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CULTURAL CONFLUX OF CONTEMPORARY TIMES Socio-cultural Centre, Sector-53, Gurgaon

THESIS REPORT 2022

Guides: Ar. Sushil Aggarwal Ar. Anamika Bagchi Co-ordinator: Prof. Dr. Aruna Ramani Grover

Malaika Bhat A/3063/2017

CANDIDATE DECLARATION

12th May 2022

The thesis titled- “CULTURAL CONFLUX OF CONTEMPORARY TIMES: Socio-cultural Centre, Sector-53, Gurgaon” a requisite of the Bachelors Program in the Department of Architecture, School of Planning and Architecture, New Delhi – 110002, was completed by the undersigned in January – May 2022. The supervisors were Ar. Sushil Aggarwal and Ar. Anamika Bagchi. The undersigned hereby declares that this is his/her original work and has not been plagiarized in part or full from any source. Furthermore this work has not been submitted for any degree in this or any other University.

Malaika Bhat A/3063/2017 5th Year, Section-A

ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my Thesis guides Ar. Sushil Aggarwal and Ar. Anamika Bagchi for critically guiding me throughout this process for suggestions, inputs, and translation of ideas that helped me complete this thesis. I would also like to thank our curriculum that gave me an opportunity to carry out this thesis. Deepest gratitude to my faculty coordinator Prof. Dr. Aruna Ramani Grover for constantly supporting me. Also, I owe gratitute towards Ar. Harleen Behl, Ar. Shabnam Bhardwaj, Ar. Paromita Roy of DDA and Ar. Nishant Gautam who helped me in topic selection so that I could reach this stage. A special thanks to my friends Yuvaraj Yerra, Rahul Raj, Varuni Jindal, Ehtisham Ahmed and Yashvant who have encouraged me at various stages of my design to move towards a better end product. Last but not the least, I would like to thank my father who has should immence trust, support and enthusiam throughout the course. His constant encouragement has given me immense strength to complete this work.

Malaika Bhat June 2022

सार हमारी भारतीय जीवन शैली में संस्कृति का महत्वपूर्ण स्थान है। यह एक दिलचस्प संगठन को चित्रित करता है क्योंकि यह तीसरे स्थान को पेश करने और बनाने के अलावा सभी जगहों को प्रभावित करता है। हालांकि, सांस्कृतिक स्थानों की वर्तमान पीढ़ी की समझ इसके कुछ घटकों तक ही सीमित है जो नृत्य, संगीत और कला है, क्योंकि वे शहर के जीवन स्तर को बेहतर बनाने में उत्प्रेरक के रूप में सांस्कृतिक रिक्त स्थान की क्षमता को समझे बिना इस घटना को रूढ़िवादी के रूप में जोड़ते हैं। मूल तथ्य यह है कि संस्कृति अपने आप में गतिशील है और यह पीढ़ी दर पीढ़ी विकसित होती है, इसे हमारे देश के कुछ हिस्सों में ही समझा जाता है और यही एक कारण है कि इसकी अभिव्यक्ति एक स्थान से दूसरे स्थान पर भिन्न होती है। एक अच्छी तरह से डिज़ाइन किया गया सार्वजनिक केंद्र जनता के अनुभवों को आकार देता है और समुदाय की संस्कृति को बड़े स्तर पर चित्रित करता है। मेरी थीसिस का उद्देश्य गुड़गांव में सांस्कृतिक केंद्र की भूमिका को ऊर्जा देना है जिसमें बौद्धिक मूल्यों के आदान-प्रदान के लिए सामाजिक बुनियादी ढांचे की कमी है और शहर के स्तर पर हस्तक्षेप करना है ताकि विकसित सार्वजनिक स्थान सभी सांस्कृतिक अभिव्यक्ति, सीखने, प्रदर्शनी और आदान-प्रदान को बढ़ावा दे सके। मूल्य। गुड़गांव अपने तेज जीवन और सहस्राब्दी संस्कृति के लिए जाना जाता है, जो युवाओं को लुभाने का प्रबंधन करता है। राज्य के सांस्कृतिक मूल्य इतने अक्षुण्ण नहीं हैं जितने पिछले तीस वर्षों में शहर का तेजी से विकास हुआ है। शहर की भौगोलिक स्थिति और दिल्ली, उत्तर प्रदेश, पंजाब और राजस्थान के साथ जुड़ाव इसे उद्योगों और व्यवसायों के विकास के लिए एक महत्वपूर्ण नोड बनाता है जो रोजगार के अवसरों के कारण युवाओं को आकर्षित करता है। हरियाणा विकास प्राधिकरण ने गुड़गांव के सेक्टर-53 में अपना पहला सामाजिक-सांस्कृतिक केंद्र प्रस्तावित किया है। परिवहन नोड के साथ जुड़ाव और संदर्भ में भूमि उपयोग आगंतुकों को आकर्षित करेगा। मेरी थीसिस एक समकालीन बिल्डिंग कॉम्प्लेक्स के लिए गुड़गांव शहर के लिए प्रासंगिक साइट प्लानिंग, बिल्डिंग टेक्सचर और टेक्नोलॉजी की संभावनाओं का पता लगाने का इरादा रखती है जो शहर के निर्मित फैब्रिक के साथ सिंक्रोनाइज़ेशन में है और सभी को एक सुरक्षित प्लेटफॉर्म प्रदान करता है। विचार यह है कि संदर्भ से जुड़ने वाली साइट से पथ प्रदान करके साइट को शहरी कपड़े में सिलाई करना है ताकि पैदल चलने वालों को प्रोत्साहित किया जा सके। इन शहरी अवधारणाओं को समझने के लिए गहन अध्ययन किए गए हैं और इसे एक सामाजिकसांस्कृतिक केंद्र पर लागू किया गया है जिसमें खुदरा, एफ एंड बी के साथ प्रदर्शनी, प्रदर्शन और सीखने की कला, और बाहरी के लिए आंगन वाले कलाकारों और छात्रों के लिए एक पारगमन निवास स्थान है। आयोजन।

