Chettinad Egg-Lime Plaster-Workshop by M.Rm.Rm Cultural foundation
i intend to share this video to all the professionals to r into revival of traditional materials and techniques in field of conservation.
south india - thirumalainayakan mahal tamil nadu cultural old buildings
south india - thirumalainayakan mahal - tamil nadu cultural old buildings
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Please watch: Thiruvempavai 15 திருவெம்பாவை Tidal TV Entertainment
Thiruvempavai - 4 ஒண்ணித் திலநகையாய்
Thiruvempavai - 3 முத்தன்ன வெண்நகையாய் முன்வந்தெதிரெழுந்தென்
Thiruvempavai - 2 பாசம் பரஞ்சோதிக்கு - Tidal TV Entertainment
Thiruvempavai - 1 Aadhiyum Andhamum || Thiruvempavai
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Lime Stone Business Dying in Tamilnadu - Dinamalar Dec 20th 2013 Tamil Video News
Lime Stone Business Dying in Tamilnadu - Dinamalar Dec 20th 2013 Tamil Video News
Building Craft- Chettinad, Tamilnadu- Metal
Madras Terrace Roof
Installation of Madras Terrace Roof in Pondicherry.
Madras Terrace Roof is a traditional flooring technique found particularly practised in south India. It involves the use of wood, small bricks (locally termed as “aachikal“) and lime plaster. Commonly used for small spans. Wooden beams are used to cover the span. Over this wooden beams are laid at intervals of less than 45cms from each other. The gaps between is filled with bricks on edge with lime plaster. Upon this “aactchikal brick“is laid on edge across in diagonal fashion with lime mortar.
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The Madras Terrace Roof
The Madras terrace roofing is a traditional roof building technique using handmade ‘achikal’ brick, wood and lime plaster. The word ‘achi’ regionally means ‘half’ therefore this locally produced ‘achikal’ brick is essentially a half brick, in terms of thickness.
The system is commonly used for small spans, where wooden beams are laid at intervals of less than 45cm. The next layer consists of masonry laid on edge, across in a diagonal fashion, held together with lime plaster. The design is an interpretation of basic traditional architectural patterns to suit modern needs, while searching for a ‘timeless’ architecture which is beyond the ‘new’ and ‘inventive’.
Video Credits: INTACH Pondicherry Chapter
Chettinad Lime Plaster Technique
As described by a mason from Chettinad, Tamil Nadu.
Thanks to NCSHS (IIT Madras) and INTAC, Pondicherry for organising the workshop.
CHETTINAD HISTORICALLY HOUSES
In the 19th and early 20th centuries, many residents of Chettinad emigrated to South and Southeast Asia, particularly Ceylon and Burma. By 2010, only 74 villages remained of the original 96. According to Guy Trebay in Houses of the Holy (New York Times, 17 November 2010), Chettinad originally consisted of 96 villages and now[when?] consists of a network of 73 villages and 2 towns forming clusters spread over a territory of 1,550 km2 in the Districts of Sivagangai and Pudukottai in the State of Tamil Nadu. It finds itself in the UNESCO nomination for sites of historic and cultural value.
Traditional Construction Techniques: S. Rajendran, Tamil Heritage
Tamil Heritage: Relevance of Traditional Construction Techniques in the Modern Context, S. Rajendran. 2nd June 2012.
Prepairing for kadukan and vellam after pouring the weathering course
Bonding strength of lime and cement
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Lime – Human Chemical
Lime has been an essential chemical in our life for a very long time. At ancient times, lime was used primarily in construction to plaster the pyramids at Giza, and with technology breakthroughs, lime is extensively used in a wide range of industries for many different applications.
Lime is involved with human's everyday life
From the moment we wake up in the morning, we find ourselves in a house made of concrete blocks, steel, glass, copper wire, etc. We grasp our breakfast sweetened by sugar and may drink coffee in a biodegradable cup. We travel to work in car made from steel and aluminum, perform our work using lots of paper and other stationery and dress up in gold for the evening. We complete many other activities, which to a greater or lesser degree bring us into contact with materials made with lime-related products. It is beyond imagination how we as human beings could live without it.
