Indraprasth Sanskriti kala kendra, Dwarka, New Delh

INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA, NEW DELHI A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of

BACHELOR OF ARCHITECTURE (B. ARCH.) By

AKANKSHA MISHRA (Enrollment No. 1476681099798) (Roll No. 1476681001) Under the Guidance of Ar. Rahul Gautam PURVANCHAL INSTITUTE OF ARCHITECTURE & DESIGN, GIDA, GORAKHPUR

DR. A.P.J. ABDUL KALAM TECHNICAL UNIVERSITY (FORMERLY UTTAR PRADESH TECHNICAL UNIVERSITY) LUCKNOW JANUARY,2019

PURVANCHAL INSTITUTE OF ARCHITECTURE & DESIGN, GIDA, GORAKHPUR

CERTIFICATE

This is to certify that this Thesis Report entitled “INDRAPRASTHA SANSKRITI KALA KENDRA,DWARKA,NEW DELHI” is the bonafide work of AKANKSHA MISHRA and submitted by her in the partial fulfillment of the requirements for the award of the Bachelor’s Degree in Architecture (B.Arch.) for the session 2018- 2019.

Ar. Rahul Gautam

Ar. Manish Mishra

(Thesis Guide)

(Thesis Co-ordinator)

Examiner 1

Examiner 2

ACKNOWLEDGEMENT

I would like to express my gratitude to my thesis guide Ar. RAHUL GAUTAM for guiding me through the design process with great patience and understanding.

Without their constant push and critiquing I would have not been able to remain inspired and aligned throughout the semester.

I would like to thanks Ar. Pramod Saxena, Director, Purvanchal Institute of Architecture & Design, and Ar. Manish Mishra (Thesis Coordinator) and all faculty members of Purvanchal Institute of Architecture & Design for guidance that helped successfully integrate the research and the design aspects of project throughout this thesis.

I would also like to thank my batchmates for their support whenever I required guidance or help.

Lastly I would like to thank my family for their immense support throughout these five years.

AKANKSHA MISHRA ROLL NO. :- 1476681001 DATE:-

PURVANCHAL INSTITUTE OF ARCHITECTURE & DESIGN, GIDA, GORAKHPUR

DECLARATION

I, Akanksha Mishra,hereby declare that this Thesis is my own and original work and wherever I have incorporated any information/ data/ maps and graphics from other sources, they have been duly acknowledged.

AKANKSHA MISHRA ROLL NO. - 1476681001 DATE :

THIS BOOK IS DEDICATED TO MY MOTHER POONAM MISHRA

& MY SISTER PRANJALIE MISHRA

TABLE OF CONTENTS CHAPTER 1 .................................................................................................................................... 01 INTRODUCTION ............................................................................................................................... 01 INDIA AND ITS STATES ........................................................................................................... 01 GOAL ..................................................................................................................................... 01 VISION .................................................................................................................................... 02 LIMITATION ............................................................................................................................. 02 NEED ...................................................................................................................................... 03 CULTURAL ZONES OF INDIA ................................................................................................. 03 ARCHITECTURE ...................................................................................................................... 04 ARTS AND CRAFTS ................................................................................................................ 06 DANCE MUSIC DRAMA ........................................................................................................ 08 RELIGION ............................................................................................................................... 09 LITERATURE AND LANGUAGE .............................................................................................. 11 CHAPTER 2 .................................................................................................................................... 13 SITE ANALYSIS .................................................................................................................................. 13 WHY DWARKA? .................................................................................................................... 13 LOCATION ............................................................................................................................. 14 SITE CHARACTER ................................................................................................................... 15 CLIMATIC CONDITION ......................................................................................................... 17 S.W.O.T ANALYSIS ................................................................................................................. 19 PROJECT BRIEF ...................................................................................................................... 19 SITE NEIGHBORHOOD ........................................................................................................... 20 CHAPTER 3 .................................................................................................................................... 22 LITERATURE STUDY ........................................................................................................................... 22 AGA KHAN MUSEUM ............................................................................................................ 22 JAWAHAR KALA KENDRAV .................................................................................................. 25 CHAPTER 4 ................................................................................................................................... 30 CASE STUDY ..................................................................................................................................... 30 RABINDRA BHAVAN, NEW DELHI ......................................................................................... 30 INDIRA GANDHI PRATISTHAN, LUCKNOW .......................................................................... 35 DILLI HAAT, INA, NEW DELHI ................................................................................................. 37 HABITAT CENTRE, NEW DELHI ............................................................................................... 39 CHAPTER 5 ................................................................................................................................... 43 STANDARDS ..................................................................................................................................... 43 DANCE STUDION ................................................................................................................... 43 MUSIC STUDIO ....................................................................................................................... 43 AUDITORIUM .......................................................................................................................... 44 OPEN AREA THEATRE ............................................................................................................ 46 MUSEUM AND ART GALLERY................................................................................................ 46 CHAPTER 6 .................................................................................................................................. 44 PROJECT DRAWINGS ............................................................................................................................. 44

INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19

CHAPTER: 1 INTRODUCTION INDIA AND ITS STATES India is a culturally diverse country, i.e.

Indians can’t be framed as following one single culture throughout the region.

The culture variations are not slight and hence cannot be ignored. In-fact each Indian state have their own culture to boast about. But due to cultural ignorance, many Indians, as well as foreigners do not know the deeper meaning of each culture and hence assume various stereotypes that exist nowadays.

Hence there is a dire need to educate the people and the visitors, exactly about various rich Indian cultures and simultaneously encourage the cultural development, giving importance to the lifestyle of the artisans, craftsmen, etc. architecture can act as an important catalyst to bring about all of this.

