Slide 1

Acculturation explains the process of cultural change and psychological change that results following meeting between cultures.[1] The effects of acculturation can be seen at multiple levels in both interacting cultures. At the group level, acculturation often results in changes to culture, customs, and social institutions. Noticeable group level effects of acculturation often include changes in food, clothing, and language. At the individual level, differences in the way individuals acculturate have been shown to be associated not just with changes in daily behavior, but with numerous measures of psychological and physical well-being.

Those phenomena which result when groups of individuals having different cultures come into continuous first-hand contact, with subsequent changes in the original cultural patterns of either or both groups...under this definition acculturation is to be distinguished from...assimilation, which is at times a phase of acculturation.[6]acculturation, the processes of change in artifacts, customs, and beliefs that result from the contact of two or more cultures. The term is also used to refer to the results of such changes. Two major types of acculturation, incorporation and directed change, may be distinguished on the basis of the conditions under which cultural contact and change take place.DATIA MAHALDatia Palace and the Secretariat Building in Delhi are two of the major examples of Rajput architecture with traces of Mughal architecture. While Datia Palace showcases quadrangular part with a Mandap, Secretariat features the four levels.The Palace is made entirely of stones and bricks. It has a ribbed dome over which is a shikar (spire) with lotus petal design. The arched openings, brackets and dome is characteristic of the Mughal architecture, while the lotus petals and use of animal sculpture and avian painting are symbols of the Rajput architecture. The blend of the Mughal and Rajput architecture forms a typical feature of the Bundela style of architecture at the Datia Palace. It gave me an impression that the Bundela kings were favorably inclined towards the Mughals at least as far as the Datia Palace is concerned.Its domes, for instance, have external ribs whereas the Islamic domes have internal ribs. Large open courts let in light and air and, at one time, virtually all the rooms had murals: only a few remain now. Many of the brackets show the wavy style of Jain architecture. Interestingly, however, the main door is on the east-facing side of the palace. It is high, wide and impressive and is decorated with bright ceramic tiles.Datia Mahal is only one of very few palaces and forts structure in north and central India that boasts a spectacular amalgam of Indo-Islamic architecture.It has a ribbed dome atop which is lotus petal-shaped shikhar, typical of Bundelaarchitectural style . While the arched doorways and dome are characteristic of Mughal architecture, the sculpturesand paintings of birds, animals and flowers are suggestive of the Rajput style.Bir Singh Deo, the ruler of Datia and an avid builder of the times, laid the foundations of Datia Mahal in 1614. Historyrecords that the palace stands testimony to the friendship between the Mughus emperor Jehangir and Raja Bir SinghDeo. Bir Singh championed Jehangirs cause against Akbar and beheaded Abul Fazal. In return, Bir Singh was madethe ruler of Datia.Its domes, for instance, have external ribs whereas the Islamic domes have internal ribs. Large open courts let in light and air and, at one time, virtually all the rooms had murals: only a few remain now. Many of the brackets show the wavy style of Jain architecture. Interestingly, however, the main door is on the east-facing side of the palace. It is high, wide and impressive and is decorated with bright ceramic tilesIt is surmounted by chatris.Interior walls are magnificiently painted with hindu lores as well as courtly figures based in large measure on mughal types.Mahal has a five storied tower at the centre of the courtyard connected with the sorrounding ranges by ornamental arcades or bridges on all four sides. Balcony consists of trellis screen.The sisde towers are octagonal.The five storied central tower rising above these peripherial ranges can be regardes as secular version of a temple shikhara.The chamber overlooking the lake shows the characteristics of rajputana architectre on the ceilings. And consists of niches, cornices and vaulted ceiling covered with elegant designs betraying an unmistakable mughal flavour. He tried to create an ambience of mughal palaces.The domed ceilings on three storeys of the tower are also painted beautifully with some geometrical designs, arabesques, dancing figures, pairs of peacocks and a shallow petalled dome at the upper most level.The architectural expression of the interior is complex and sculptural. The carvings on the columns and entablatures are of flowers and geometrical patterns. This is indicative of the Islamic influences. Carvings of animals and humans are from the Hindu and Jain influenceAt each of the four corners of the landing are small rooms with oriel windows and intricately carved brackets. The staircase which links the entry platform with the pool of water contains adorned columns, and entablatures.Along the eastern and western walls of the vav - which are actually retaining walls there are niches and carvings of flowers and patterns for the entire length of the wall. It is noticeably cooler the deeper you go into the well.The vavs structural system is a traditional trabeate Indian building style with horizontal beams and lintels instead of arches which lend themselves to an Islamic style.ADALAJ STEP WELLRuled by the Muslim sultans then, the style of architecture known as the Hindu-Muslim style had come into being in Gujarat. The Adalajstep-well is a magnificent example of this fusion of Hindu craftsmanship and the floral, geometric patterns of Islamic architecture.All five stories of the Adalaj structure use cross beams all along their lengths. This step-well, of the type of the three faced "Jaya stepwell"as described in the classical manuals of Hindu architecture, is a mesmerising procession of arabesque designs, decoratedcolumns, ornamental balconies