Cool Roof Technology_Surkhi Concrete
This cool roof technology was demonstrated under the Cool Roof and Passive Ventilation project, implemented by TARU Leading Edge Pvt. Ltd.This project has been supported by The Rockefeller Foundation under the ACCCRN programme (Asian Cities Climate Change Resilience Network)
Cool Roof Technology_Inverted Earthen Pots
Cool Roof Technology_Hollow Clay Tiles
Cool Roof Technology_Cool Roof Paint
Cool Roof Technology_Bamboo Shading Screen
Cool Roof Technology_Thermocrete
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Cool Roof Technology_Surkhi Concrete
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Cool Roof Technology_XPS Sheet
'ALAKALALLADAGA'- A Thyagaraja Kriti
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'ALAKALALLADAGA'- A Thyagaraja Kriti
Ragam: Madhyamavathi {22nd melakartha (Kharaharapriya janyam}
AROHANA: S R2 M1 P N2 S ||
AVAROHANA: S N2 P M1 R2 S ||
Talam: Rupakam
Composer: Tyagaraja
Sung By Lakshmi Sahithi Raiti
Pallavi:
alakalalla lADaga gani A rANmuni yeTu pongenO
Anupallavi:
celuvu mIraganu mArIcuni mada manacuvEla
Charanam:
muni kanu saiga delisi shivadhanuvunu viricE
samayamuna tyAgarAja vinutuni mOmuna ranjillu
Gist
I wonder how viSvAmitra – that royal sage – exulted beholding the curls shining in the face of SrI rAma –
the Lord praised by this tyAgarAja - being tossed about with exceeding beauty, -
(a) when subduing the arrogance of mArIca, and
(b) when, understanding the eye signal of the sage, He broke the bow of Lord Siva!
P: I wonder how (eTu) viSvAmitra – that (A) royal (rATTu) sage (muni) (rAN-muniyeTu) – exulted
(pongenO) beholding (kani) the (Lord’s) curls (alakalu) being tossed about (allalADaga)
(alakalallalADaga)!
A: I wonder how viSvAmitra – that royal sage – exulted beholding the Lord’s curls being tossed about
with exceeding (mIraganu) beauty (celuvu),
at the time (vELa) of subduing (aNacE) the arrogance (madamu) (madamaNacE) of mArIca
(mArIcuni)!
C: I wonder how viSvAmitra – that royal sage – exulted beholding the curls, shining (ranjillu) in the
face (mOmuna) of SrI rAma – the Lord praised (vinuta) (vinutuni) by this tyAgarAja, being tossed
about,
at that time (samayamuna) when, He, understanding (telisi) the eye (kanu) signal (saiga) of the sage
(muni), broke (viricE) the bow (dhanuvunu) of Lord Siva!
Sahityam: A rANmuni yeTu pongenO
Meaning: I wonder how (eTu) viSvAmitra – that (A) royal (rATTu) sage (muni) (rAN-muniyeTu)
exulted …–
s r m r | r m p m P P || n n P | p m p m r s r m ||
A - - rA - - - Nmuni ye- Tu pon- - - ge- nOP
M | R p m r s n p || n s R | R R r s R ||
A la kal lla- - - - - lA - - Daga ga-ni
s r m r | r m p m P P || p n s r | s n s n p m p n ||
yA - - rA - - - Nmuni ye- Tu pon- - - ge- nOs
n p m | R p m r s n p || n s R | R R r s R ||
A- la- kal lla- - - - - lA - - Daga ga-ni
r m r m | p m p n p n s r || s n s r | s n s n p m p n ||
A - - - rA - - - Nmu-ni- ye- Tu pon- - - ge- nOAnupallavi:
celuvu mIraganu mArIcuni mada manacuvEla
Sahityam: celuvu mIraganu
Meaning: I wonder how viSvAmitra – that royal sage – exulted beholding the Lord’s curls being tossed
about with (alakallaladaga) …
… exceeding (mIraganu) beauty (celuvu),
; r r | R- R ; R || s r r m | s R s s n s n ||
celu vu mI - ra ga- nu- mA- - rI- - -
S S | ; ; ; ; || n s r s | s n n p m p n s ||
cuni - - - - - - - - - - - - - - - -
; r r | R- R ; R || s r r m | s R s s n s n ||
celu vu mI - ra ga- nu- mA- - rI- - -
S S | ; ; ; ; || m p n s | r m r s n p n s ||
cuni - - - - - - - - - - - - - - - -
; r r | R- R ; R || s r r m | s R s S ; ||
celu vu mI - ra ga- nu- mA- - rI -
Sahityam: mArIcuni mada manacuvEla
Meaning: … at the time (vELa) of subduing (aNacE) the arrogance (madamu) (madamaNacE) of
mArIca (mArIcuni)!
s R s | n S n p m p n || p n Srs | n r s n p m p n ||
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Carnatic music is a system of music commonly connected with the south India states Andhra Pradesh, Telangana, Kerala, Karnataka, Tamilnadu, but also practiced in Srilanka. It’s one of two main sub genres of Indian classical music that evolved from ancient Hindu traditions. The main weight in Carnatic music is on vocal music, most compositions are written to be sung, and even when played on instruments, they are meant to be performed in singing style. Although there are stylistic differences, the basic elements of ‘SRUTI’, ‘SWARA’,’’RAGA’, &’TALA’ (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the ‘Kriti’ is a form developed between the 14th, 20th centuries by composers such as PURANDARA DASA and the Trinity of Carnatic Music. Carnatic music is also usually taught and learned through compositions. Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal performer (usually a vocalist), a melodic accompaniment (Violin), a rhythm accompaniment (Mridangam), and a ‘TAMBURA’, which acts as a drone throughout the performance. Other typical instruments used in performances may include the GHATAM, KANJIRA, MORSING, VENU & CHITRAVEENA. The most outstanding performances, and the greatest concentration of Carnatic musicians, are to be found in the city of CHENNAI. Various festivals are held throughout India and abroad which mainly consist of Carnatic music performances, such as the MADRAS MUSIC SEASON, which has been considered to be one of the world’s largest cultural events.
