Jam Nizam ud din Condition Survey

Interim Report

May, 2011

Jam Nizam ud din Condition Survey

Interim Report

May, 2011

Incorporated under Section 42 of Companies Ordinance, 1984E-6, Fourth Gizri Street . DHA . Karachi Voice: (92 21) 35834215 Fax: (92 21)35863474

info@heritagefounationpak.org www.heritagefoundationpak.org UN Recognition Award 2002 for promotion of culture and peace.

Table of Contents

1.0 Introduction

1.1 Description of the Historic Tomb

1.2 Information Available

1.3 The Project

1.4 Objectives

1.5 Baseline Survey

1.5.1 Primary Elements

1.5.2 Secondary Elements

1.5.3 Decorative Elements

2.0 Scope of Work

2.1 Survey Methodology

2.2 Drawings

2.2.1 Preparation of Final Drawings

2.2.2 Plans

2,2,3 Elevations

2.2.4 Sections and Internal Elevations

2.2.5 Mihrab Configuration

2.2.6 Corrections in Drawings from Field Survey

2.2.7 Centre Lines

2.2.8 Indication of Decorated Surfaces

2.2.9 Final Output

2,3 Unique Numbering System for Elements

2.4 Photography

3.0 Work In Hand

3.1Baseline Data Development

3.2 Condition Survey Report

3.3 Consultancy

3.4 Research

4.0 Workplan ‘a’

5.0 Annexure 1: Folio of AutoCAD Drawings

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1.0 Introduction

1.1 DESCRIPTION OF THE HISTORIC

TOMB

The tomb of Jam Nizam ud din (also Jam Nizam al Din) was built to house the most revered ruler of the Samma period. It was built by his son and this is where the remains of the cel-ebrated Samma ruler are interred.

The structure is built as a cuboid, a square plan footprint that is an enclosure with 1’6” wall thickness.The tomb itself is one of the most copiously decorated structures at Makli. The carv-ing in stone is carried out in the form of bands on its facades, along with highly decorated balcony projection and the inner triple mihrab are all expressive of the most amazing embellish-ment, referred to as devotional carving by Lari.

1.2 Information Available

Among the most comprehensive books on the subject was au-thored by historian Suhail Zaheer Lari and architect/conser-vationist Yasmeen Lari and published by Heritage Foundation and Oxford University Press in 1997. The book titled The Jewel of Sindh carries the historical background and description of all tombs, Jamia Mosque, Khnaqah etc. located in the Samma cluster. At the time a great number of surveys were carried out and, although plans and sections etc. were prepared for several structures, it is the tomb of Jam Nizam ud din that was the fo-cus at that time. Enormous effort was expended on drawings of elevations etc. to capture the devotional carvings. These drawings were hand drawn and although they cannot be used for the purposes of documentation, they have formed the ba-sis for AutoCAD drawings that are being specially prepared for the present assignment.

The historical research that formed part of the book has also been extremely valuable. The teams working on various aspects have been able to go through the vast data that was prepared at the time, and has helped in developing an under-standing on the part of all those involved in the present as-signment.

Since a large number of photographs were taken at the time i.e. 25 years ago, these have assumed the role of archival re-cord. The comparison of photographs of the 1980s with pre-sent day photographs will enable us to piece together a histori-cal record and the level of degradation/damage that has taken place during this time. This comparison may point towards the direction that the structure of the historic monument is heading towards.

The tomb of Jam Nizam al din, photographed by Suhail Z. Lari in the 1980s

The Jewel of Sindh, by Suhail Z. Lari and Yasmeen Lari, 1997

Jam Nizam ud din Condition Survey

Interim Report

Interior view of the tomb photographed by Suhail Z. Lari in the 1980s

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1.3 THE PROJECT

The present project is being carried out in partnership with UNESCO in order to develop comprehensive baseline information, and such studies will allow an informed assessment of its present structural condition from the point of view damage, degradation of stone sur-faces, and evaluation in view of the soil conditions.