GOAL The design proposal aims to create holistic architectural experience showcasing culture in all aspects. The arts and culture should be systematized into one coherent body of knowledge from inside as well as outside the building. Beginning from the core exhibit areas, to the exterior environment, everything should reflect culture in its own way, to create vibrant and dynamic experience for visitors. The three 1

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 aspects looked upon for designing holistic experience for the visitors.

VISION Noida is a well planned growing city lying in the South-West region of Delhi.

Though it is a self sustaining city with residential, commercial, office, open space, it lacks behind culturally. This thesis proposes to build a Cultural Hub a place for all INDIAN cultures. The best location to propose this is in fact, in the capital, as this needs to be globally recognized and promoted. Moreover, the availability of ample space, culturally neutral population and developing area which can accommodate new facilities, brings down the options to Noida.

This cultural hub will have multi-character but act as a joint single entity in encouraging Indian culture. The architectural language will vary for each cultural pavilion but unite them as a whole through various methodologies. The built form should integrate with the existing city fabric as well as stand out, acting as global recognition for India.

Culturally sound interior Core exhibit areas, reflecting direct cultural knowledge.

Culturally sound exterior manifests indirect cultural aspects.

Ease of transition space which fuses both smoothly.

LIMITATION India is as culturally rich country. It cannot be defined as following one single culture, as there are more than 200 variations from region. Only those cultures that prevail predominately in the Indian subcontinent are taken into consideration for designing buildings. Other cultures are showcased in temporary exhibits and shall not have dedicated space for them.

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 The spaces designed will only adhere to Indian cultural aspects and not to any foreign cultures.

The proposal aspires to solve various programmatic and socialistic issues that arise, while designing the Cultural Hub.

NEED There has been complete cultural negligence in India in the past few decades, with the growth of Modern Technology. With the influx of new modern equipments and the craze with the Western Culture adoption, Indians are in the verge of losing their own culture. The idea of adapting to the Western Culture is considered prestigious and trendy among this generation as is advertised and promoted by global icons. The lack in promoting and encouraging may not only lead to cultural extinction but also affect cultural tourism to a greater extent.

First and foremost, the prevailing misconceptions about Indian and about other r state cultures need to be broken. Interest to learn, follow and adopt our culture will boost our cultural value worldwide hence there is an immediate need to educate about culture to us and our neighbors.

CULTURAL ZONES IN INDIA India is one of the world’s oldest civilizations.

Indian cultures are often labeled as amalgamation of various cultures, spanning across the Indian subcontinent and has been

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 influenced ad shaped by history, which is several thousand years old.

An Indian culture is broadly divided as seven overlapping cultural zones by Ministry of Culture. They are South Culture Zone, South Central Zone, North Culture Zone, and North Central Zone, East culture Zone, North East Culture and West Culture Zone namely. They are classified so based on region, Architectural style, religion, literature, art, painting styles, dance, music, drama, performing arts, crafts, fashion, dress, language, custom, food, etc. detailed study of all these overlapping factors, gives the clear overall picture of Indian Culture.

ARCHITECTURE Indian Architecture, which has evolved over centuries, is rooted to history, culture, religion and geographical conditions. Though the Indus Valley sites of Harappa, Mohenjo-Daro, and lethal provide substantial evidence of extensive ancient town planning. The beginning of Indian architecture is dated to advent of Buddhism in India, in the reign of Asoka during when they constructed various Buddhist monasteries and stupas. Buddhist architecture predominated till late 7 th century, when Hindu School of Architecture took over. The most notable achievements were the rock-cut temples like Ajanta, Ellora, Temples of Mahabalipuram, Kanchipuram temple, Brihadeeswara Temple, Sun Temple (Konark), AngkorWat, etc. The Hindu architecture, in itself had various different typologies based on the regional style. The story of Somnath Temple in West India is famous as it was rebuilt many times after being attacked by various 4

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 enemies in central India, the Chandellas built a magnificent complex of temples at their capital, Khajuraho, between 950-1030 AD. In the North West, the Solanki kings built the Surya or Sun temple in Modhera, which stills provides striking testimony to their achievements. More stupendous is the Surya temple at Konark, one of many other masterpieces of Orissa architecture. The Mughal emperors were interested in heavily investing in monumental architecture and spent lavishly on the construction of mosques, mausoleums, forts, palaces and other buildings. Mughal Architecture is predominant in Delhi, Lahore, Agra and Fatehpur Sikri, Jama Masjijd, Taj Mahal, Qutub Complex, Humayum’s Tomb are few of the marvelous creations. Unlike the Mughal, the British contributed little to India’s architectural history.

Their rule is associated mainly with monumental civic buildings, such as the Victoria Terminus in Bombay, or commemorative exercises typified by the Victoria Memorial in Calcutta. There are some notable specimens of church architecture, such as St James’s Church in Delhi, but the principal regal contribution of the British appears to be the construction of a new capital in Delhi. Indigenous styles of architecture did not entirely suffer demise and step-walls continued to be built in Gujarat throughout the 19th century, in Rajasthan rich merchants constructed large havelis or residences in which the window work defies description. The most striking of these havelis are to be found in Jaisalmer Contemporary architecture has also developed over the years due to various renowned architects like Charles Correa, Balkrishna Doshi, Laurie Baker, LeCrbusier, Satish Gujaral and many others to list like Mumbai’s Nariman Point is famous for its Art Deco buildings Creations like Lotus Temple and various urban development’s of India like Bhubaneswar and Chandigarh are notable.

