Tachapal Tole Bhaktapur is one of the traditional Newari towns in Kathmandu valley in which newar community are dominanted

along hierarchy of their cultures and traditions in terms of their social and cultural functions. It also exhibits the urban characteristics of traditional Newari settlement. It displays yet a different pattern in response to the importance of the goddess Durga, Tachapal tole is one of the oldest settlements of Bhaktapur, probably since about 8 th century. The central part of the town to area bordering on to it form main square originating presumably fromer village cores, the center of the upper part of town. The settlement sprang up along the old main travel route at the most important crossing points to the east of the town, Tachapal tole. Dattatraya Square was previously known as Tachupal. It is considered as the oldest shrine in Bhaktapur. The shrine was built by the rulers as a tribute in the memory of an Indian yogi who died here. Tachupal verbally means the grand rest house which is famous for decorated monasteries adding beauty to it (known as Math). In fact it pre-dates the founding of the city, going back perhaps as far as the 8th c. Encircling the square are nine mathas, the Hindu equivalent of a Buddhist bahal. These monasteries, which once housed communities of priests headed by a religious teacher, are now the homes of ordinary families. One or two craft shops have also opened in the square, including "Tajmath", its premises graced by a magnificently carved, quintuple window. Wood-carvers can be seen at work in the courtyard. The dattatraya square is bhaktapur's third dazzling gem. The seat of royalty till the 15th century, the area still houses a great number of historic monuments including many wondrous maths (residential mansions) and temples. The dattatraya temple is the main attraction of the square. Constructed by King Yaksha malla, the giant three-storied temple is believed to have been built with the stem of a single tree. Having defied series of calamities, it still bears testimony to the incredible achievement made in those regal days of the Nepalese history. It is the only temple in Nepal that is devoted to the god Dattatraya. The temple is dedicated to combined incarnation of the 3 supreme Gods of Hinduism; Brahma (the creator), Vishnu (the preserver) and Maheshwor (the destroyer) combined together as Dattatraya. The toles are often dominated by one caste, but mixed caste groups can be seen in Tachapal tole. The tole is clearly defined by the central square and tole Ganesh. In Tachapal tole, Dattatarya square is the main square where Dattatarya temple is the main dominating built form. The tole is derined by the Salan Ganesh and Nasa: Dyo (Natyeswore), God of Dance which is worshipped by homogeneous caste. The urban spaces and built form of Dattatarya square as a whole give the urban character of traditional newar towns. Analytical Study A. Urban spaces Planning

1. Dattarya square is broad part of Main Street where seven other narrow streets come to meet the square oriented from different directions. The temple complex is situates at nearly about center of the large open square. 2. The meeting point of the narrow street to the square is enhanced by creating broaden spaces due to offsets. 3. The streets are not arranged in straight and linear way but the adjacent faade of the street is promoted by creation of different urban and building elements with streets as focus. The discontinuity of facades creates the visual complexity. 4. The courtyards of math and others are mostly accessible through alleys from the main square. The courtyards are arranged along the mutually perpendicular axis of the street. 5. Heirarchy of street, open spaces built form can be distinctly observed. 6. Level changes on the plinth of residence, temple and due to formation of dabali and other elements such as Ga: Hiti encompasses different function within the main square. However Dattatarya square has large square with slopy land under brick pavement also create both continuous flow of people as well as visual line of observation between observer and audience. 7. Street- Jatra Route, Alleys, Galley, Funeral Route.

B. Built form Planning 1. There are 10 maths in Tachapal tole, nine of them are bound the main square to create specific urban characters and built environment. 2. The hiti(water conduit), Bhimsen temple, dabu and stone column are set in linear axis. Similarly, Dattatarya temple and stone column with Garuda are also set in another axis. 3. Bhimsen dabu is located at western part of the square so that any dance/ music are cultural performance can be easily watched through the windows of maths and the open square. 4. The marcha dabu is located at the backside of Dattarya temple so that the performance on the platform can be easily seen through the windows of Pujari math and Chikampha Math. The dance performance is annually organized on that dabu in Krishna Jamnastami or Gai Jatra festival. 5. Dattatarya temple is centrally located temple with huge square infront of this. The massive math structures are situated on the southern part of the square. Those structures dominate to the structures on the northern part of the square. 6. Patti, sattal of Bhimsen Temple, plinth of residence, dabali, sattle of Dattatarya are the seating spaces to observe the procession route or festivals occurred in this square.

