hands of young Shivajiraje. This was the
turning
ning point in the history of Pune. The Pune
Municipal Corporation has recently placed a
group-sculpture
sculpture at Lal Mahal commemorating
this historic event.
A nightlit photograph of Shaniwarwada and a
pen and ink sketch by Milind Mullick

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PESHWE BAJIRAO BALLAL
Life an times of a great warrior and founder of Shaniwar Wada
The grandson of Shivaji the Great,

Chhatrapati Shahu handed the pargana of
Pune to his prime minister (Peshwa) Balaji
Vishwanath
shwanath in 1710 AD. His son and
successor Bajirao I was an extremely
ambitious and able warrior who fought forty
battles without loosing any. In the twenty
years from A.D.1720 he built an empire
which stretched from Chitradurg to Delhi, and
from Baroda too Hyderabad. The fleet-footed,
fleet
cautious-strategist,
strategist, swift-attacker
swift did not
know defeat in battle. Field Marshal Robert
Montgomery of the second world war fame in
the ‘Concise History of Warfare’ has this to
On the 10th of January 1730 the Bajirao say.. ‘The way Bajirao outgeneraled Nizam-
Nizam
Peshwa picked a handful of earth from ul-Mulk at the battle of Palkhed in A.D.1728
is a masterpiece of strategic mobility.’
the ruins of the revered Lal Mahal and
deposited it while laying the foundation
stone for the Shaniwarwada. He built a photograph of
modest two storeyed ‘wada’ around two miniature
painting of
courtyards with fountains and halls, Chatrapati
which remained the residence and office Shahu Maharaj.
of the eight Peshwas who succeeded

him. Bajirao died at Raverkhedi on April CAPTION
28, 1740. The ‘Tareekh-e-Muhammadi’
Muhammadi’
has conferred the title of ‘Sahib-i-
‘Sahib
Mastani was a beautiful danseuse from the court of Bundelkhand who won
Ftuhat-i-Azam’
Azam’ (great conqueror) on
the heart of Bajirao. A Palace was built for her in the northeastern corner
Bajirao of the Shaniwarwada,

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PESHWA BALAJI BAJIRAO alias Nanasaheb Peshwa
When the third Pesh

hwa succeeded Bajirao, Pune
was already an important town of the Maratha
Empire. Shaniwarwada and Pune
Pun were
prosperous. Nansaheb Peshwa completed the
work on the gateways and bastions. Water was
brought to Shaniwarwada from the Katraj lake.
Gardens, fountains, durbars, baths, prayer rooms,
library, cowsheds, stables, armouries, medicine
rooms and jewelleryy rooms were built. In
A.D.1758 at least twenty important persons from
the Peshwa family were living inside
Photograph of Miniature painting of Shaniwarwada. The town was bustling and alive
Nanasaheb Peshwa with the presence of many important
Moneylenders, Sardars, statesmen. Pune and
Ahmedshah Abdali the emperor of
obviously Shaniwarwada were the unproclaimed
Afghanistan challenged the supremacy of the
capital of the Maratha Empire. Even Delhi was
Peshwas at the battle of Panipat in A.D.1761.
under the control of the Marathas.
The army of Peshwas was ablyy led by
Sadashivrao Bhau, in the battle of Panipat.
Despite total defeat the Marathas were not
humiliated in this battle. Sadashivrao Bhau
along with, Vishwasrao and Mastanis son Sadashivrao
Samsherbahaddar lost their lives with several Bhauwas one
of the most
thousands of soldiers. It is aid that there was
handsome
not a single house in the city of Pune which men among
was not bereaved for the loss of its kith and Peshwas who
lost his life in
kin. The loss was felt by Nanasaheb Peshwa
the battle of
who died of shock. The great city builder Panipat
breathed his last at the temple of Parvati,
which he had built.

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PESHWA MADHAVRAO BALLAL alias Thorle Madhavrao painting of Thorle
horle Madhavrao Peshve
The fourth Peshwa Madavrao who was the

next able guardian of the Maratha Empire,
showed exemplary skills in salvaging the
spoils of Panipat. He not only defeated Haider
Ali, but avenged the carnage of Pune by
humiliating the Nizam at the batlle of
Rakshasbhuvan. During his regime the
Marathas became a force to be reckoned with
and earned respect even in Delhi. The
painting of Ramshastri painting of Raghoba Dada
Ganapati Ranga Mahal and the ‘Seven Bayed Prabhune
– seven storeyed’ palace were built in his
time in Shaniwarwada. In an unfortunate turn
of events this young Peshwa died at Theur at
the age of 28 years in A.D.1772 with no
offspring. His wife Rama followed him in
‘sati’.
Letter of Thorle Madhavrao

Peshve to Ramshastri Prabhune 21 After Madhavrao his younger brother
March 1766
Narayanrao succeeded him to the
resposibility of the Peshwa. The murder
of Narayanrao Peshwa by his
Uncle,Raghunathrao in A.D.1773 with
help of the Gardis was a shock to the
city. Raghoba Dada the fourth son of
Bajirao I forcibly became the sixth
Peshwa. The ensuing conspiracy to
implicate the Uncle, Raghoba Dada and
the historic Judgement by Ramshastri
Prabhune is well known as the ‘Barbhai
‘
Karasthan’.. Shortly afterwards the duo