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ARTS AND CRAFTS Indian crafts are highly acclaimed throughout the world for their aesthetic appeal and magnificence. The diverse cultural traditions of India have enabled the accomplishment of producing various kinds of crafts. The crafts are composed of different materials, themes and proficiencies. Works on wood, pottery, hand looms, terracotta, paintings, bead, jewelry and embroidery etc have survived through centuries with fewer changes.

CLAY CRAFT OF INDIA The origin of clay crafts in the country dates back to as early as the India Valley Civilization. The India sates of Himachal Pradesh, Uttar Pradesh, Gujarat, West Bengal and Rajasthan are renowned for their diverse form of clay crafts.

IVORY CRAFT OF INDIA Crafts involving ivory crafting are popular in the states like Kerala, Punjab, Delhi, Gujarat, Rajasthan and West Bengal. The ivory carvers of Jaipur, Bengal and Delhi are known for their engraved models of ‘ambari hathi’ or processional elephant, bullock carts, sandals, caskets book covers, and palanquins.

WOOD CRAFT OF INDIA Indian woodcrafts have existed in the nation ever since ancient periods. The craft manufacturing

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 products with the help of wood was practiced even prior to the stone sculptural age. Manipuri region of Uttar Pradesh, Gujarat, Karnataka, Kerala and Jammu & Kashmir are some of the Indian states which are famous for their woodcrafts.

Craftsmen of Gujarat carve exquisite human figures as also images of deities.

STONE CRAFT OF INDIA The art of sculpture is the poetic expression of stone craft, sculptures of deities, decorative for house interiors, modeled on classical prototype, continues to be made in every nook and corner of India. Havelis of Jaipur are very intricately carved by expert craftsmen, which still stand with great majestic aura.

Ancient stone carving can be explicitly seen in Ajanta Ellora Caves. These shrines were all cut out of rock, by hand, and rank amongst some of the most outstanding specimens of ancient Indian architecture heritage. The finest specimens of cave-temple architecture, they house elaborate facades and exquisitely adorned interiors. These structure representing adorned interiors.

These structures representing the three faiths of Hinduism, Buddhism and Jainism, were carved during 350-700 AD. GLASS CRAFT OF INDIA It is evident for the archaeological finding at Basti in Uttar Pradesh that 7

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 glassware in India is ambit 2000 years old. Glass processing, although have hanged widely from past.

DANCE MUSIC DRAMA Dance and music first emerged as part of festivals and religious worship and of dramatic arts in India. Both dance and music, collectively known as sangit, became connected with drama. The earliest written work dealing with all aspects of music and dance was the Natyashastra (handbook of dramatic arts).

Indian has had a long romance with the art of dance. Natyashastra and Abhinaya Darpana (mirror of gesture) are two surviving Sanskrit documents, both estimated to be between 1700 and 2200 years old.

Indian dance includes eight classical dance forms, many in narrative forms with mythological elements. The eight classical forms stated by National Academy of Music, Dance and drama are: Bharatnatyam of the state of Tamil Nadu, Kathak of Uttar Pradesh, Kathakali and Mohaniattam of Kerala, Kuchipudi of Andhra Pradesh, Yakshagana of Karnataka and many more.

Music has been an integral part of Indian culture. Ancient Indian systems classify musical instruments into four groups based on primary sources of vibration: strings, membranes, cymbals and air. The Samaveda and other handy texts heavily influenced India’s classical music tradition, which is known today in two distinct styles: Carnatic and Hindustani music.

Indian drama and theatre has a long history alongside its music and dance.

Kalidasa’s plays like Shakuntala and Meghadoota are some of the oldest 8

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 surviving theater traditions of the world are the 2000 year old Kutiyattan of Kerala, which strictly follows the Natyashastra. With the Islamic conquests that began in the 10th and 11th centuries, theatre was discouraged or forbidden entirely. Drama played a major role in reviving patriotism among people, for independence against the British rule. Natyacharya Mani MadhavaChakyar is credited for bringing the age old drama tradition from extinction. Modern Indian theatrical scene, changed in India after intendance.

Over the years, dance, music and dram have evolved into a more modern phase, seeing more western fusion.

RELIGION Indian is considered world wide as a land of religion. Many people flood in for spiritual release from the wariness of the material life. India is the birthplace of Hinduism, Buddhism, Jainism and Sikhism collectively known as Indian religions.

Today, Hinduism and Buddhism are the world’s third and fourth largest religions respectively. India is one of the most religiously diverse nations in the world, with some of the most deeply religious societies and cultures. Religion plays a central and definitive role in the life of many of its people.

Hinduism, Islam, Christianity, Sikhism, Buddhism and Jainism are the major religions followed by the people of India. Jainism, Zoroastrianism, Judaism and the baha’iFaith are also influential but their no. is smaller.

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 Hinduism has spread to all parts of the world today, taken there by Indian migrants. This religion produced a vast corpus of texts preeminent among them have been the Rig Veda, the `Upanishads, the Bhagavad Gita, the Ramayana and the Bhagavata Prana which are popular even now various temples.

Dharamsalas were built to guide people to have a better valued lifestyle.

Buddhism originated and flourished in India before 6th century and it is in Bodh Gaya that Buddha gained enlightened. Today, it is more prevalent in countries like Tibet, china, Bhutan, Myanmar, Thailand, etc. Jainism, another religion followed by many Indians was found by one of Buddha’s contemporary, mahavira, also uniquely Indian. Both of them questioned Vedas and stressed importance of ahimsa or non violence and abolition of case systems. Today Jains are among India’s most distinguished trading and business communities; and the legacy of Jain art and culture is just as profound. Sikhism, another Indian faith, originated with Guru Nanak, who preached simple monotheistic faith.