The recording and information regarding a site is of extreme impor-tance before any conservation can be undertaken. The data developed earlier by Heritage Foundation has now expanded its scope, which is critical in developing an understanding of the significance and con-dition of the tomb. It is particularly more so in view of the complex structural attributes of the subject site. The base line data being developed will be critical when conservation planning process is undertaken as it will also provide a long term ba-sis for conservation planning involving monitoring, maintenance and management of the site. It is an acknowledged fact that “good conser-vation is based on informed decisions.”

As has been often noted, “good documentation will ensure that knowl-edge will be passed on to future generations” (Getty recording).

1.4 Objectives

Objectives of the Project are defined as under (pp2-3 Implementation Agreement) :

A. Base line information Graphic documentation; AutoCaD drawings of plans, sec-tions and elevations; Location of cracks and other signs of stress that are visible on superficial examination; comprehen-sive photography of all parts of the monument; photographs of cracks, signs of stress and high degree of damage.B. Condition Survey ReportName and unique number of each element; photograph of each element; present state of conservation; signs of inter-ventions; signs of stress; possible remedial measures (where applicable).

C. Consultancy for geo-technical studies Boreholes; field testing; laboratory testing; analysis and report D. Research

1.5 BASE LINE SURVEY

Due to the complexity of the monument, it became important to carry out a thorough study of its architectural features in entirety. In the team, the Hon. Project Director Ar. Yasmeen Lari, was familiar with the characteristics, having co-authored the book on the Samma Monuments. However, other members of the team carried out a thor-ough study of the various features which needed to be recorded in as comprehensive a manner as possible.

The immediate need therefore was for the team to develop a deep understanding of the complex historic structure and its various ele-ments. Among important aspects were the recording methodology and the presentation of the field data.

View of the Mihrab, 2011

View of the Mihrab, 1980s

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In order to prepare a full documentation, it became important to divide the entire structure into various elements:a. Primary Elements being the main structural elements.b. Secondary Elements being the openings and apertures etc.c. Decorative Elements being the features carrying stone carv-ing, low relief and high relief in a variety of patterns, figures and also refined Arabic calligraphy.

1.5.1 Primary elements

The first task was to determine the different kinds of primary elements that made up the structure. The complexity in the structure is height-ened in view of the addition of features e.g. the darshan balcony and the triple mihrab placed on the external and internal face of the west façade respectively. As has been analyzed by S.Z. Lari and Y. Lari, the Samma builder was not familiar with arcuate construction i.e. the use of true arch for use in openings and squinches etc. Accordingly, the construc-tion of the Samma structures, including that of Jam Nizam ud din, is trabeated in nature, i.e. the arch form is achieved by over sailing stones, placed one above the other, and carved to simulate the form of an arch. This was a particularly difficult exercise when the same methodology was used to create squinches, in order to transform the square into an octagonal base to receive the dome. In the case of the tomb of Jam Ni-zam al din, research shows that a dome was never placed to cover the tomb. Accordingly, the tomb remains open to the sky and elements.

a. Walls, forming the square plan footprint, rising to a height of 30 feet, consisting of north, south, west and east walls. b. Insertions within walls e.g. staircases, although only one is usu-ally visible which leads up to the external darshan balcony, on deeper examination it has been found that another one leads up to the roof that is also built within the south wall.c. A prominent, profusely decorated darshan jharoka balcony on the west that is placed on a massive carved base placed on the ground floor, rising to a height of 24 feet.d. A profusely decorated mihrab niche consisting of a triple mihr-ab, with its own structural columns and dome built within the thickness of the west wall, accommodated within the thickness of the projecting base of darshan balcony. This is a highly complex intervention placed within the thickness of the centre of the west wall. Lari divides this fea-ture into five stages, the comparatively plain base, the decorated con-sole, the projecting portion of mihrab, the balcony with carved brack-ets, and top most darshan jharoka. e. A small jharoka projecting into the chamber placed in high level central squinch.f. Squinches formed through the use of lightly carved over sail-ing stone pieces; occur at 13 feet height to transform the square into an octagon.g. The second level of squinches formed in a similar manner as those below; occur at a height of 24 feet to transform the octagon into a 16-sided base.