SYNOPSIS Culture posses an important role in our Indian lifestyle. It portrays an interesting organization as it influences all spaces apart from introducing and forming third places. However, the current generation’s understanding of cultural spaces is limited to a few components of it that is dance, music and art only as they associate the phenomenon as being orthodox without understanding the potential of cultural spaces as catalyst in improving a city’s living standards. Rudimentary fact that culture in itself is dynamic and it evolves with generation is understood only in some parts of our country and that is one of the reasons why the manifestation of the same varies from location to location. A well designed public center shapes the public’s experiences and portrays the culture of the community at a large level. The aim of my thesis is to energies the role of cultural center in Gurgaon which lacks the social infrastructure for exchange of intellectual values and to intervene at the city level so that the public space developed promotes the expression, learning, exhibition and exchange of all cultural values. Gurgaon is known for its fast life and millennial culture, which manages to lure the youngsters. The state’s cultural values are not so intact as the city has grown steeply in the last thirty years. The geographical location of the city and connectivity with Delhi, Uttar Pradesh, Punjab and Rajasthan makes it an important node for development of industries and businesses which attracts youngsters because of employment opportunities. The Haryana Development Authority has proposed its first Socio-cultural center in Sector-53, Gurgaon. The connect with the transport node and the land uses in the context would attract visitors. My thesis intents to explore the potential of site planning, building textures and technology relevant for the city of Gurgaon for a contemporary building complex that is in synchronization with the city’s built fabric and provides a secure platform to everyone. The idea is to stitch the site into the urban fabric by providing paths from site that connect to the context so that pedestrianism is incentivized. In-depth studies have been carried out to understand these urban concepts and have it applied to a Socio-cultural center which houses spaces for exhibition, performing and learning arts with retail, F&B, and a transit residence for artists and students with courtyards for outdoor events. Eyes on street has been used as the site planning principle. Double skin facades and landscape features have been used to energize various spaces. Thus, my thesis represents energization of cultural expression in the contemporary times.

INTRODUCTION TO PROGRAM

OVERALL AREA PROGRAM ANALYSIS Service Appartments & Dorm, 6790, 18%

Administration & Office, 1827, 5%

Learning Centre, 4886, 13%

Performing Arts Centre, 2620, 7%

Exhibition Centre, 10229.8, 28% Retail + F&B, 6790, 19%

Problem Identified: The city lacks cultural venues. The goal of this project is to create a dynamic culture centre to fill the lack of public spaces in Gurgaon’s urban setting. This thesis aims to re-energize the idea and design of public spaces as cultural, recreational, and learning places in Gurgaon, which lacks shared public utilities and a cultural fabric. It also tackles the dual nature of these public spaces, namely their potential to provide something distinctive and be beneficial to the city as a whole while still being active and relevant to the people in the immediate vicinity on a frequent basis. (Oldernburg, 2000). Proposition Statement- In light of all the identified issues, this thesis thus proposes to address the lack of social infrastructure by creating an inclusive, sustainable and communal cultural hub where artists and interest driven people can come together for experiencing, promoting and sharing knowledge to the community so that the quality of urban living in a city like Gurgaon can be improved apart from making it an economic resource.