Amritsar is considered as the holy city for Sikhs, where sits the magnificent Golden Temple. Sikh community have strengthened them through various oppositions from other religions to subdue them and have risen up, with many followers in the world Christianity, came in during the British rule, during when many people were preached and pulled into the religion.

Though the instutionalized religions are associate with great architectural monuments, such as the Hindu temple cities of South India (Kanchipuram,Ramaswaram, Chidambaram and many others), the Mughal splendors of Delhi, Agra and Fatehpur Sikri or the Golden Temple at Amritsar, churches (Velankani Church, Basilica of Jesus, Goa) the roadside monuments and shrines are even more indicative of the manner on which these faiths interweave with the live of their adherents.

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LITERATURE AND LANGUAGE The Indian literature dates back to many thousand years. The earliest works were orally transmitted. Sanskrit literature begins with the oral literature of the Rig Veda, a collection of scared hymns dating to period 12001500 BCE. Later came the Tamil Sangam Literature, followed by literature in Kannada, Telugu, Bengali, Hindi, Parsi, etc.

The Vedas are the earliest known literature in India. The Vedas were written in Sanskrit. The word Veda literally means knowledge. In Hindu culture, Vedas are considered as eternal and divine revelations. They treat the whole world as one human family Vasudev Kutmbakam. There are four Vedas, namely, the Rug Veda, Yajur Veda, Sama Veda and Atharva Veda. Each Veda consists of the Brahmanas, the Upanishads and the Aranyakas. The Ramayana and the Mahabharata is the oldest preserved and well known epic of India. These epics played an important role in their eras, to instill certain values. Ramayana tries to emphasis the role of dharma as a principal ideal guiding force for Hindu way of life, with moral code of conducts, whereas in Mahabharata, the strength of dharma is devised along with karma. Sustaining dharma, with few diversions from the straight loyal path is considered correct. In addition to these two great Indian epics, there epics such as Megdoot, Mricchakatika, Ratnavali, Arthashastra and other in classical Tamil language- Silappatikaram, Manimekalai, Civika-cintamani and Valayapathi-kundalakesi are also famous.

The Puranas occupy a unique position in the sacred literature of the Hindus. They are regarded next in importance only to the Vedas and the Epics. There are said to be eighteen Purana’s and about the same number of Upapuranas. Some of the well known Puranas are- Brahma, Bhagavata, Padma, Vishnu vayu, Agni, Matsya and Garuda.

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 It is found that India has 122 first languages, in use out of which, 22 are official15 of which are Indo-European. Sanskrit is the mother of many Indian languages.

The Vedas, Upanishads, Puranas and Dharma sutras are all written in Sanskrit.

The language, whatever is its antiquity, is of a wonderful structure; more perfect than the Greek, more abundant than the Latin, and more exquisitely refined than either. Hindu, Gujarati, Bengali, Marathi, Punjabi and many other languages, emerged from Sanskrit. All of these languages have roots and structure similar to Sanskrit, to each pother and to other Indo-European languages.

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CHAPTER: 2 SITE ANALYSIS India dates back to age old rich culture.

With various religious origins multitude of customs, different languages and numerous cultural aspects. New Delhi, as the capital centre of India provides us with a lot of reasons to set up a cultural community here. Delhi greets a large number of tourists from all over the world as well as from within the states of India. It provides a great range of visitors to any project set up here.

The Delhi developmental authority (DDA) has decided to develop a socio cultural centre at Dwarka, sector 11. The proposed centre will promote visual arts like painting, sculpture and performing arts like music, dance, theatre, etc...

WHY DWARKA? Dwarka, a fast growing neighborhood in southwest Delhi. It faces a centre of developmental concern for all the political agendas ever made. The area and site both are favorable to concerned need. The transit system

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 development also allows us to connect as many people as we need.

Due to concentration of population here it calls for a need of a social cultural hub as today in the busy world of competition it is required to stick to the cultural aspects of our country. India is well known for its diverse culture in whole world so we as the citizen of India it is our duty to preserve and present our culture to our coming forth generation.

LOCATION The site is located in sector 11, Zone K2, Noida, West Delhi. This area is fast developing with potential for mixed use. Mixed use neighborhood creates a self sustained society, where the daily inflow and outflow is not in high ration. People working in the closer proximities, may ensure visit steady local visitors to the hub.

Locating a cultural hub in such a place will not only act as a recreation for all people but also encourage them to connect with their culture on a daily basis that would enhance the quality of life and cultural promotion.

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SITE CHARACTER The site is planned as center core of Development for Urban Design of the linear District Center. In sectors 10, 11, 12, 13 and 14 in Dwarka, as developed by the Delhi urban Arts Commission. The declared green volt zone fuses into the site, along the drain, from the northern side, which has dense vegetation.

Residential and institutional buildings are located in western and southern side of the site, whereas eastern side of the state is abutted by hinge sports complex.

There is a great potential in placing the exhibition pavilions and buildings in the center wing to its equidistance from all sides and least affecting the green belt.

The site acts as a mediator fusing contemporary buildings in northern-southern part, and also between the green open spaces and recreate areas suited in eastern-western side of the site. Hence the site acts as a junction, where northern-southern contemporary buildings unify with the eastern-western dense urban green fabric. These constraints push towards stronger contextual design.

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 The complication of the site lies in green belt status i.e. it should have more green spaces encouraging and preserving dense tress. Least intervention from the northern part of zoning buildings in the southern central parts would ensure this. Te hub is envisioned to have an international facility, which could attract millions of people from the around the world to experience Indian culture. Hence the design has to tend to all kinds of local as well as international needs. By doing so, the impact on the surrounding neighborhood would be huge. Utmost care should be taken to solve other issues like sound, crowd and traffic in the area.