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PESHWA SAWAI MADHAVRAO
Photograph of Sawaii Madhavrao Photograph of Nana Phadanvis After the assassination of Peshwa
Narayanrao, his pregnant wife,
Gangabai was safely moved to
Purandar fort Nana Phadanvis. There
T
she bore a son who was named
Madhav. He was later known as
Sawai Madhavrao, who adorned the
robes of the Peshwa at the nascent
age of merely forty days! This
Peshwa grew up in Shaniwarwada
Nana Phadanvis was the driving
under the tutelage and guardianship
force behind the resurrection of the
of Nana Phadanvis. He had a
Maratha Empire though very briefly.
European Teacher and Nana was a
The Able general Mahadji Scindia
keen guardian who even built a zoo
was responsible for many a victory
at the foothills of Parvati for his
as also the celebrated rout of the
precious ward. The wedding of
British at the
he battle of Vadgaon, near
Sawaii Madhavrao was celebrated
Pune. The British, Portuguese,
with great splendour inside the
French, Dutch were by now frequent
Shaniwarwada. Nana Phadnavis
visitors at the Shaniwarwada and
built several halls and the famed
have left several accounts of their
Mirror Hall for this Peshwa.
experiences. These are useful in
recreating the grandeur of the Sketch of Sawai Madhavrao Peshve by a British
Artist
yesteryears, as also a reminder
reminde of the
beginning of the end of the Maratha
Empire.

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THE ‘Ganapati Ranga Mahal’ OF SHANIWAR WADA
W
COPY OF POONA DARBAR PAINTING
The original painting of size nine feet by

In the year 1790, on the 1st of June the
seven feet is the only record of any interior
British Resident
esident at Pune Sir Charles Malet
inside the Shaniwarwada. The figure of Lord
managed to have a treaty signed between the
Ganesh, the cypress columns, heavy curtains
cur
Peshwa, the Nizam of Hyderabad and the
and mythical themes on the beams are
East India Company for a conspiracy against
particularly captivating. Charles Malet
Tipu Sultan. This event has been recorded in
commissioned the painting as it recorded a
a painting, which is popularly known as the
positive event in his career. It lay on the
Poona Darbar. This is the only known record
Malet estate called ‘Shargot’ for many years
though of not very great authenticity as it was
before it was auctioned at the ‘Christies’
‘Christie in
painted in England by Robert Mabon (a pupil
London a few years ago. This treaty marked
of James Wales) and later by the touring duo
the beginning of the downfall of the Maratha
of Thomas and William Daniel’s from
Empire as it was now common to drive one
sketches made by James Wales who had
native King against another to score points for
attended the meeting.
the British Empire.

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PESHWA BAJIRAO II
Having spent the early twenty years of his life in the BajiraoII
house arrest of thee Barbhais, Bajirao II assumed the
position of the Peshwa in A.D.1796. He was the son of
the infamous Raghunathrao and spent very little time
at Shaniwarwada. During his regime the British had
captured a large territory and Bajirao was the sole but
lame force
rce against the mighty British Empire. In A.D.
1817 the Shaniwarwada was finally taken over and the
Union Jack was hoisted. Within a year later the fleeing
Bajirao II was captured by the British and exiled to
Bitthur near Kanpur. Thus ended the century old In its final form Shaniwarwada
hegemony of the Peshwas and Shaniwarwada . covered 5.75 acres with the nine
bastioned walls and five gates. In
all 22 buildings built around 17
PHOTOGRAPH OF VEGETABLE MARKET OUTSIDE coutryards and open spaces

SHANIWARWADA
were decorated with fourteen
fountains and water bodies. The
Dilli Darwaza is till today a
witness of the most graceful
architecture that might have
adorned the spaces inside. There
are traces of paintings of Lord
Ganesh and Vishnu. Several
OLD PHOTOGRAPH SHOWING THE COURT BUILDINGS INSIDE
SHANIWARWADA objects of interest were placed
plac in
a museum or ‘Jinnaskhana’
‘ –
watches, globes, telescopes,
maps and pictures were a
visitor’s delight. The many halls,
fountains, gardens like the
‘Badami Mahal’, ‘Gokak
Diwankhana’, ‘Asmani Mahal’,
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SHANIWARWADA AND THE COLONIAL PERIOD view from Nagrkhana of interior buildings on old plinths.
Keys were brought

rought from the constabulary
and the ‘DilliDarwaza’ was opened in
A.D.1817, on the 17th of November, in the
presence of Henry Robertson, the Collector
of Poona. The ‘Jari
Jari Patka’ (Maratha flag) was
lowered and the Union Jack was hoisted. The
main offices of the British forces were shifted
to Shaniwarwada. In 1821, the wada was
used as a prison. In A.D.1828 it was finally
burnt down after four unsuccessful previous
attempts. Before this event the main
buildings and woodwork was dismantled and
shifted to Garpir.
r. Major Price writes in
A.D.1791 ‘ The Diwankhana in the
Shaniwarwada is quite spacious and well
appointed. It is very simple. A clean white
muslin was evenly spread on the Musnad DESCRIPTIONS OF BRITISH VISITORS OF
SHANIWARWDA
It is only in 1919 that the Excavations
and presentation of ruins
rui began in Several visitors by the names Sir
systematic manner. Much of what we see Charles Malet, Uthoff, Lt. Col. Palmer, Sir
today is a result of this exercise. The Law Barry Close, Mountstuart Elphinstone, had
Courts which occupied some of the visited the Shaniwarwada. Capt. Moore,
plinths were removed to make way for Robert Mabon

bon (the artist), Major Price, Lord
restored plinths and lawns in place of Valentia, Bishop Reginald Hebber, Mary
flooring in the rooms. It was at the Graham and Col. Fitz Clarence had the fortune
to see Shaniwar Wada in its splendour and
initiative of one Sir.George Lloyd that the
have penned a number of descriptions of their
bridge across the wada was built. The
visits. These provide an important source for
central arch of the bridge emulates the
conjecturally
onjecturally restoring the buildings today.
Dilli Darwaza of Shaniwarwada.