with exquisite carvings, carved walls and niches with shrines of Hindu gods and goddesses, elephants,flowers, birds and chhatris all through its five floors of length and breadth underground!The practice of making wells into an art form was begunby the Hindus but it developed under Muslim rule.Events happened during the construction of this well are carved on the walls of the well as it was started by hindus but decorated in a islamic style.The motifs of flowers and graphics of Islamic architecture blend very well with the symbols of Hindu and Jain gods carved at various levels of the well. The dominant carvings on the upper floors are of elephants (3 inches (76mm) in size, each of different design).5Adalaj Vav is adorned with intricate carvings and splendid sculptures. The walls of the well depict figures of flowers, birds, fish and other ornamental designs. There are a number of corridors and platforms surrounding the well. The three entrances contain steps that reach upto the stepped corridors. These corridors meet on a platform, which has an octagonal opening on the top. The missing canopy of the well tells us that it is still not completeThe underground cisterns known as tankas are unique features of ater architecture of the muslim period; these were particularly associated with mosques.The decorations of columns, curved brackets and lintels is higly elaborate with repeated friezes of flat pilasters and lotus ornament. The octagonal space is overlooked by tiers of richly ornamented balcony slabs.Animal motifs, including elephants, horses and birds, and even the ccassional depiction of hunters and planetary deities, adorn the lintels and wall niches ; more common are the pots hanging from chains and the arabesque designs which are ubiquitous motifs in contemporary mosques and tombs.AGORAPHOBIAAgoraphobics are the miners canaries in the public space of our cities. With their heightened sensibility, they may have a more intense visceral experience of what most modern city dwellers face in their everyday use of modern public space. The architect can learn from the hypersensitive spatial perception of the agoraphobic community in order to develop a heightened sense of spatial awareness, social responsibility and design skills when configuring public spaces. Agoraphobia is a condition triggered by spatial environments and the problem lies within the design of these spaces. However it is thought that Westphal regarded the condition as a fear of the place having not mentioned people or crowds in his paper, stating that anxiety is brought on by the sight of a large room, a long street, or a wide square This could provide substance to the argument that agoraphobia is a reasonable response to the sickness of the urban scene (Carter, 2002 : 8) which cannot be overcome unless the psychological aspects of our built environment are thoroughly scrutinised; the remedy to this condition lies within the fabric of our society and not in modern day medicine. The anxiety attack is a symptom of the location, the agoraphobic is not fearful of the place, rather the panic caused by the place. The car offers us a convenient method of transport that saves us time and effort in our busy modern lives. We have developed an aversion to walking, indeed why would we walk when a car is much more convenient, but one surely has to question the ever-diminishing role of the pedestrian within the public spaces of the urban landscape. We are losing our connection with the street as a social institution and it could be argued that this is a symptom of something rotten in the state of modern urban design (Carter, 2002 : 16). Today, individual expression on the street is suppressed; taking place not in the public eye but behind the closed doors of the home, even the city busker must obtain a licence before they can perform in public. There is no place to play in the urban landscape; the street where we used to play is now a steady stream of traffic, both pedestrian and vehicular. City dwellers can find space to play in the parks (Fig. 2), which are safe enclosed spaces, segregated from the busy urban landscape. The mental gap (Zerubavel, 1993 : 22) created by the crossing of this boundary is similar to that of the commuter as they return home. The modern day courtyard offers the city dweller no separation from their work, the mental gap they create lacks a physical boundary and is why they seek the green spaces of parks. Traditionally our streets have been meeting places, institutions of social standing that have provided us with the opportunity to collectively assemble, discuss, inform, shop, exchange, play.. These actions are, as a cluster of lifestyle choices, almost unique to the human race. As previously discussed, the Ancient Greek Agora was not only an assembly point, but also a market; a meeting place around which the entire community based their lives. The village green was not only a place for children to play safely, but it served as a focal point, a landmark to which the community would gather in times of trouble or celebration. Our technological advances have taken us from the invention of the wheel, to the development of the internal combustion engine, to the digital transfer of information, all of which have greatly improved the efficiency of our lives. But at what cost to our social understanding of space? Architectural design has developed into a materialistic concept. In the nineteenth century, we designed our spaces with the acceptance of imperfections. The modern day lifestyle insists that everything be symmetrical and practical. Traditionally, society has been modelled around religion, and as such the squares around our churches and cathedrals were culturally significant spaces. In the modern day consumerism is arguably the new religion and as such the shopping centre is the new church. The squares around them are the culturally significant spaces of our time, and yet they are, in general, merely voids between buildings. Ugly architecture greatly intensifies the fear. In this connection I would remark that I have come to wonder if there is real art in many of the so-called improvements in some of our cities, for, judging from the effect they produce on me, they constitute bad art.