Having the core exhibit area along site center, placed in closer proximity would ensure visual connection as well as better orientation. Zoning public parks, cultural schools and other paces, having public intervention, along the outer edge of site will assure activity lovely complex, throughout the year.

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CLIMATIC CONDITION Dwarka, Delhi overlap between monsoons influenced humid subtropical and semi arid, with high variation between summer and winter temperatures and precipitation. It observes relatively dry short winters and has a prolonged spell of very hot weather, due to its semi-arid climate.

Exterior and interior spaces should cater to both the winter and summer extreme needs. Summer start in early April and peak in May, with average temperatures near 32 degree Celsius. The monsoon starts in late June and lasts until mid September, with about 797.3mm of rain. The average temperatures are around 29 degree Celsius. Winter starts in age temperatures sliding from 29 degree Celsius. Winter starts in late November or early December and peaks in January, with average temperatures around 12 to 13 degree Celsius. Delhi’s proximity to the Himalayas results in cold waves leading to lower apparent temperature due to wind chill. Delhi is notorious for its heavy fogs during the winter season.

Extreme temperatures have ranged from -2.2 degree to 48.4 degree Celsius. Providing more tress is inside the complex itself shades most of the ar4eas, giving comfort for the users in extreme summer. But during extreme winter, comfort is open unshaded area. Hence proper balance needs to be sought after.It plays an important role in the usage of the entire complex.

Contextual designing of the exterior and the interior, with 17

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 consideration of the prevalent climatic condition is necessary for an active utilization of the spaces designed. Climatic factors that need to be considered are wind velocity, wind direction, wind patter, humidity, precipitation, water levels, sun path, seasonal variations, micro-climatic conditions, etc for the entire year, to arrive at a proper contextual design.

Two most important wind patterns influencing Delhi’s climate are the western disturbance and south west winds. As the wind blowing in summer is hot and dry, positioning a water body in the west would naturally cool the complex.

Najafgarh channel is located u the most appropriate direction. South west winds carry humidity and comforts the users. Hence these need to be harnessed y positioning the building in the perpendicular axis. It is bearable from the wind rose diagram that wind movement during most of the year is along western and north western direction.

Water table in the region, indicate that the region is not water scarce, even during extreme summer. Hence there is no high water pressure on the land, for its various requirements. Soil conditions are moderate having kankar soil till 4m depth and then mixture of kankar and silt.

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S.W.O.T ANALYSIS STRENGTHS -location from the sector 11 metro station takes it accessible for all to reach and enjoy the facility of the proposed project - The site has regular and neat boundaries - The connectivity to airport and railways allow tourists to reach easily - The road 221 provide a better connectivity and accessibility to all for self transport system

WEAKNESS -high tension wires runs nearby the site - Untreated sewage drain in close proximity which can give rise to water born dieses and currently the site is used as dumping zone.

- The main roads in front (roads 221) can cause noise, traffic congestion as experienced during peak hour of the day.

PROJECT BRIEF The following project is proposed by DDA for construction of socio cultural complex in sector 11. DDA has mentioned five major requirements that ought to be constructed in the given 18 acres.

1. CENTRE FOR VISUAL ARTS - contemporary art gallery, sculpture, etc.

2. CENTRE FOR PERFORMING ARTS - auditorium, rehearsal room recording rooms, etc 19

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 3. ADMINISTRATIVE AND LIBRARY BLOCK - children’s library, reading room, audiovideo spaces, etc 4. CONVENTION CENTRE - auditorium, business centre, seminar rooms, meeting rooms, etc...

5. RESIDENTIAL AREA - guest rooms/suites, kitchen, restaurants

SITE NEIGHBORHOOD LAND USE PATTERN Land-use Pattern provides the typology of usage, which in turn gives insight about the activity typologies, kind of people usage, crowd movement pattern and its indirect impact on the site. Neighboring sectors in Dwarka are pre-dominated by residential apartments, which will have huge impact due to cultural hub, on being built. As these sectors are being planned for linear central district, denser residential zones can be predicted. Design needs to adhere to the future expansion as well to sustain as an active successful hub.

BUILDING HEIGHT MAPPING It is observable that the maximum height in buildings in neighborhood is 15m immediate neighborhood zones have less dense, medium heighted apartments, which slightly hinder long views. For iconic nature and identity, taller structure should be built.

T

TRAFFIC CONDITION The mall road has heavy traffic, most of the time, as it acts as main vertical connecting road in Dwarka, which also leads to core Delhi. Other roads like Road No. 221, sees moderate traffic flow. Hence, the main entrance can be designed along this road.

Moreover, the vertical metro road can be used for multiple exits, thereby diluting the crowd flow and not hinder traffic.

TRANSPORTATION NODES 20

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 Many users are predicted to use public transport, hence expecting more footfalls from metro stations and pedestrian movement from nearby bus depots and auto-stands.

Direct special entry from metro station is preferable. There are many bus depots which can handle huge crowd flow.

GREEN NODES Green belt is declared in western side of the site, which melts into it, along the drain.

Green spaces are close to nil, along southern side from site. Hence, designing a public park, in southern end of site, would act as recreational area.

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CHAPTER: 3 LITERATURE STUDY AGA KHAN MUSEUM Architect: Maki and Associates Location: Tornato, Ontario, Canada Area: 16.8 Acres Project Year: 2014

The Aga Khan Museum is one of the two buildings developed in a 6.8hectre (16.8acres) site together with the Ismaili centre designed by Charles Correa and Formal Gardens by Vladimir Djurovic. Maki and associates carried out the master plan for the entire site organizing two buildings around,100 meter wide, inspired by the Islamic Courtyard-The chaarbagh.