C. Socio-cultural Activities 1. Gai Jatra route procession pass through the main square. Any other religious and cultural processions follow the same route.

2. Nava Durga cult dance is annually organized in front of Dattatarya temple. Agamchhen of Taleju Bhavani is located at Wanalayeku (forest palace). Taleju Bhavani is the incarnation of god Nava Durga Bhavani. 3. Dapha, Bhajan and ritual songs are sung in Dattatarya sattal and Bhimsen pati in the evening. 4. Bramhyani Khat jatra procession also takes place in Main square. 5. Shiva Ratri Festival in spring is the special day for offering puja to Dattatarya emple. Pilgrims from India and other part of country visit firstly Pashupati Nath and afterwards the Dattatrya temple. The number of maths in Dattatrya premises provide shelter for male devotees where as female pilgrims are not permitted to stay over night. The feeding service is also provided to the pilgrims. The lodging and feeding services are provided free of cost even today. 6. Every Monday of Shrawan and every Wednesday of Push are the days of offering Puja to Dattatarya. So, mass of people gather on these days in temple premises. 7. Dattatarya Khat Jatra procession follows the Gai Jatra route on Krishna Jamnastami. On the run of Jatra procession, every maths in Bhaktapur offers the puja. 8. Pulu kisi Jatra cross from Sallan Ganesh to Dattatarya temple rather than to follow Gai Jatra procession route. 9. separation of Funerary route within Dattatarya square since the square is defined by the Dattatarya temple. 10. Nava Durga has its own route of procession. D. Other factors 1. Roofline, texture of brick, etc create the visual complexity to the observer which breaks the monotony. 2. Bhimdyo hiti is water spouts behind the Bhimsen temple, forming a pocket like space; providing water for travelers and acting as a public place for socializing and often facilitated with a pair of falcha flanking its entry for the provision of seating and resting and sometimes falchas are found near it or attached to one of its walls. 3. The square includes Shree Dattatraya rass bhajan mandal, National art gallery, Wood carving museum and has got a great number of historic monuments including many admirable residential mansions and temples. Such adaptation use of traditional buildings or priest house preserve the concept or function of square still in todays context. Such establishment of buildings is attractors of these square in which socio-culutral function of Newar settlement are as input materials to verify the concept of square. Likewise, The peacock window, which is also called the " mona lisa of nepal ", is a rare masterpiece in wood. chikanpha math, It has a wide collection of bronze and brasswares including the ritual jars, utensils, water vessels, pots, spit toon Bhimsen Mandir, rectangular in plan, forms the western end of the square. The ground floor is open, leading through to a fountain on the other side. The religious symbol is on the floor above.

Taumadhi Square The early centre of Bhaktapur was probably to be found around the eastern square. This was shifted in the 15 th century due to the transfer of the palace (durbar) towards a outlying location in the west. This not only changed the urban structures and caused the social and ritual restructuring of the town but also generated a center to balance the two halves. This spatial change in Bhaktapur cause to change in different aspects which are reflected every year in the celebration of New year Festival called Bisket Jatra. Thus urban structure of Taumadhi square reflects the most significant among the network of squares. It is also a focal point of the town where streets from the residential building meet toward this square since it is a market square. It is important to note that the festival rituals involve the circulation around the three squares of Bhaktapur with centrally located by Taumadhi Square. The main role of this circumambulation is to integrate all the shrines present on the periphery of the town which is significant by the presence of shrines and water tanks. The symbolism associated with the center is Taumadhi Square which is taken as the refrence point of circumambulation. The Taumadhi Square that forms the centre of the town has the sacred temple called Naytapol and the Bhairava temple. Socio-cultural activities: The urban rituals here are bound to the festive calendar of the year, which mainly marks the events of agricultural importance. They often continue for a fortnight and sometimes an entire lunar month. The pace of these festive is organized in that seasons where people had no work in fields i.e. agriculture slows down during harvest and planting times. The New Year festival called Bisket Jatra is one of the important jatra the carried out within the Taumadhi Square. This is especially important in terms of urban renewal, since in its very idea it is the recreation of the beginnings from the primordial chaos. Neils Gutschow mentioned that: During the New Year festival the divine couple-Bhadrakali and Bhairava-come down from their god houses to be carried on pagoda-shaped chariots from Taumadhi square down to the large open square (Yahsimkhel) along the river side, opposite the cremation grounds. A wooden pole is raised to mark the beginning of the New year, the people take a purifying both in the river (at chupin ghat), and worship the gods and then enter the town to begin the New year.At the beginning of the festival hundreds of farmers try to drag chariots to their parts of the city.The competition usually ends in fighting and by the end of the festival the chariots return to Taumadhi as battered wrecks. To the point of the Neils Gutschow, it can be analyzed into different aspects. Here it is cleared that Taumadhi square is the fulcrum of the town which works almost like as pivot in lever because it divide the whole newar settlement of town into the two upper and lower town. Upper town is called thane and lower town called as kone. Taumadhi square is important spaces for the celebrations of the New year called Bisket Jatra.