1.5.2 Secondary Elements

The secondary elements consist of various openings occurring at differ-ent levels. Each had to be identified as there are some that seem to have been filled at a later date. The secondary elements are defined as under:

Exterior view of the south and west facade, 2011

The Darshan Jharoka Balcony. 1980s

Staircase leading to external opening along west facade

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a. Door openings providing access to the tomb.b. Window openings including any trellis or fretwork jali on the ground floor that provide ventilation and view from the funerary chamberc. Window openings on the upper levels including any trellis or fretwork jaile. Niches in various walls

1.5.3 Decorative Elements

The most significant element that also contributes to the complexity of the structure is the decorative features that endow the structure with its special character. Some of the stone pieces are carved so profusely that there is not an inch of space without carving. The ornamentation ranges from medallions and pierced carving to wonderfully executed calligraphy and bird figures.a. External decorative horizontal bandsb. Internal decorative horizontal bandsc. Stone carved door architraves and chiseled thresholds.d. Medallions placed in the centre of squinchese. Carved Triple Mihrab: decorative posts, mihrab edges, walls in between the three mihrabs and back wall, decora-tive ceiling and cupola.f. Carved Darshan Balcony: Various levels of carved and molded base courses, decorative fancy pillars, panels, etc. balcony columns and balcony lintels and arches.

Secondary elements left to right: 1. External opening (window) on eastern facade; 2. External Opening (door and ventilator) viewed from inside on northern wall; 3. Niche along southern wall

Decorative elements: Medallions at the centre of squinches Internal Decorative horizontal bands

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2.0 SCOPE OF WORK

2.1 Survey Methodology

Although basic dimensions were available in view of the surveys carried out during the 1980s by Heritage Foundation; however, the surveys had been carried out for the purpose of the book. At the time, it had taken several months of field work to be able to measure the building, due to various constraints. It had taken several more months to draw the decora-tive features by hand.

For the present assignment, it was decided that the project demanded accuracy. Where the original hand drawn drawings would be extremely valuable as a basis for the work, however, the confirmation of all dimen-sions by surveying the entire structure was essential to present accurate as built drawings.

For this purpose, a surveying firm that was willing to undertake the ardu-ous task was located. Although several firms were contacted, however, the complexity of the historic structure, the desolate location far away from Karachi, and above all the poor law and order situation, deterred many to undertake the assignment. After a great deal of negotiations and encour-agement the noted firm Osmani & Co. agreed to depute their survey staff to assist us in this venture.

There were several meetings with the partners, who after studying the project and the drawings prepared for the purpose, were not sure if hand surveying with simple rudimentary tools of measuring tape and plumbs etc. will provide the degree of accuracy we were looking for. Also, the height of the building, insufficient working space, and above all the dif-ficulty in placing any scaffolding etc. in order not to damage the structure were all factors that had to be taken into consideration. For a time it was considered whether we could use ladders and planks to be able to reach the highest portions, but was dismissed as being too risky. Another factor that had to be taken into consideration was the strong wind. Because of its exposed position on the ridge, strong western wind makes it well nigh impossible to maintain one’s balance, especially if you are armed with the surveying gear or even simple note pads etc. Everything, from clothes to hats to pens and paper seem to fly off. Thus, those climbing the ladders and reaching the upper heights would be in extreme danger.

The excessive heat during the month of May was also a discouraging fac-tor. The only time work could be carried out would be in the early morn-ing hours or from late afternoon onwards. The late afternoon work would require the use of the rest house or hotels etc. that would have to be used. The surveying company disallowed their team members to stay in Thatta. Accordingly, it was decided that the teams would leave early in the morn-ing, carry out the work until noon and then head back to Karachi. That would require 4 hours of travelling per day with only four hours available for the work at site and corresponding output. This has meant a lot of travelling; however, it provides a peace of mind in view of the law and order situation in the area, as it will ensure safety of the people. At the same time, the data being generated in the field is at the same time being regularly fed into the computer so that corrections in the drawings could be made within a few hours of obtaining the relevant dimensions.