The garden an urban oasis, is positioned at the centre of an irregular undulating site while creating an informal landscaped park around the periphery. The Ismaili Centre, a religious, social and spiritual

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 building for the Ismaili Community is oriented toward Mecca. The museum, a cultural civic facility opens to the general public. It is home to galleries, exhibition spaces, classrooms, a reference library, auditorium and restaurant.

The design of the Museum is inspired by a vision statement of “LIGHT “by his Highness the Aga Khan. The rectilinear building is oriented forty-five degrees to south north where all its sides are exposed to sun. The form has been chiseled to create a concaved angular profile that is also a natural expression of the two level building. Clad in sandblasted white Brazilian granite, the surfaces of the building are set in motion in a constant interplay with the sun in light and deep shadows. The effect is similar to sun-dial.

Within the building, a fully glazed courtyard encircled by a layer of free flowing public space in the form of a grand cloister establishes the hub of the Museum.

The galleries, exhibition, spaces, classrooms, library, auditorium foyer and restaurant/shop, are all equally accessible from the hub.

The glass in the courtyard is imprinted with a double layered pattern in line and void to create a three dimensional effect recalling the traditional Islamic Jali Screens. The light from the courtyard constantly cast moving patterned shadows on the soffits, walls and floor of the grand cloister animating the interior spaces.

Up above on the second level, four large openings overlook the public spaces though a cast zinc screen in the public spaces through a cast zinc screen in the form of an Islamic bay window. Within the galleries, large aluminum paneled 23

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 skylights perforated with small hexagonal openings emit soft natural light into the exhibition areas.

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JAWAHAR KALA KENDRA, JAIPUR Architect: Ar. Charles Correa Area: 9.5 Acres Project year: 1986-92

Jawahar Kala Kendra is an arts and crafts centre located in the city of Jaipur. The centre is important not because of its nomenclature but its association to the city itself. The centre was built in the year 1986 and construction completed in 1991.

CONCEPT The centre is an analogue of the original plan of Jaipur drawn up by the Maharaja Jai Singh in the mid 17th century. His city plan, guided by the Shilp Shashtra, was based on the ancient Vedic mandala of nine squares which represent the nine planets (including imaginary ones- Ketu and Rahu). Due to the presence of a hill, one of the squares was transposed to the east and two of the squares were amalgamated to house the planet. Correa’s plan for the Kendra invokes directly the Navgraha.

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LAYOUT ACCORDING TO MANDALA The building program has been “disaggregated” into eight repartee groupings: corresponding to the myths represented by that particular planet: For instance the library is located in the square of the planet Mercury which traditionally represents knowledge The theatres are in the house of Venus, representing the arts The central square as specified in the Vedic Shashtra is a void representing the NOTHING WHICH IS EVERYTHING. The flooring pattern in this square is a diagram of the lotus representing the sun.

The centre is frequently occupied with artists and art loving people.

Many exhibitions and performances by local artists are displayed at the centre. The annual festivals of classical music and dance are held in the centre. The centre host many workshops too.

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PLANNING

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BROAD ACTIVITIES The centre has been made in eight block housing:     

Library (594 sq. m) Print making studio Sculpture studio Alankar museum (515 sq. m ) Sudhershan terracotta gallery 28

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19            

Chaturdik gallery, running wall space 485 ft Sukriti gallery, running wall space 160 ft Surekh gallery, running wall space 160 ft Amphitheatre (900 sq. m) Audio visual centre (252 sq. m) Cafeteria (244 sq. m) Guesthouse (103 sq. m) Dormitories (421 sq. m) Administration (262.5 sq. m) Black box/ Arena (Krishnayan) (178.2 sq. m) Director’s theatre- Rangayan (414.34 sq.m) Toilets (40 sq. m)

MATERIALS    

Material: red sandstone and white marble Vastu symbol on each unit Small punctures on wall for ventilation Central courtyard for recreation and ventilation

TILAM COURT The food court has been the excellent example of the traditional rural architecture of Rajasthan. The structure has been made in brick masonry and finished with mud. The roof has been framed with MS circular pipes and then covered with fiber seats. Both are finished with local putty to give a touch of vernacular culture of Rajasthan.

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CHAPTER: 4 CASE STUDY RABINDRA BHAVAN Architect: Ar. Habib Rahman Location: Feroz Shah Marg, Mandi House, New Delhi Area: 3.5 Acres Project year: 1961 Rabindra Bhavan was built to mark the birth centenary of tagore, who in addition to being a poet and novelist, was an artist, playwriter and composer.

The building is thus the home of three National Academies- LALIT KALA (plastic arts), SANGEET NATAK (dance, drama and music) and SATHIYA (literature).

The complex stands on a 1.45 hectare (3.5acres) site amongst other art institutions forming the cultural centre of New Delhi. It consists of an administrative block, exhibition block, Y-shaped in plan, is a four storey structure to house offices of the three academics and a library. A 1.2m roof overhand protects building surfaces from the streaking effects of rain. Centre-hung windows have a double row so continuous sloping R.C.C. chhajas, blocking off strong sunlight yet permitting breezes to flow in.

The design solution as it emerged consists of the administrative block with three wings of more or less equal length at an angle of 120 degree to each other and a

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 pentagon shaped exhibition block the form of which follows the curve is the traffic island. The exhibition block consists basement and two upper floors on split levels.Jalis have been used discreetly in various parts of the building to reduce glare and provide subdued natural light.