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SHANIWAR WADA IN THE PRE & POST INDEPENDENCE PERIOD
In the struggle for Independence

Indepen
the Shaniwarwada remained a
source of inspiration for many
freedom fighters. Revolutionaries
like Vasudev Balwant Phadke and
Lahuji Vastad used the venue of
Vasudev Balwant Phadke Lahuji Vastad Lokmanya Tilak Shaniwarwada for drills and the
practice of wielding weapons and
firearms. Pune remained at the
t
forefront of the freedom of
thought with prominent stalwarts
A proposal was mooted and built in 1926 to like Lokmanya Tilak, Veer
set up a war memorial in the memory of the brave Savarkar, Acharya Atre and several
Indian soldiers who fought in the First World
Worl War. In others using the presence of
the year 1952, shortly after the Indian Independence Shaniwarwada to remind the
there was a comprehensive approach towards the people of Swarajya and
conservation and presentation of ruins of Shaniwar-
Shaniwar Maharashtradharma In the post
Maharashtradharma.
wada. A committee comprising of bureaucrats from Independence period the venue
the state and local government, local historians
histori and of Shaniwarwada provided a
interested citizens was set up under the chairmanship political platform to all the famous
of Mr.P.M.Lad. Several meetings and discussions led orators and politicians to air their
to a Report which proposed a library and a museum views to the people of Pune. One
inside the ramparts as well as beautification of the of the most memorable addresses
open ground to the north of Dilli Darwaza.
Darwa Though not in recent times is that given by the
very successful this attempt provided a systemmatic note playwright and humourist
compilation of a substantial number of records Shri P.L.Deshpande
P.L.Des in 1975.
related to Shaniwarwada. Of special note is the book
entitled ‘Shaniwarwada’ by the late G.H.Khare of the
Bharat Itihas Samshodhak Mandal.

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SHANIWARWADA TODAY
after the action taken in the foreground before the action
When Shaniwar Wada was declared as a

Focus Monument for the years 1997 -
1998 the area was poised
poise for yet
In March 1991 the Indian National Trust for Art another bright phase in its chequered
and Cultural Heritage (INTACH) a nationwide NGO history. The Director General of the
concerned with heritage prepared and handed over a Archaeological Survey of India, the late
comprehensive and co-ordinated

ordinated action plan for Shri, Ajai Shanker. undertook bold
Shaniwar Wada and its surrounding area to the initiatives. An advisory committee was
stakeholders viz. The Archaeological Survey

Surv of India set up in December 1998 under the
(ASI), The Maharashtra Tourism and Development chairmanship of Mr. B. G. Deshmukh, Ex-
Corporation (MTDC) and the Pune Municipal Cabinet Secretary, Government of India.
Corporation (PMC). Non--Government Finance Consistent and result-oriented

result working
Institutions, Corporate Houses and Industrialists were of the team has yielded positive results
identified for aiding the project. Pune - based for the project within a short period of
Conservation
on Architects Anjali and Kiran Kalamdani of two years at an expense of
‘KIMAYA’ were responsible for the preparation of the approximately Rs. 2 Crores. The National
Perspective Plan commissioned by INTACH (New Cultural Fund (NCF) which has brought
Delhi) entitled ‘Revitalizing Environs of Shaniwar various donors and financially aiding
Wada’. A twenty year time period and a project cost agencies under its fold is a bold initiative
of around Rs.
s. 20 million (Rs.2 Crores) was envisaged. of the Government of India. 1. Light and
Few improvements and changes took place sound show (Son-et-Lumiere)

( inside the
immediately after 1991. Shaniwar Wada.

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PHOTO showing the newly revived fountains and the gallery

The son-et-lumiere
lumiere which
wh is being to seat 300 persons behind
inaugurated at the hands of the Minister

for Culture, Shri. Ananta Kumar, is an
initiative of the Maharashtra Tourism &
Development Corporation (MTDC).
(MTDC) Being
presented in Marathi and English it has
been written by the noted historian Shri.
Ninad Bedekar. Art direction is by Shri.
B.V.Karanth and the lighting design is by
Shri. Taposh Sen. Several noted
personalities of the Marathi and Hindi
stage have contributed by way of their
voices. Vocal music is by Pandit Bhimsen
Joshi, Ravindra Sathe, Savani
Sava Shende and
Madhuri Purandare. For the first time
The Pune Municipal Corporation
several fountains have been revived and
took the lion’s share of expenses. The
a lively historic ambience has been
openair theatre opposite the Dilli
created by Sandeep Naik of the city of
Darwaza was completed within a record
Pune. The entire effort has been co-
co time of two months and inaugurated by
ordinated by Mr. B.S.Patil (MTDC) and the Chief Minister
ster of Maharashtra, Shri.
the lighting is by Mysore Lamps,
Lamps Vilasrao Deshmukh on January 9,
2000.The
The recent efforts by the PMC, ASI
PHOTO of the team led by the late Mr B G Deshmukh in the & MTDC to launch a comprehensive and
premises during one of the visits in 2007
co-ordinated
ordinated action plan using the
INTACH report as a base paper,
scientific cleaning of the Nagarkhana, the
starting of light and sound show, shifting
of encroachments away from the eastern
wall of the Shaniwarwada are positive
signals of a national monument receiving
its due attention.
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The foreground of Shaniwar PHOTO OF SIZE 3’’ X 3.3’’ of Janata Raja and a school trip to
the wada
Wada is a lively open space within the
heart of the city supporting a range of
activities from children’s play to political
pol
meetings is now developed as an open-
open
air theatre and the children’s play area.
This would encourage activities like
socio-cultural
cultural get
get-togethers,
performances of dance, drama, music
and other art forms, to serve as a cultural
dais for the city. During
ng GaneshFestival-
GaneshFestival
2000, Babasaheb Purandare’s mammoth
play ‘Janata Raja’ set the ball rolling for
such performances.
PHOTO OF people sitting around
It is evident from the fact