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As the negotiations with the surveyors were proceeding, the work on AutoCAD was being carried out. The availability of drawings, which probably would not be accurate, would make the task of surveying much easier. Therefore instead of waiting for the accurate dimensions, the AutoCAD drawings were prepared. In fact by the time that the sur-vey could start, almost all basic drawings, numbering of all primary and secondary elements, external elevations and plans had been completed. These would be corrected as soon as the field dimensions would be re-ceived.

A great deal of effort is being expended into ensuring that the documen-tation is as accurate as possible. The work has been carried out taking into consideration the amount of funds available, local difficult condi-tions, and the right kind of workforce in order to carry out work as dili-gently as possible.

2.2 Drawings

The scope of the work consists of preparing drawings of all parts of the historic structure. The building rises to a height of 30 feet and covers a footprint area of 1500 sq. ft. with its length and breadth measured to 38’ x 38’. Among its major elements is the balcony structure which is attached to the western façade.

The drawings of 1980s vintage which had been surveyed by simple tools and were hand drawn became a valuable resource in order to develop AutoCAD drawings. It was decided that in order to develop a compre-hensive data which would be easily retrievable, the use of technology was essential, and hand drawn drawings could only be used for reference purposes. It was therefore decided that all drawings should be re-drawn in Auto CAD as well as several extra drawings should be prepared which would provide information regarding the entire structure and all its ele-ments.

Earlier only a couple of plans, sections and elevations had been devel-oped for the purposes of publication; however, it became essential to determine all areas which required to be captured in the AutoCAD for-mat.

Only the essential drawings had been prepared for the publication, but for comprehensive documentation it became essential to develop as many drawings as possible, in order to present all facets of the structure in its entirety.

2.2.1 Preparation of Final Drawings

The preparation of final drawings required a great deal of discussion. Normally, the buildings are fairly simple and standard plans, sections and elevations are sufficient for the purposes of study. However, the complexity of the structure of Jam Nizam ud din is such that the stand-ard drawings would be insufficient to convey the various facets of its structure. Where it was important to fully convey the construction of the squinches, the fact that as a transitional structure – when the Samma builders were struggling to find built arches and vaults to conform to Muslim architectural expression, they had no training and understand-ing of arcuate construction. Accordingly, instead of using voussoirs, here arches and domes built using trabeated construction had to be captured.

The darshan balcony

Original Plans drawn in 1980s

Internal elevation illustrated through a section drawn in 1980s

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An additional difficulty was the portraying of profusely decorative features. The decorative bands that occur in the horizon-tal stone courses were comparatively easier to portray, however, the profusely carved projecting darshan jharoka and the internal triple mihrab composition with their intricate and multipart treatment required in depth study to work out ways to present it in a precise and authentic manner.

The challenge was to ensure that the portrayal of all parts and elements was carried out in an authentic manner, and that all portions were not only fully recorded but also presented in a manner to enable future conservation planning to be car-ried out based on authentic and complete information. The work has required considerable expertise in not only drawing in a manner to reflect all aspects of the structure but also to be meticulous in detailing so that no aspects would be left un-recorded.

2.2.2 Plans

The entire structure was divided into four main levels numbered Level 1, Level 2 etc. , to which several sub levels were added where any change in profile was noted. Thus plans would have to be prepared of all the levels and sublevels. The preparation of a large number of plans has resulted in portraying not only the squinch detailing as well as all protruding elements set within the barreled squinch insets for example, medallions, jharoka etc.