The main entrance is in the admin block where the three wings meet and the entrance hall, lift, and staircase are placed. Though each of the three wings have their own staircase for internal vertical circulation.

The orientation of the building is more contexts driven than the climatic drive. But at the detail level, more importance is given to the design and placement of each element of weather protection. According to Architect the angle of the sunshades is designed to eliminate the strong morning and afternoon sun.

HEIRARCHY OF SPACES Ar.Habib has tried to get the functional clarity by designing individual building forms. So all the functions are defined by the individual forms which are then connected through either by simple pathways within the landscape or by covered walkways in between two blocks. The functionality is based on the notion of public, private and semi-private 31

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 spaces. The exhibition gallery and theatre which are meant for public gathering are kept in separate block whereas administrative block that has semi-private and private areas are kept in separate block. The wing lalit Kala academy is kept near the exhibition block and the wing of Sangeet Natak is kept near the theatre block due to their interconnection with each other. Theatre has its own entry from the Lytton road while back entry is too provided through Feroz shah road to serve other services like canteen. The administrative block and admin building shares same entry & exit gate.Exhibiton gallery has its own entrance plaza for small gatherings.

STRUCTURAL LAYOUT Brick masonry load bearing walls with combination of R.C.C. column, beam and slab is used. The grid is divided in two grids is 12ft module and 25ft module where the shorter span has two modules of 25ft and longer span has 8modules of 12ft in case of Lalitkala and Sahitya Academy and 9 modules of 12ft in case of Sangeetnatak Academy.In case of theatre block the structural system is complex with varying dimensions.The columns of the sitting area are placed at interval of 10ft from centre to centre and columns of stage and back stage are placed at interval of 11ft.

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PLANNING

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INDIRA GANDHI PRATISTHAN, LUCKNOW Architect: Vaibhav Goel Associates Location: Vibhuti Khand, Gomti Nagar, Lucknow Area: 25 Acres Project year: 2006

After a long political fight over the project of a good convention centre in Luck now, INDIRA GANDHI PRATISTHAN was proposed by the Government in about 2002.At first about 10 acres of land was ought to provide but later it was proposed with 25 acres in Vibhuti khand,Gomti nagar. The site is connected to roads of 45m wide sharing boundary with High Court of Lucknow.

CONCEPT The architect used the pattern of solar system as the concept for the convention centre. As the purpose the size of the planets are put into consideration and each block is named after them with varying seating facilities. The site faces east direction. The service blocks are provided in the north corner.

The site contains service internal road of about 12m to 18m wide varying in different direction containing different puposes.This convention centre can 35

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 contain up to 3000 visitors at a time with car parking capacity of 1000.The vegetation in the site with Asoka tree and more finds its way to increase the beauty of the building.

Keeping in mind the traditional vernacular theme, red sandstone is used. The interior false ceiling contains Gypsum ceiling along with wooden work and floor for stages. Glasses are too used to provide better visibility. The dome constructed over the Earth complex and Banquet Hall is too amusing. Punctures are provided with transparent sheeting in the dome to let the light come in the complex. The building uses solar energy as its source for different purposes. A large number of solar panels can be seen over the blocks.

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DILLI HAAT, INA, NEW DELHI Architect: Ar. Pradeep Sachdeva Location: Kidwai Nagar, Opposite INA Market, New Delhi Area: 6 Acres Project year: 1993 Dilli Haat is the project by the New Delhi tourism and Municipal Corporation what provides an ambience is a traditional village market. It is not just a market but also visualized as a hub for traditional Indian culture. Three dilli haats have been till constructed1.original 6 acres opp INA metro station (yellow line) -1994 2. 7.2 acres dilli haat near Netaji 3.Subash Place Metro Station (red line )-2008 3.newest and largest 9.8 acres dilli haat in Janakpuri, near Tilak Nagar Metro (blue line) 2014

SITE CONDITION The overall area available was approximately 100m x 300 m with ground coverage of 12% giving total built up is 3190 sq.m.The site itself posed unusual constraints like the nallah running through the entire length . The nallah

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 was covered with r.c.c. slab but it was not allowed to construct any structure over it as it no t been designed to take such loads. This resulted in planning of building towards the periphery. The two sides of the nallah had been filled up with soil, necessitating foundation as much as 8m deep.

CIRCULATION -from the entrance plaza to the end of the complex, the circulation is entirely pedestrian -by the use of ramps & step, lots of levels have been created to define buildings more distinctly.

-circulation in front of shops is through a verandah covered arcade.

-the spaces also get varied character because the plaza changes character from a large entrance plaza to an oblong open space.

-service entrance has been provided at various points on the periphery

OPEN AIR THEATRE - small performing arts theatre ends the vista.

(SEATNG CAPACITY:- 50-60 PERSONS) -stage has a circular form and there is adequate back stage space available but the front space for visitors is very less.

-there is a central 10’-o� wide walkway towards stage from front entrance which is identified by 4 richly carved wooden columns.

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 -this area is separated from surrounding activities with bamboo sticks.

-these bamboo sticks on the outer edge and the gravel on the seating area create a complete village performance area.

HABITAT CENTRE, NEW DELHI Architect: - Joseph Allen Stein Location:- Lodhi Road, New Delhi Area: - 9.6 Acres Project year: - 1993 India Habitat Centre (IHC) has been conceived as an ideal physical environment with a range of facilities that would maximize the effectiveness of the individuals and institutions, in their holistic support of the habitat. The principal resolve of the Centre - "to restore at every level - environment and ecological - a balanced, harmonious and improved way of life," is reflected in its concept and design.