that many people now come here
everyday, enjoy sitting here and
experience the space, respecting the
Mr B G Deshmukh discusses vital details with the team at the

dignity of the monument; the
Nagarkhana
Puneites and also visitors have
accepted and appreciated the
change.

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SHANIWARWADA AND THE FUTURE
DRAWING OF THE GANAPATI RANGA MAHAL DRAWINGS OF THE MAIN PALACE
In an effort to recreate the Shaniwarwada as in the

yesteryears and to bring alive the history for the
benefit of tourist and citizens, several initiatives
are underway.
The immediate sub-projects
projects that are to be
Virtual Shaniwarwada: A conjectural
taken up include:
Better conservation, presentation and restoration of the Shaniwar wada
w has been
interpretation of the ruins by introducing undertaken in the form of an architectural
interpretive signage walk-through
through and walk-about
walk which takes the
Museum and Cultural Information Centre in visitors through a historical experience of
Nana Wada. spaces, meet people and recall events and
The Lal Mahal, Nanawada and other visits inside the Shaniwarwada. The visitors are
properties
rties owned by the PMC in the vicinity able to take home a compact disc version of
of the Shaniwar Wada are being reoriented the same and watch it at home on their
towards the goal of Conservation. personal computers.
Building pedestrian friendly footpaths and Scale Model: A scale model reduced a hundred
better presentation of the open strips of times the actual scale is being prepared and
land between the bastions of displayed insidee the premises for the visitors.
visitors All
Shaniwarwada. the twenty two buildings will be seen in a
. proportionate look-alike
alike miniature model.

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A SUCCESSFUL JOINT VENTURE OF THE CENTRAL STATE AND LOCAL GOVERNMENT WITH PRIVATE
INVOLVEMENT OF THE ENTERPRISES AND PEOPLE OF PUNE.
THE NEWLY BUILT STRUCTURE

UCTURE OF THE
CHIMANABAG TO HOUSE A CONJECTURAL
MODEL OF THE SHAANIWARWADA
SHAANIWARWAD
1. Globe Theatre
From Wikipedia, the free encyclopedia

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This article is about the Globe Theatre of Shakespeare. For the modern reconstruction in London, see Shakespeare's Globe.
For other uses, see Globe Theatre (disambiguation).
(disambiguation)
The Globe Theatre
The second Globe, preliminary sketch (c. 1638) forHollar's

for 1647 Long View of
London[1]
Address Maiden Lane (now Park Street)Southwark[2][3]

Street)
City London
Country England
Coordinates 51.506770°N 0.094678°WCoordinates:

0.094678°W 51.506770°N 0.094678°W
Designation Demolished
Architect Peter Street

Owned by Lord Chamberlain's Men
Capacity 3,000–seated
seated and standing
Type Elizabethan theatre
Opened 1599
Rebuilt 1614
Closed 1642
The Globe Theatre was a theatre in London associated with William Shakespeare.. It was built in 1599 by
Shakespeare's playing company, the Lord Chamberlain's Men,
Men on land owned by Thomas Brend and inherited by his
[4]
son, Nicholas Brend and grandson Sir Matthew Brend,
Brend and was destroyed by fire on 29 June 1613. A second Globe
[5]
Theatre was built on the same site by June 1614 and closed in 1642.
A modern reconstruction of the Globe, named "Shakespeare's
" Globe",
", opened in 1997 approximately 750 feet (230 m)
[6]
from the site of the original theatre.
Contents
1 Location
2 History
3 Layout
4 Motto
5 Notes
6 References
7 External links
Location
Examination of old property records has identified the plot of land occupied by the Globe as extending from the west side
of modern-daySouthwark Bridge Road eastwards as far as Porter Street and from Park Street southwards as far as the back
[7][8]
of Gatehouse Square. However, the precise location of the building remained unknown until a small part of the
foundations, including one original pier base, was discovered
discovered in 1989 beneath the car park at the rear of Anchor Terrace on
[9]
Park Street. The shape of the foundations is now replicated on the surface. As the majority of the foundations lies
[10]
beneath 67—70 Anchor Terrace, a listed building,
building no further excavations have been permitted.
History