2.2.3 Elevations

It was important to record all facades and accordingly four elevations would be prepared. However, in view of the complex-ity of one of the facades i.e. west façade which also incorporates the darshan jharoka balcony and its console base, special drawings would have to be prepared. Since this unusual element projects out from the face of the building, it became impor-tant to prepare extended façade, by opening up the entire feature of the jharoka balcony. Further complication is added to this element since the surfaces are extensively ornamented, in addition to various structural elements composed of slender carved columns, mihrabs, projecting brackets of the balcony, and the darshan jharoka itself.

AutoCAD drawing showing plan at Level One including Room/ Area Numbers, Center Line Grids and Component Numbering

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AutoCAD drawing showingSouth Elevation. Sepia tone denotes the external decorative bands

AutoCAD Sectional showing internal elevation of Internal South Wall. The building is divided into four primary levels.

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2.2.4 Sections & Internal Elevations

In view of differences in each internal elevation, it was decided to prepare sections which would show all the internal eleva-tions. Accordingly four sections showing internal elevations would have to be prepared. On review however, it was found that four sections/internal elevations were insufficient to capture the entire structural repertoire consisting of lancet arched barrel squinches at two upper levels which transformed the square chamber first into an octagon and at the top most level into a 16-sided polygon. Drawings would have to be prepared to capture the transformation, at the same time ensure that continuity of the structure is maintained.

2.2.5 Mihrab Configuration

Where it was possible to present all parts of the internal structural configurations, the mihrab in the west wall presented another challenge. Among the most impressive triple mihrab arrangements, the receding mihrab surfaces set within the west wall would have to be prepared as extended elevations so that each element from the columns, the lancet arches and the suc-cessively receding surfaces as well as the back wall would all have to be presented in a coherent form.

2.2.6 Corrections in Drawings from Field Surveys

Thus, from simple AutoCAD drawings that were originally envisaged, the drawings turned into a complex venture if all the different facets of the amazing structural and architectural tour de force were to be adequately presented.

In order to save time, it was decided to prepare all AutoCAD drawings based on the information, field data and hand drawn drawings already available. This would make it easier to check all dimensions through the use of a Total Station. It was clear that the use of Total Station may result in differences in dimensions used in the drawings, according to which the AutoCAD drawings would have to be corrected. Since it was also felt essential to produce drawings with as much accuracy as possible, the use of Total Station became pre-requisite.

Further, since the number of drawings and the different facets that were now being drawn, had not been dealt with before, the dimensions obtained through the use of Total Station would provide the information necessary to prepare detailed drawings of all aspects.

2.2.7 Centre Lines

Using the convention of ‘as built’ or construction drawings, a system of grids on plans was established. These grids would be used to tie up all the dimensions and would help field surveyors to ensure that all dimensions would tally with each other. Accordingly, the grid lines were projected defining all centre and edge lines horizontally as well as vertically and were num-bered accordingly.

These centre lines were projected on the drawings of all facades both externally and internally, thus ensuring that all parts could be checked for alignment.

2.2.8 Indication of Decorated Surfaces

In the case of the hand drawn earlier drawings by Heritage Foundation, a remarkable collection of drawings were prepared which showed each carved element. However, for the present assignment, it was decided that through extensive photog-raphy the same information could be transmitted through the placement of photographs which would be aligned with the drawings. Since the drawings were being prepared in layers, the superimposition of the images of corresponding areas would provide the relevant information in a composite presentation of drawings and superimposed photographs. It was decided that in order to convey the difference between plain courses of stone and those carrying decorative, carved features, the relevant courses would be tinted with a sepia tone. This would provide immediate recognition of carved and untreated plain stone surfaces.

2.2.9 Final Output

In view of sustained checking from the field through the use of Total Station, all the drawings are being prepared to be as accurate as possible. At the same time, a great deal of attention has been given to presentation of different aspects of the structure and its decorative features through studies of earlier drawings and images of present condition of the structure. The various layers of drawings have been arranged so that different aspects of the historic site can be studied in great depth. The layering of drawings and images is crucial in presentation of the present condition and to convey graphically and pho-tographically it’s as built status.