The movement of the procession from the Taumadhi square to the Yahsimkhel that is next to the cremation grounds and besides the quarter of untouchables shows the manifestation of the concept of temporary destabilizing the established order in the physical sense fulfilling the concept of square in whole settlement of newar of Bhaktapur.

Irwin addressed this types of socio-cultural functions as momentary return to the undifferentiated state of chaos before the act of creation. This festival is extremely dynamic in character specially with the chariot contest where the Taumadhi square serves as a excellent frame for the festival ritual. It is because the competition of pulling chariots to their sub divided town reflects the underlying antagonism between the eastern upper half of the town and the western lower half. Taumadhi square mark the limits of the most important ritual axis which is along the east-west axis and north-south axis forming axial ritual pattern. The other main festival called Mohani which occurs in autumn and marks the beginning of the harvest. Though this could be termed a seasonal and cyclic festival, as in all other Hindu festivals it is also linked to religion and is said to mark the victory of the goddess over the demon and her return to the town. The use of water tanks and bathing ghats is also significant during this festival. The actual festival is described as follows: It lasts for 10 days, reaching its climax with the return of Navadurga Goddesses as masked dancers. During the first eight days, however, the population of Bhaktapur takes ritual baths at different bathing places along the river or at tanks which surrounds the town. Correspondingly eight Mother Goddesses (Ashtamatrikas) are worshipped at their respective shrines in aniconic forms..finally on the last day of the festival, the whole population goes along the main road towards the eastern most ghat to worship Taleju, the Supreme Mother, in her temple next to the palace. It surrounds the Taumadhi square. Generally Taumadhi square is also a market square. During the day of festivals huge people generally perform the financial transaction. Since streets from the lower town and upper town meets to it and other different narrow streets from the residential areas are joined together forming the market square. Different jatras are performed in this square such as Puli Kisi, kna: lakeu, Nava durga dance, etc.

Many Daphan or Dhimye team follows the street of square performing their musical instrument during the festivals. Water spouts and wells on the Taumadhi square is also one of the important factor that catalysis the function or concept of spaces. Built form Planning: Presence of most sacred temple called naytapola and Bhairav temple. The idea of approaching heaven is achieved here by the raising the Naytapol on a platform, this base keeps reducing as one goes up and so does the pagoda marking the connection with heaven. The main image placed inside the temple is of Bhairab and is a body without the head. In the front wall of ground level of this temple there is a small image of Bhairab known as Nasadyo flanked by a pair of metal statues of guardian lions. Akash Bhairab is regarded as a third representation of Bhairab which can be seen painted on a straw mat hung on the right front wall of first floor. Caf Nyatapola is a two storied rectangular building originally called as Aisamari Satta. "Aisa Mari" is a special kind of bread and "Satta" means public rest-house (mainly for travellers). At present it is used as a caf for tourists but originally it was constructed by the contemporary king as the rest-house for travellers, a place for performing Bhajans, shelter for far travellers. Narayan Chowk is an enclosed complex situated in front of Nyatapola. The main deity enshrined in the main temple is Tilmadhav Narayan, a manifestation of Lord Vishnu Chaturbrahma Mahabihar, Buddhist monastery is situated at North West corner of Nyatapola temple known as Chaturbrahma Mahabihar. This Mahabihar is mainly dedicated to Dipankar Buddha. Traditional houses around Nyatapola, is dominated by Newars we can obviously get the different taste of Newari art and architecture around Nyatapola Temple too. These houses have fulfilled every aspect of a typical Newari house as low height, lattice windows, attic roof, beautifully carved pillars and windows etc. The main construction materials used are timber, mud mortar, burnt bricks etc. The existence of these traditional houses till today after hundreds of years explains its resistivity against natural disasters, climatic conditions, storms, rain and earthquakes. Patan Durbar Square: Patan Durbar Square, the most charming urban ensemble of the Kathmandu Valley, is a beautiful open space which was a palace square of the Malla Period. It is famously known as Mangalbazaar or Manga in