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Second Globe Theatre, detail from Hollar's View of London,, 1647. Hollar sketched the building from life (see top), but only
later assembled the drawings into thisView
View;; he mislabelled his images of The Globe and the nearby bear-baiting enclosure.
[1][11]
Here the correct label has been restored. The small building to the left supplied food-
food and ale-sellers
sellers at the theatre.
[12]
The Globe Theatre is shown at the bottom centre of this
thi London street map
Position on modern street plan
Site of the Globe Theatre, from Park Street; the dark line in the centre marks the foundation line. The white wall beyond
b is
the rear of Anchor Terrace.
The Globe was owned by actors who were also shareholders in Lord Chamberlain's Men.. Two of the six Globe
shareholders, Richard Burbage and his brother Cuthbert Burbage,, owned double shares of the whole, or 25% each; the t
other four men, Shakespeare, John Heminges,
Heminges Augustine Phillips, andThomas Pope,, owned a single share, or 12.5%.
(Originally William Kempe was intended to be the seventh partner, but he sold out his share to the four minority sharers,

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[13]
leaving them with more than the originally planned 10%). These initial proportions changed over time as new sharers
[14]
were added. Shakespeare's share diminished from 1/8 to 1/14, or roughly 7%, over the course of his career.
The Globe was built in 1599 using timber from an earlier theatre, The Theatre,, which had been built by Richard R Burbage's
father, James Burbage, inShoreditch in 1576. The Burbages originally had a 21-year 21 lease of the site on which The Theatre
was built but owned the building outright. However, the landlord, Giles Allen, claimed that the building had become his
with the expiry of the lease. On 28 December 1598, 1598, while Allen was celebrating Christmas at his country home,
carpenter Peter Street,, supported by the players and their friends, dismantled The Theatre beam by beam and transported
[15]
it to Street's waterfront warehouse near Bridewell. With the onset of more favourable ble weather in the following spring,
the material was ferried over the Thames to reconstruct it as The Globe on some marshy gardens to the south of Maiden
Lane, Southwark. While only a hundred yards from the congested shore of the Thames, the piece of land was situated close
[16]
by an area of farmland and open fields. It was poorly drained and, notwithstanding its distance from the river, was liable
to flooding at times of particularly high tide; a "wharf" (bank) of raised earth with timber revetmentshad revetments to be created to
[17]
carry the building above the flood level. The new theatre was larger than the building it replaced, with the older timbers
[18][19]
being reused as part of the new structure; the the Globe was not merely the old Theatre newly set up at Bankside. It was
probably completed by the summer of 1599, possibly in time for the opening production of Henry V and its famous
[20]
reference to the performance crammed within a "wooden O". Dover Wilson,, however, defers the opening date until
September 1599, taking the "wooden O" reference to be disparaging and thus unlikely to be used in the Globe's inaugural
staging. He suggests that a Swiss tourist's account of a performance of Julius Caesar witnessed on 21 September 1599
[21]
describes the more likely first production. The first performance for which a firm record remains was Jonson's Every
[17][22]
Man out of His Humour—with with its first scene welcoming the "gracious and kind spectators"—at spectators" at the end of the year.
On 29 June 1613 the Globe Theatre went up in flames during a performance of Henry VIII.. A theatrical cannon, set off
during the performance, misfired, igniting the wooden beams and thatching. According to one of the few surviving
[23]
documents of the event, no one was hurt except a man whose burning breeches were put out with a bottle of ale. It was
rebuilt in the following year.
Like all the other theatres in London, the Globe was closed down by the Puritans in 1642. It was pulled down in 1644, or
slightly later—the
the commonly cited document dating the act to 15 April 1644 has been identified as a probable forgery—to forgery
[24]
make room for tenements.
A modern reconstruction of the theatre, named "Shakespeare's " Globe", ", opened in 1997, with a production of Henry V. It is
[25]
an academic approximation of the original design, based on available evidence of the 1599 and and 1614 buildings, and is
[6]
located approximately 750 feet (230 m) from the site of the original theatre.
Layout
The Globe's actual dimensions are unknown, but its shape and size can be approximated from scholarly inquiry over the
[26]
last two centuries. The evidence dence suggests that it was a three-storey,
three open-air amphitheatre approximately 100 feet
[27]
(30 m) in diameter that could house up to 3,000 spectators. The Globe is shown as round on Wenceslas Hollar's Hollar sketch
of the building, later incorporated into his etched Long View of London from Bankside in 1647. However, in 1988–89, 1988 the
[28]
[28][29]
uncovering of a small part of the Globe's foundation suggested that it was a polygon of 20 sides.
[30] [31]
At the base of the stage, there was an area called the pit, (or, harking back to the old inn-yards, yard) where, for a
[32]
penny, people (the "groundlings") would stand on the rush-strewn rush strewn earthen floor to watch the performance. During the
excavation of the Globe in 1989 a layer of nutshells nutshells was found, pressed into the dirt flooring so as to form a new surface
[9]
layer. Vertically around the yard were three levels of stadium-style stadium seats, which were more expensive than standing
room. A rectangular stage platform,, also known as an 'apron ' stage', thrust out into the he middle of the open-air
open yard. The
stage measured approximately 43 feet (13.1 m) in width, 27 feet (8.2 m) in depth and was raised about 5 feet (1.5 m) off
the ground. On this stage, there was a trap door for use by performers to enter from the "cellarage" area beneath the
[33]
stage.
The back wall of the stage had two or three doors on the main level, with a curtained curtained inner stage in the centre (although
[34]
not all scholars agree about the existence of this supposed "inner below"), and a balcony above it. The doors entered
[35]
into the "tiring house" (backstage area) where the actors dressed and awaited their entrances. The floors above may
[36]
have been used to store costumes and props and as management offices. The balcony housed the musicians and could
also be used for scenes requiring an upper space, sp such as the balcony scene in Romeo and Juliet.. Rush matting covered the
[23]
stage, although this may only have been used if the setting of the play demanded it.
Large columns on either side of the stage supported a roof over the rear portion of the stage. The ceiling under this roof
[37]
was called the "heavens," and was painted with clouds and the t sky. A trap door in the heavens enabled performers to
[38]
descend using some form of rope and harness.
Motto
The name of the Globe supposedly alludes to the Latin tag totus mundus agit histrionem,, in turn derived from quod fere
totus mundus exerceat histrionem—"because "because all the world plays the actor"—from Petronius,, which had wide circulation in
England in the Burbages' time. Totus mundus agit histrionem was, according to this explanation, therefore adopted as the
theatre's motto. It seems likely, however, that the link between the saying and the Globe was made only later, originating
with the industrious early Shakespeare biographer William Oldys,, who claimed as his source a private manuscript to which
he once had access. This was repeated in good faith by his literary executor George Steevens,, but the tale is now thought
[39][40][41]
"suspicious".