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2.3 UNIQUE NUMBERING SYSTEM FOR

ELEMENTS

Heritage Foundation has devised a numbering system which could relate to various elements and provides a unique number to each element. The numbering system was first applied at the UNESCO-GoN-GoP project of the Lahore Fort WHS. This was extremely successful in view of the highly decorative features of the Shish Mahal and other historic struc-tures.

This system is now being applied by Heritage Foundation in all its herit-age projects. Since each historic building is one of a kind, the numbering system has to be adapted to suit the architectural characteristics of each historic structure.

The Tomb of Jam Nizam ud din has its own characteristics. Built with stone masonry as a cuboid structure, it presents a complex set of archi-tectural features. In order to develop a record that would be conveniently retrievable, it became essential to devote considerable time in working out the numbering system.

In most cases numbering major elements, for example, primary struc-tural elements, secondary elements consisting of openings etc. and sim-ple decorative features is sufficient. However, in the case of the tomb, it became essential to work out the numbering which would not only reflect the different levels in the structure, various protruding elements and the huge variety of decorative features. It was finally decided that the numbering system must also provide a unique number to each and every piece of stone that is utilized in the historic structure.

All general notes and indexing were to be numbered according to Herit-age Foundation System of Numbering: L(--)001 and above. It was de-cided that all location plans were to be numbered based on the levels that they were illustrating, i.e. L(2-)101 where L(2-) denoted a Location drawing and 101 shows that this would be the first drawing illustrating a plan on level one. Sections and elevations were also to bear the prefix L(2-). It was also decided that the tomb was one single room 1/01 and as the triple mihrab and darshan balcony acted as separate areas, they could be numbered as separate rooms or areas: 1/02 and 3/03 respectively.

The numbering system was to accommodate not only a number for each stone, but also be an indicator to the location of that particular stone in the building, hence it was decided that the building must be divided into portions. Initially the elevations were marked based on their locations, i.e. north, south, east and west. Each course or ‘band’ of stones on the elevations was also numbered, resulting in 27 bands consecutively num-bered. This was not only complex, it could have not corresponded with the plans marked on different levels or the internal elevations. Since a multiple of plans were required to be drawn in order to understand the complexity of the structure, it was decided that the building be divided into different levels.

Thus, Level One was to begin a ground level, Level Two to take off at the base of the squinches that formed the octagon, while Level Three converted that octagon into a sixteen sided polygon and Level Four cut the roof. It was then decided that the courses in stone masonry that were dividing the plans would also correspond to the numbering system. 27

Dividing the elevation into consecutive bands

Dividing the building into different levels

Numbering all internal and external elevations

Numbering rooms and areas

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bands were thus divided into four parts, where level one incorporated the most number of bands followed by level two and so on. At this stage the numbering system was: N.1.2 or E.1.3 (Elevation. Level. Band)

Although this may have been used, essential information was not being conveyed. Was the band decorated or plain? Was the elevation denoting the internal elevation or the façade? How was each stone then further being indentified after band number? Complexity was taking over. The drawings were reviewed and the numbering system re-evaluated.

Now each elevation was denoted by a number. External elevations would be denoted as follows:South: 1; East: 2; North: 3; West: 4

Internal elevations would be:South: 11; East: 12; North: 13; West: 14

All additional walls along the triple mihrab, staircases and darshan bal-cony were to be numbered in groups with enough gaps in between to accommodate errors. After the numbering of all elevations, the system was now reading L(2-)011. This could now be used to distinguish each façade without confusing the internal and external elevations.

Although, even now, the decorative and plain bands had to be separate-ly numbered, thus external decorative bands were numbered 45 while external plain bands were read as 46. Internal decorative bands were

Numbering all components

Gridlines for ease of corresponding drawings and photographs

Marking all bands and openings

to be denoted as 42 while plain bands as 41. This led our unique numbering system for each stone to be marked as (42/12)1.1.1 showing (Internal Decorative/Internal Elevation East) Level One. Band Number One. Stone Number One or (46/3)2.3.4 illustrating (External Non-decorative/External Elevation)Level Two. Band Number Three. Stone Number Four.