Newari (Mani-Gwala- meaning the central place in Newari). Also in Sanskriti Mani means jewel and mangal means auspicious. The central palace square was created in its present form in the 16th and 17th centuries in Malla Period when the city reached its highest priority. Two famous kings, Siddhi Narasingh Malla(1919-61) and ShriNivas Malla(1661-84), were especially responsible for development of the palace and its surroundings. Built spaces Planning: It consists of two distinct sections arranged to form the squares of Patan are as follows: i. ii. the palace with its temples and courtyards; the group of temples built in front of the palace complex.

Both areas are enclosed by newar dwellings in which all temples are standing infront of the palace in the Darbar Square. There are 13 different temples in the square, varying in shapes, styles and sizes, dedicated to many different deities. Many worshippers during festivals passed through these temples and Krishna temple is the one of the popular temple of this square. The styles of temples also range from the tiered temple to shikhara temple to even domical form of the Bisheswor temple making them architecturally significant as well. The square possesses many other elements of surprise such as the Ta: Gan Bell, Maharani Pukhu, dabali, Manga: Hiti, Mandapa Pati, dabali, etc. Urban spaces Planning: The square is directly linked to major arrival points such as Lagankhel, Pulchwok, and Gwarko. It also connects the streets of Kumbeshwor, Sundhara, Machchhindra Bahal and the famous Golden temple. Main streets run parallel to the palace creating two division of square with one part temple complex and palace complex. Many subspaces within the square such as space behind the Narshima Temple, courtyard of Palace, Maharani Pukhu, etc. Socio-cultural activities Different activities with interpretation of todays context and past context can be observed such as activities of Passive enjoymen such as meeting, gathering, hanging out, people watching, rest and relaxation, sun and shade, etc

special events such as concerts, speeches, rallies, cultural programmes, art shows or display, social programmes, etc on dabali or floor of square. Different Jatras and festivals are passed throught these square since it is the main square of the Patan. Religious activities like worshipping various temples Getting water from the hiti, satisfying the thirsty, etc Different shopping and vendors activities of people non these squares. Surrounding Built up environment: Faade is composed of different variety of elements. The contrast, color, texture, light and shade, material types all add to the visual richness of the faade. The amalgamation of the wood, bricks, stone and metals is very beautiful providing richness to its faade. The dark brown of the doors, windows and columns, the dull red color of the brick on the walls, the boldness of the stone sculptures and the shine and warmth of the gilded golden pinnacles, torans, etc add a contrast to the scene of square. Skyline around the streets from the square provide visual dynamism which are enhanced by the different shaped temples Any change in the level affects our visual perception and also fulfills the functional and psychological requirements. The level changes are observable as steps leading to the temples, plinths around the temples, sunken courtyards, raised platform(dabu) and as space demarcations. The steps and the plinths elevate the built up structure of the temples and this symbolically explain the divine power of the God above. The sunken courtyard of Mani Hiti is visually attracting and aurally luring and besides the ever flowing water from this Dhunge Dhara is used by the people for drinking purposes. Variety in styles such as shikhara styled Krishna Mandir and Chyasin dega, tiered temples of Harishankar, char Narayan, Bhimshen, Bishwonath, etc. There are varieties of shapes and the space radiated by these geometric spaces are different. The Harishankar radiates out in four directions around its shape. Chyasin Dega radiates out in eight directions around its octagonal shape and Maharani pukhu radiates in ten dirctions in a radial form. Thus, ther is variety in shapes and sizes. As with the variety present within the square, scale also contributes to the success of the square. From the large scale degutale to the small details of the carving of the pillars of the temples, the scales of many things act to keep the spaces planning.