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Notes
ab
^ Jump up to: Cooper, Tarnya, ed. (2006). "A view from St Mary Overy, Southwark, looking towards Westminster,
c.1638". Searching for Shakespeare. London: National Portrait Gallery. pp. 92–93. ISBN 978-0-300-11611-3.
Wilson, Ian (1993). Shakespeare the Evidence.
Evidence London: Headline. xiii. ISBN 0-7472-0582-5.
Bowsher and Miller (2009: 87)
Nagler 1958, p. 8.
Encyclopædia Britannica 1998 edition.
Measured using Google earth
Mulryne; Shewring (1997: 69)
Braines, William (1924). The site of the Globe Playhouse Southwark (2 ed.). London: Hodder and
Stoughton. OCLC 3157657.
Simon McCudden
Cudden 'The Discovery of The Globe
Bowsher; Miller (2009:112)
Location taken from Bowsher; Miller (2009:107)
Gurr (1991: 45–46)
Schoenbaum, pp. 648–9.
Shapiro, James (2005). 1599—a Shakespeare. London: Faber and Faber. p. 7. ISBN 0-571-21480-
a year in the life of William Shakespeare.
0.
Shapiro (2005: 122-3; 129)
Allen's court proceedings
ceedings against Street and the Burbages noted that the timber from The Theatre was "sett up…in an
other forme" at Bankside. Quoted in Bowsher and Miller (2009: 90)
Adams, John Cranford (1961). The Globe Playhouse. Its design and equipment (2 ed.). London: John
Constable. OCLC 556737149.
Bate, Jonathan;; Rasmussen, Eric (2007). William Shakespeare Complete Works.. London: Macmillan. p. 1030. ISBN 978-0-
230-00350-7.
Dover Wilson, John (1968). The Works of Shakespeare—Julius
Shakespeare Caesar.. Cambridge New Shakespeare. Cambridge,
Cambrid England:
Cambridge University Press. p. ix. ISBN 0-521-09482-8.
0
Stern, Tiffany (2010). "The Globe Theatre and the open-air
open amphitheatres". In Sanders, Julie.Ben
Ben Jonson in Context.
Contex
Cambridge, England: Cambridge University Press. p. 113. ISBN 0-521-89571-5.
ab
^ Jump up to: Wotton, Henry (2 July 1613). "Letters of Wotton". In Smith, Logan Pearsall. The Life and Letters of Sir Henry Henr
Wotton Two.. Oxford, England: Clarendon Press. pp. 32–33.
Martin, Douglas. "John Orrell, 68, Historian On New Globe Theater, Dies",Dies" The New York Times,, 28 September 2003,
accessed 19 December 2012
Egan, Gabriel (1999). "Reconstructions of The Globe: A Retrospective".
Retrospective" Shakespeare Survey.. Shakespeare Survey 52 (1): 1–
16. doi:10.1017/CCOL0521660742.001.. ISBN 0-521-66074-2. Retrieved 25 July 2007.
Orrell, John (1989). "Reconstructing Shakespeare's Globe".
Globe" History Trails.. University of Alberta. Retrieved 10 December
2007.
Mulryne; Shewring (1997: 37; 44)
Egan, Gabriel (2004). "The 1599 Globe and its modern replica: Virtual Reality modelling of the archaeological and pictorial
evidence". Early Modern Literary Studies 13: 5.1–22. ISSN1201-2459. Retrieved 25 July 2007.
Britannica Student: The Theater past to present > Shakespeare and the Elizabethan Theater
Dekker, Thomas (1609), reprinted 1907, ISBN 0-7812-7199-1. The Gull’s Hornbook:: “the stage...will bring you to most
perfect light... though the scarecrows in the yard hoot at you”.
Dekker (1609)
Nagler 1958, pp. 23–24.
Kuritz, Paul (1988). The making of theatre history.
history Englewood Cliffs, N.J: Prentice Hall. pp. 189–191.
191. ISBN 0-13-547861-8.
3
from attiring—dressing: "tiring, n. ". Oxford English Dictionary (2 ed.). Oxford, England: Oxford University Press. 1989.
Bowsher and Miller (2009: 136–137)
Ingleby, Clement Mansfield; Toulmin Smith, Lucy; Lucy Furnival, Frederick (1909). Monro, John, ed.TheThe Shakespere allusion-
allusion
book : a collection of allusions to Shakespere from 1591 to 1700 2. London: Chatto and Windus. p. 373. OCLC 603995070.
Stern, Tiffany (1997). "Was 'Totus mundus agit histrionem' ever the motto of the Globe Theatre?". Theatre Notebook (The
Society for Theatre Research) 51 (3): 121. ISSN 0040-5523.
Egan, Gabriel (2001). "Globe theatre". In Dobson, Michael; Wells, Stanley. The Oxford Companion to Shakespeare.
Shakespeare Oxford,
England: Oxford University Press. p. 166. ISBN 978-0-19280614-7.
References