These large scale buildings that sit in the centres of open squares are typical of any urban landscape in the United Kingdom. They bare the scars of agoraphobia, forcing their uneasy relationship with space onto those around them. The fear of the crowd is projected across the vast open landscape, the buildings frown as they overlook the anxious individual. They offer no assistance; instead imitating and mocking any involuntary actions. They bow under the pressure of modernity and practicality. These buildings serve the crowd on a functional level, but offer nothing more to stimulate our minds; the lack of imperfections within them provides no interactive experience. The collective and integrative design of the entire urban landscape allows us to find our place within it, and informs our feelings or emotion; acceptance, unease, fear, anxiety, happiness and the like. When the buildings tower over us and overshadow our individuality we begin to suffer the effects, we catch the urban disease that the landscape is forcing upon us; it absorbs us until we become one of a million passers-by. Our journey through such space becomes our everyday ritual, with no inclination to stop and appreciate the elements that were realised on the architects drawing board. Our built environment should embrace its surroundings, rather than unceremoniously turning its back on the very community it serves. This will not cure agoraphobia but it initiates the discussion of addressing the problem of spatial estrangement in the modern world. The landscape opens in front of me, offering no place to hide. To travel through I must find my place within it, do I belong here? There is no identity, the landscape is transitional, experienced only through travel. There is only empty space here, there is only the essence of a space, there is no frame to house that essence. This is not a place to stay. Its quiet, too quiet. The street narrows ahead, This is the suburban calm before the city storm. In this place I am consumed by the [INFINITE VASTNESS] of the landscape.To the agoraphobic mind the landscape we surround ourselves with has emerged as a hostile space, a space through which we must travel but cannot escape The small roads that zigzag across the countryside are much more pleasant and offer an interactive experience to be enjoyed by the content mind of the agoraphobic driver. 10Man walks in a straight line because he has a goal and knows where he is going ; he has made up his mind to reach some particular place and he goes straight to it. The pack-donkey meanders along, meditates a little in his scatter-brained and distracted fashion, he zigzags in order to avoid larger stones, or to ease the climb, or to gain a little shade ; he takes the line of least resistance. (Le Corbusier, 1929 : 11) To travel [THE PACK DONKEYS WAY] is to experience life. It is to twist and turn through the landscape, It is to feel the bumpy stones beneath your feet, It is to move in the direction that appeals to you, It is to appreciate the steady incline of the path, It is to smile at the dandelions poking through the paving slabs, It is to enjoy the view, It is to anticipate the secrets of the next turn. It is to embrace a new way of seeing, of feeling and of experiencing. It is to ease [AGORAPHOBIA]. The modern day street is estranged from our social instincts and we no longer have time to communicate with each other. As a result agoraphobics experience a high level of visceral ineptitude. The breakdown of our social understanding through urban landscape design and developments in transport links has resulted in the street becoming an ever-moving anonymous crowd (Kraucer, 1960 : 72 cited in Vidler, 1991 : 31). ANTHROPOLOGYAnthropology is a global discipline where humanities, social, and natural sciences are forced to confront one another.BIOLOGICAL/PHYSICAL : It examines the biological and social factors that have affected the evolution of humansCultural anthropology: where man is viewed as an animal of culture. In this regard, studies of archaeology, linguistics and ethnology comprise cultural anthropology. Ethnology: where the racial and cultural distributions of man are studies. Applied Anthropology: where applications of the findings of the study are applied. Urban anthropology is the study of cultural systems and identities incitiesas well as the various political, social, economic, and cultural forces that shape urban forms and processes.Using research methods developed for and through studies of small tribes and primitive societies, anthropologists studied spatially bounded communities such as ghettos, ethnic neighbourhoods, and urban villages. Social problems (especiallypoverty) were the focus of most urban anthropological research.ANTHROPOLOGY OF URBANISM : Urban anthropologists investigate the cultural roles played by cities on their societies, and they cross-culturally analyze cities with distinctive physical forms and internal social organization. Anthropology of urban poverty : This anthropology sees the city reflected through the ghetto and views urban man mirrored in the customs of the poor. Anthropology of urbanization: This form of urban anthropology comes from the contemporary large scale physical movement of rural peoples to cities and the adaptations of these immigrant populations to the new urban environment.