DESIGN CONCEPT The creation of a green and healthy environment forms the backbone of the 39

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 complex. This contributes to the urban level functions and also creates a healthy and pleasant environment for the working employees. The height of the building is around 30m high. The entire facade is gladded with red bricks which give a majestic look to the structure. Vertical and Horizontal ribbon windows have been used with a special glass that restricts the entry of sunlight. The atrium of the structure is beautifully designed with various landscape features such as sculptures, green areas in the centers resulting in the formation of a roundabout in the atrium. The atrium is rectangular in shape and is divided into three parts. The middle one is left open whereas there is landscaped roundabout formation on its either sides.

ORIENTATION OF THE BUILDING -Building is designed with a view to keep minimum exposure on the east and west site.

-North block with number of openings recessed behind two blocks to shade it from NW sun.

-Eastern face conveys a fortress like quality.

-Building width have been restricted to 15 mts enabling the interiors to be lit from both sides

SHADING DEVICES The reflectors are installed above the building to provide shade and prevent sun from entering into the building. The reflectors are aligned at an angle which reflect back 70% of the sunlight and change their angle during winter to allow sunlight to fall on the windows.

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 The IHC is composed of variety of functions which have been put together in such a compact form. it has been planned a series of four to seven story blocks with shaded courtyards protecting from the excesses of tropical climate and motor traffic of adjacent heavily traffic intersection .The various functions are •RENTED OFFICES SPACE •RESTURANT •AMPHITHEATRE •AUDITORIUM (537 SEATING) •EXHIBITION HALL •ART GALLERY •FITNESS CENTRE •CONVENTION CENTRE

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CHAPTER: 5 STANDARDS DANCE STUDIO A place where one practices or learns the art of dance.

Includes a smooth floor covering or, if used for tap dancing, by a hardwood floor.

The smooth vinyl floor covering, also known as a performance surface and commonly called "Marley", is generally not affixed permanently to the underlying floor and can be rolled up and transported to performance venues if needed.

Sprung dance floors with matting ballet bars with full height mirrors.

Portable ballet bars surrounding room allowing room to split into two.

MUSIC STUDIO For artists who work within that studio, record and practice music and play different instruments.

Requires acoustic services so as to avoid echo etc.

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AUDITORIUM A room built to enable an audience to hear and watch performances at venues such as theatres.

Requirements to consider in an auditorium are acoustical, illumination, doors, communication, and safety measures etc.

Provide carpet in the aisles and forward area, a hardwood floor on the stage, in front of the main curtain, softwood elsewhere.

Provide sound shaping devices as required for proper acoustics in the auditorium.

Fluorescent house system, stage lighting system, with means of lowering the fixtures for service.

PROPORTION OF AUDITORIUM Obtained from spectator’s psychological perception & viewing angle as well as the good view from all seats.

Good view without head movement, but slight eye movement of about 30o Good view with slight head movement and slight eye movement approx. 60o.

Maximum perception angle without head movement is about 110o.

With full head and shoulder movement, a perception field of 360o is possible.

ELEVATION OF SEATINGS Obtained from lines of vision.

Since spectators sit in gaps, only every second row requires full sight elevation (12cm).

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 Rows of spectator should be formed in a circular segment with respect to the stage, not just for better alignment but also to achieve better mutual perception. Exits: 1m wide/ 150 people should be provided or min. 08m.

VOLUME: 4-5M3 THEATRE OR 6-8M3 FOR OPERA PER SPECTATOR. 99 seats*0.6m2 needs a stage area of 60m2(2/3)+30m2(1/3) i.e., 90-100m2.

A room proportion of 1:1:6 is the best option for multiple uses.

Proscenium height should be determined first. Then apron height, banking of the stalls & volume of auditorium are determined.

Lines of ceiling are obtained from acoustic requirements.

Aim should be for the reflected sound from stage or apron to be equally distributed through auditorium.

STAGES Stage Forms: Full Stage, Small Stage & Set areas Full Stage: More than 100m2 of Stage area. Stage ceiling more than 1m above top of proscenium arch.

Small Stage: Area no more than 100m2, no stage extension (secondary stages), stage ceiling not more than 1m above top of proscenium.

Set Areas: Raised acting areas in rooms without ceiling projections.

Stage proportions are developed from the lines of vision from the auditorium.

The stage area is the playing area plus the walkways (around the back of stage) and working areas.

Stage Ventilation: Means should be provided for ventilating smoke and hot gases resulting from fire on the stage e.g. - provision of haystack lantern light or fire ventilator sited in highest point in roof over stage and as near to center of 45

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 stage as is reasonably practicable. An additional fresh air inlet may prove effective.

OPEN AREA THEATRE Open stages require considerably less scenery than normal stages because the playing area is viewed from several sides.

Scenery store: for theatres and multipurpose theatres, production is 10-12 and for opera it is up to 50 & more.

Per play/production, around 20-25% of playing area is required as storage area (for theatres about three times & for opera it is about ten times).Space requirement for costumes: 1-12cm/costume or 1 -15 costumes per rod.

MUSEUM AND ART GALLERY The main concerns of museums & art galleries are collecting, documenting, preserving, researching, interpreting and exhibiting some form of material evidence.

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INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19 Each group of pictures in art gallery should have a separate room & each picture a wall to itself, which means small rooms.

The normal human angle of vision starts 27o up from eye level.

3-5m2 hanging surface per picture, 6-10m2 ground surface per sculpture & 1m2 cabinet spaces per 400 coins.

A sill height of 2.13m for pictures and a viewing range of 3-3.65m for sculpture.

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