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BOWSHER, JULIAN; MILLER, PAT (2009). The Rose and the Globe – playhouses of Shakespeare's Bankside, Southwark.
Southwark Museum of
London. ISBN 978-1-901992-85-4.
GURR, ANDREW (1991). The Shakespearean Stage 1574–1642.
1574 . Cambridge: Cambridge University Press Press. ISBN 0-521-
42240-X.
MULRYNE, J. R; SHEWRING, MARGARET (1997). Shakespeare's Globe Rebuilt. Cambridge University
ity Press. ISBN 0-521-59988-1.
NAGLER, A.M. (1958). Shakespeare's Stage.
Stage New Haven, CT: Yale University Press. ISBN 0-300-02689
02689-7.
SCHOENBAUM, SAMUEL (1991). Shakespeare's Lives.
Lives Oxford: Clarendon Press. ISBN 0-19-818618-5.
External links
Shakespearean Playhouses, by Joseph Quincy Adams, Jr. from Project Gutenberg
Shakespeare's Globe The 1996 reconstruction
A reconstruction of the second Globe The structure of the Globe by extrapolation from Hollar's sketch. University of Sydney.
Comprehensive Guide to Shakespeare's Globe Theatre
Categories:
Buildings and structures completed in 1599
Buildings and structures completed in 1614
1599 establishments in England
1613 disestablishments
1614 establishments in England
1644 disestablishments
Archaeological sites in London
Former buildings and structures in Southwark
Former theatres in London
Outdoor theatres
Elizabethan era
William Shakespeare
17th-century
century disestablishments in England
17th century in London
2. Historic Centre of Warsaw

During the Warsaw Uprising in August 1944, more than 85% of Warsaw's historic centre was destroyed by Nazi troops. After the war, a five-year
reconstruction campaign by its
ts citizens resulted in today's meticulous restoration of the Old Town, with its churches, palaces and market-place.
market It is an
outstanding example of a near-total
total reconstruction of a span of history covering the 13th to the 20th century.

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Statement of Significance
Warsaw was deliberately annihilated in 1944 as a repression of the Polish resistance to the German occupation. The capital city ci was reduced to ruins with
the intention of obliterating the centuries-old
old tradition of Polish statehood. The rebuilding of the historic city, 85% of which was destroyed, was the result of
the determination of the inhabitants and the support of the whole nation. The reconstruction of the Old Town in its historic urban and architectural form was
the manifestation of the care and attention taken to assure the survival of one of the most important testimonials of Polish culture. The city – the symbol of
elective authority and tolerance, where the first democratic European constitution, the Constitution of 3 May 1791, was adopte adopted – was rebuilt. The
reconstruction included the holistic recreation of the urban plan, together with the Old Town Market, the town houses, the circuit
circuit of the city walls, as well as
the Royal Castle and important religious buildings. The reconstruction of Warsaw’s historical centre was a major contributor to the changes in the doctrines
related to urbanisation and conservation of urban development in most of the European countries after the destruction of World Worl War II. Simultaneously, this
example illustrateses the effectiveness of conservation activities in the second half of the 20th Century, which permitted the integral reconstruction
reconstr of the
complex urban ensemble.
Criterion (ii): The initiation of comprehensive conservation activities on the scale of the entire
entire historic city was a unique European experience and contributed
to the verification of conservation doctrines and practices.
Criterion (vi): The historic centre of Warsaw is an exceptional example of the comprehensive reconstruction of a city that had been deliberately and totally
destroyed. The foundation of the material reconstruction was the inner strength and determination of the nation, which broughtbrough about the reconstruction of
the heritage on a unique scale in the history of the world.
Long Description
The reconstruction of the historic centre of Warsaw, associated with events of considerable historic significance, has exercised
exercised a considerable influence, in
the majority of European countries, on the evolution of doctrines of urbanization and the preservation
preservation of older districts of cities.
Following the insurrection of the inhabitants of Warsaw in August 1944, the Polish capital was annihilated in a reprisal by the the Nazi occupation troops. From
these ruins, between 1945 and 1966, the will of the nation
nation brought to life again a city of which 85% had been destroyed. The reconstruction of the historic
centre so that it is identical with the original symbolizes the will to ensure the survival of one of the prime settings of Polish
Polish culture and illustrates, in
i an
exemplary fashion, the restoration techniques of the second half of the 20th century. The reconstruction of religious edifices
edifices such as the Cathedral of St
John, the churches of Our Lady, St James and the Holy Trinity, and the palace, was accompanied by by the integral restitution of the urban whole, with its full
land allotment and its reconstruction. The example of the market place of the Old City is justifiably famous.
Warsaw Old Town was established in the 13th century. The heart of the area is the Old Town Market Square: until the end of the 18th century the square
was the most important place in Warsaw; regular fairs and festivities were held here. During the Second World War the square was turned into rubble, but
after many years of reconstruction it was restored to its original beauty. Surrounding streets feature old architecture such as the City Walls and the Barbican.
The Cathedral of St John, completed in the 15th century, was originally a parish church and only became a cathedral in 1798. During the war it was
destroyed but it has been restored to its original Gothic style. The interior of the cathedral features many works of religious
religious art, tombs and various sculptures
and paintings.