All arcuate/trabeated structural components were to be numbered as C(21). External openings were C(31); internal openings were C(32) while Niches were to be designated the number C(76). The tomb of Jam Nizam ud din is also interspaced with decorative columns and medallions. These decorative elements were unique and required to be identi-

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Each stone and band is given a unique number for easy and quick identification

Detail showing numbering methodology

fied as separate components hence a unique number C(96) was dedicated to them.

All plans sections and elevations were also marked with grid lines to simplify the overlaping of images and drawings to make component drawings as the final output.

2.4 Photography

Although analog photography would have its advan-tages, the availability of high resolution digital cameras and ease of its handling, photography would be done through digital cameras. The archiving would be car-ried out as soft copies, at the same time it was decided that photo-documentation cards for selected images will also be prepared by using photo prints in order to provide hard copy archiving as well.

Each photographer had to be provided with his/her own laptop. In view of the dusty conditions and lack of suitable accommodation, it has been a difficult propo-sition. The photography team was greatly in favour of

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spending some days at the site in the Rest House at Makli or in hotels in Thatta. This arrangement would have provided good lighting condi-tions for photography. However, in the light of current the law and or-der conditions, it was finally decided to follow the schedule set up for the physical survey team, to ensure safety of all concerned.

The digital photography relies heavily on transfer of photographs to computers and their immediate sorting. Every field visit was thus fol-lowed by the transfer of images into computers. The biggest issue dur-ing the hot summer months is unreliable power supply. Karachi suffers from chronic electric shortages, making reliance on generators a must.

The acquisition of a good digital camera has allowed high resolution photographs.

Where the large number of photographs taken earlier and the HF pub-lication on Samma Period were extremely helpful in devising systematic photographic recording, it was decided that the present photographic recording of the entire structure was essential.

Photographic documentation was undertaken to fulfill the following objectives:

drawings.

Photographic documentation had also to keep pace with the drawings. As extended elevations of all areas kept on being prepared, photography had to keep pace with the drawings.

The following aspects are being photographically recorded:

a. General photography for general condition of the monument.b. Detailed photography based on all elementsc. Detailed photography showing areas of damage, deterioration, erosion or stress.d. Detailed photography of signs of interventions.

Thus the photography team was tasked with going about systematically recording each and every element. Once the drawings and various ele-ments had been numbered, they began recording all portions and ele-ments according to the numbering provided to them.

Where all possible effort was made to take the pictures at right angles to minimize distortion; however, in view of the height of the structure, this was not always possible. There was great difficulty in taking pho-tographs of some areas due to lack of space. On the east, for example, there is insufficient ground space as the land drops sharply due to ero-sion. Similarly, on the north and south, other structures hinder the tak-ing of photographs at right angles.

In the interior the height of the chamber, inhibits the activity. The use of ladders was considered, however, in view of the remoteness of the area, and the possibility of damage in case the ladders were propped

Detail showing damage to Darshan Balcony

Photographic survey of all components

Damage to opening on the Elevation 3

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against the historic walls, it was decided to resort instead to correcting distortion through use of Photoshop.

Thus, all photographs have been treated in Pho-toshop in order to minimize distortion and to ensure that they correspond to the dimensions as shown in the drawings. The distortion has been minimized so that all stone pieces are in conformity with the sizes shown in the drawings. Where necessary, stitching of elevations has also been carried out. This has required considerable skill and attention to detail. The work has to be carried out with constant checking of the field photographs and drawings.

The use of grids on the drawings served the dual purpose of providing control for dimensions; it has been put in place also to provide reference points for the photographs.

Predictably, where detailed photography was undertaken to provide extensive input for ac-curacy in preparation of drawings, the drawings with their numbering system has helped to carry out photographic documentation in a systematic manner.