Listen all the classical 'music lessons' on
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Please watch: Thodi Ragalapana
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Lime Mortar an Ancient Cement
Lime mortar is a type of mortar composed of lime and an aggregate such as sand, mixed with water. It is one of the oldest known types of mortar, dating back to the 4th century BC and widely used in India, Ancient Rome and Greece. Despite its enduring utility over many centuries, lime mortar's effectiveness as a building material has not been well understood; time-honoured practices were based on tradition, folklore and trade knowledge, vindicated by the vast number of old buildings that remain standing.
தமிழ்நாட்டில் பண்டைய வீடு நவீன கட்டுமானம் /Ancient house modern construction Tamilnadu 2019
Lime plasters India Ready Mix Lime Mortar. Lime, a wonderful material but unfortunately forgotten
Ready Mix Lime Mortar. Lime, a wonderful material but unfortunately forgotten in quest of pursuing cement as high and early strength gaining substitute. ... Traditionally lime mortar (inIndia) was prepared by using mixinglime+surkhi+sand+jaggery+methi+googal and other organic additives as per the region
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Low cost housing with bricks by Architect R.K. Ramesh | Shell house, hollow blocks, Hourdes
For details please contact R. K. Remesh Architects
Corporation Office Road, Kozhikode, Kerala - 673 032.
Tel: +91 495 2365595 / 2369941, Fax: +91 495 2368473
Email: rkremesh@gmail.com , rkremesh.com
Low cost housing with bricks by Architect R.K. Ramesh and housing styles like Shell house, hollow blocks, Hourdes - A film made by Energy Efficiency Improvement in Indian Brick Industry by The Energy and Resource Institute, New Delhi (TERI).
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Majestic Bus Station - busiest terminus in Bangalore
Kempegowda Bus Station, more commonly known as Majestic Bus Station, is a large bus station in central Bangalore, India. It is located opposite the Bangalore City Railway Station. It is bordered by Seshadri Road to the north, Danavanthri Road to the east, Tank Bund Road to the south and Gubbi Thotadappa Road to the west. This bus station provides connectivity to almost all the areas of Bangalore. One side of the bus station is used for intra-city buses by the Bangalore Metropolitan Transport Corporation (BMTC) while the other side is used by out-station buses operated by various state road transport corporations.
The bus station was initially called Majestic Bus Station or Majestic. It was later changed to Kempegowda Bus Station in honour of Kempe Gowda I, the founder of Bangalore. Buses terminating at the station usually display signs that show Kempegowda Bus Station or KBS. However, most people still refer to the station as Majestic. The Kempegowda Station was built in 1980 to handle 600 buses. As of 2012, 4,500 BMTC buses ferry 800,000 commuters daily in 16,500 trips through the terminal. Approximately, 55 buses enter the terminal every minute.
Bangalore is the capital of the Indian state of Karnataka located on the Deccan Plateau in the south-eastern part of Karnataka. Bangalore is India's third most populous city and fifth-most populous urban agglomeration. Bangalore is well known as a hub for India's information technology sector. It is among the top 10 preferred entrepreneurial locations in the world. A succession of South Indian dynasties ruled the region of Bangalore until in 1537 AD, Kempé Gowdā—a feudatory ruler under the Vijayanagara Empire—established a mud fort considered to be the foundation of modern Bangalore. Following transitory occupation by the Marāthās and Mughals, the city remained under the Mysore kingdom, which is now a part of the Indian state of Karnataka. Bangalore continued to be a cantonment of the British and a major city of the Princely State of Mysore which existed as a nominally sovereign entity of the British Raj. Following the independence of India in 1947, Bangalore became the capital of Mysore state, and remained capital when the new Indian state of Karnataka was formed in 1956.
As a large and growing metropolis, Bangalore is home to many well-recognized colleges and research institutions in India. Numerous public sector heavy industries, software companies, aerospace, telecommunications, and defence organisations are located in the city. Bangalore is known as the Silicon Valley of India because of its position as the nation's leading IT exporter. A demographically diverse city, Bangalore is a major economic and cultural hub and the second fastest growing major metropolis in India.
Source - Wikipedia
This footage is part of the professionally-shot broadcast stock footage archive of Wilderness Films India Ltd., the largest collection of imagery from South Asia. The Wilderness Films India collection comprises of thousands of hours of high quality broadcast imagery, mostly shot on HDCAM 1080i High Definition, HDV and XDCAM. Write to us for licensing this footage on a broadcast format, for use in your production! We are happy to be commissioned to film for you or else provide you with broadcast crewing and production solutions across South Asia. We pride ourselves in bringing the best of India and South Asia to the world...Reach us at wfi @ vsnl.com and admin@wildfilmsindia.com.