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The Royal Castle is a magnificent example of the Baroque style, built in the 14th century. In 1569 King Zygmunt III Waza moved his residence there when
Warsaw became the capital of Poland. Between 1598 and 1619 the king had the castle restyled as a polygon by Italian architects.
architect In the 18th century King
Augustus III converted
nverted the east wing into Baroque style, while King Stanislaw Poniatowski added sessions of the Royal Library. The Royal Castle Cas served as
both a residence for the kings as well as hosting sessions of the Sejm (Polish Parliament). It is now a museum displaying
displaying furniture, famous paintings and
other great works of art. The fascinating interiors of the castle contain many original furnishings, statues, paintings and other
o objets d'art.
d'art Among the
paintings are works by Bernardo Bellotto and Marcello Bacciarelli.
Bacciarelli
Almost every building in the Old Town, a blend of different styles from Gothic to Baroque, is old and of a unique architectural
architectural style. Among the other
attractive historic structures are the many churches, the Barbican, the City Walls, Fukier House, Pelican
Pelican House, Pod Blacha Palace and Salvator House.
Source: UNESCO/CLT/WHC
Media
• Historic Centre of Warsaw (UNESCO/NHK)
News
• Message from Francesco Bandarin, UNESCO Assistant Director-General
Director General for Culture, on floods affecting European World Heritage sites May 21,
2010
Links
• View photos from OUR PLACE the World Heritage collection

col
• Zamek Królewski w Warszawie / Royal Castle in Warsaw
• National Museum in Warsaw
FAMIL Y TRE E OF PESHWAS
1) BALAJI VI SHWANATH
1660-1720
W - Radhabai
Chimaji Appa/Antaji 2) BAJIRAO I B hiubai Anubai

1700-1740
W 1 - Kas hibai W 2 - Mastani
3)NANASAHE B 6) RAGHUNATHRAO R amchandr a Samas her Bahaddar

16/12/1721-23/6/1761 1/8/1734
W1 - Radhabai W2 - Gopikabai W2 - Anandibai Al i Bahaddar
Vis hwasr ao Yas hwant 4) MADHAVRAO M ores hwar 9) B AJIRAO I I 8) CHIMNAJI W 1 - Lalkanwar W2 - Me herbai
16/2/ 1745-8/11/1772 10/1/1775 RAGHUNATH
( adopted by Sawai
Madhavrao & Yashodabai)
5) NARAYANRAO Khushaba Haibats ingh

11/8/ 1755-30/8/1773 ( Dasi putr a)
W - Gangabai
7) SAW AI M ADHAVR AO
18/4/1774- 27/10/1795
W1 - R amabai W2 - Yashodabai

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Shaniwarwada Pune Restoration

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PUNE MUNICIPAL CORPORATION,

CORPORATION, SHIVAJINAGAR, PUNE 411005

CONJECTURAL RESTORATION OF SHANIWARWADA, PUNE

aspects of build ability, availability of material and construction

Deshmukh (former cabinet secretary) released a CD Rom publication

model was generated and made a part of an interactive

recreates the form and spaces of the various

ARTISTS’ IMPRESSIONS BASED ON DRAWINGS PREPARED BY CONSERVATION ARCHITECTS FOR CONJECTURAL

RESTORATION OF SHANIWARWADA PUNE

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

Marathi Miniature painting from Bharat Itihas Samshodhak Mandal

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

PUNE MUNICIPAL CORPORATION

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

INTERIORS OF GANAPATI RANGA MAHAL,

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

Members of the Shaniwarwada Implementation Committee.

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

Pune! Once upon a time a small village situated

In A.D.1637 the chequered history of

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

Life an times of a great warrior and founder of Shaniwar Wada

The grandson of Shivaji the Great,

of the eight Peshwas who succeeded

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

When the third Pesh

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

The fourth Peshwa Madavrao who was the

Letter of Thorle Madhavrao

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Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

The original painting of size nine feet by

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

PHOTOGRAPH OF VEGETABLE MARKET OUTSIDE coutryards and open spaces

Keys were brought

plinths were removed to make way for Robert Mabon

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

In the struggle for Independence

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

after the action taken in the foreground before the action

When Shaniwar Wada was declared as a

comprehensive and co-ordinated

stakeholders viz. The Archaeological Survey

Corporation (PMC). Non--Government Finance Consistent and result-oriented

Few improvements and changes took place sound show (Son-et-Lumiere)

immediately after 1991. Shaniwar Wada.

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

PHOTO showing the newly revived fountains and the gallery

inaugurated at the hands of the Minister

PHOTO OF people sitting around

It is evident from the fact

Mr B G Deshmukh discusses vital details with the team at the

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

DRAWING OF THE GANAPATI RANGA MAHAL DRAWINGS OF THE MAIN PALACE

In an effort to recreate the Shaniwarwada as in the

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

THE NEWLY BUILT STRUCTURE

From Wikipedia, the free encyclopedia

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS

The second Globe, preliminary sketch (c. 1638) forHollar's

Address Maiden Lane (now Park Street)Southwark[2][3]

Coordinates 51.506770°N 0.094678°WCoordinates:

Architect Peter Street