As a decision had been taken at the outset that there would be layering of drawings and super-imposition of photographs, it became essential that all photographs should correspond to the drawings of all external elevations, internal el-evations and extended elevations both internally and externally. The photographic superimposi-tion helped in finalizing the numbers of all stone pieces, and all photographs and drawings in the layers were annotated accordingly.

Damage to stone on Elevation 1

Displacement of darshan balcony projection along Elevation 4

Damage to internal squinch Internal detail of Projection above opening

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3.0Work in Hand

3.1 Baseline Data Development

At the present time, a great effort is being made to complete a full and comprehensive recording of all parts of the monu-ment. The entire work is expected to be completed within the next month.Once the documentation is complete, all cracks and stress signs will be marked on the photographic/drawing layers, which is scheduled to be completed next month.

3.2 Condition Survey Report

For the preparation of the Condition Survey, the unique numbering system has been allocated to all elements. This was essential for coordination of graphic and photographic activities.

In view of profusely carved facades, both internally and ex-ternally, with each piece of stone carrying a unique number along with detailed drawings, it has become possible to carry out analysis of each and every element of the historic struc-ture. A comprehensive and detailed photographic documen-tation for each and every piece of stone, provides the basis for a comprehensive analysis of the present condition.

Thus, in-depth study of all elements is currently in progress and signs of stress in all parts of the structure are being iden-tified.

Since Heritage Foundation possesses an extensive reservoir of photographs taken during the late 1980’s, a comparative study has been initiated to develop a history of damages, in-terventions and visible changes that have taken place during the last two decades. This study will also become part of the Condition Survey.

3.3 Consultancy

So far, because of the complex nature of the tomb, most of the time has been spent in organizing this activity in a manner that a comprehensive recording could be accomplished. The challenges faced during this work have been noted above. However, with the survey team on the site and providing us accurate dimensions through the use of Total Station, accu-rate drawings are expected to be completed next month.

These drawings will be essential for the consultants for their work. At the moment the names of consultants have been shortlisted and they will be appointed next month in order to carry out the work of geo-technical studies.

3.4 Research

Work on collection of information through published sourc-es is in hand. A bibliography is also being compiled. Since a bibliography is available in the Heritage Foundation publica-tion, further published material is being looked into.

External Openings on Facade 4

View from south east of the tomb

View from the roof

View of darshan balcony from above

16

Activities

A1.1 Preliminary Arrangementsa Establish Makli Cell at HF Head Office

b Appoint field team for graphic documentation

c Appoint field team for photo documentation

d Develop numbering system for all elements

e Appoint autocad team at HF Head Office

f Develop condition survey format

g Appoint expert for geotechnical study

h Appoint research team

i Develop reporting formats

j Develop checklists22.1 Base Line Data Developmenta Prepare autocad drawingsb Marking cracks/stress signs on drawingsc Complete photographic documentationd Folio of autocad drawings in CDs e Allbum of photographs in CDs2.2 Condition Survey Reporta Assign unique number according to HF system

b. Conduct indepth study of each elementc Mark all signs of stressd Mark all signs of inerventionse. Remedial measures where applicable

f Final Condition Survey Report2.3 Consultancy a Provide baseline information to consultant

b Soil investigation

c Laboratory tests

d Geotechnical study report

2.4 Researcha Develop bibliography from available publications

b Compilation from published sources33.1 Establish Reporting Procedurea Monthly field reportsb Compliance against checklists3.2 Evaluation a Evaluation of field reports and field datab Evaluation of documentation ��� ����������� � ����������������� ���������������� �������������������

EVALUATION AND REPORTING

Apr May June July Aug

PROJECT MAIN ACTIVITIES

PLANNING ARRANGMENTS/ACTVITIES

Month 4Month 1 Month 2 Month 3 Month 5

Workplan A

Condition Survey of the Tomb of Jam Nizam ud din

5.0 Annexure 1

Folio of AutoCAD Drawings