Recreation Centre, 3745, 10%

INFLUENCE OF RESEARCH ON DESIGN

Strategies for Public Spaces: 1. Site planning can take inspiration from the traditional third spaces like courtyards, stepwell, chowk, baithak and chabutaras. The massing can be inspired from steps of the stepwells to relate it to the natives. 2. Courtyards between different blocks can promote self shaded comfortable outdoor environment. Display of Arts & Crafts: 1. Crafts to be displayed, promoted and sold at the lower level. The lower level to have elements of the traditional age. 2. Plazas to be inviting and spatious enough to draw people in during various events and festivals. 3. Use of traditional building or space elements so that people from every age group, class and ethnicity can relate to it. Interpreting Tradition in contemporary times: 1. Use of perforated panels/ jallis in facades.

SERVICE APPAR. STUDIOS EXHIBITION RETAIL Figure: Inferences from Research Source: Author

2. Landscape features to create a microclimate. 3. Creation of third places in urban intervention.

INFLUENCE OF CASE STUDIES ON DESIGN Site Planning: • Site divided into vehicular and pedestrian accessible space. Public edge towards the front and service edge towards the rear- not accessbile to public and hidden by massing. • Accomodation to be in the most private zone of the site that is towards the Wazirabad Bundh Restoration Park. • Retail to be a binding factor of the INTERLINKAGE: Spatial Interlinkage is necessary for a wholesome functions. • Two drop offs to be provided for experience of the centre. seperation of visitors for different purposes.

SITE PLANNING: Segregating public, private and services. Energizing the centre through retail.

SERVICE: Eating spaces to be supported by service corridors. Seperate circulation for the services.

ZONING: Lower levels more public and privacy increases as one moves up.

MULTIUSER: Spaces designed for all people- children, teens, handicaped, elderly, to enhance quality of life.

Public Area: Lower level to be dedicated to public functions like retain and exhibition spaces, so that the functions are easily accessible. Guest rooms to be provided at a higher level so that views can exploited. Services/ Back of House: Restaurants and food court to be served by common corridors. Services to be catered to site from the SAFETY: No inactive spaces, ground level only, because of security. spaces facing an open area for Unloading bays behind the auditori- better natural survelliance. um. Connection of services to pre-function areas

AREA PROGRAM’S INFLUENCE ON DESIGN

Table: Ground level Circulation. Source: Author

Functions that a more public will be placed near the pedestrian and the vehicular entry points. Those which have a private nature like the accommodation can be placed at the upper levels for a calmer environment.

Table: Vertical Circulation. Source: Author

The overall relationship is established in such a manner that te public spaces that is retail and exhibition are placed in and around the central courtyard and haven visual connect with all Table: Overall functional relationship. oter functons. Source: Author

INFLUENCE OF SITE STUDY ON DESIGN The edge is the calmest and can be used to place functions that require peace and tranquility apart from views.

The edge is important as it will provide extensive views to the site. Adjacency to restoration park and main connecting road.

The edge is expected to be the busiest as there is a road leading to the site. The egde can potentially be the entry point to one of the main public functions.

VIEWS TO GREENS The edge can be utilised for the service entry/ exit as it is located towards the rear side and is nt visible to the public from far ends.

VIEWS TO GREENS

MAX. N-S ORIENTATION

Figure: Plan showing Learnings & Way Forward from Site Analysis. Source: Author

TECHNOLOGY INTEGRATION IN DESIGN 1. SUSTAINABILITY Green roofs to be adopted in outdoor terrace areas which would create a microclimate as well as keep the building cools. This would also help in reducing the Urban Heat Island Effect. Solar panels to be placed on roof tops where the terraces are not usable. Jaali panels to be used for filtered light and ventilation.

Figure: Green wall. Source: Google Images

2. SERVICES VRF Systems to be adopted for guest and student accommodation. Chilled water-cooling system for common areas. AHUs and Electrical rooms required for the three zones. Outdoor Units for VRV System required (for 100 rooms) Chiller plant to be placed in basement. Cooling towers to be installed on the rooftop for Auditorium and other learning spaces. Incorporate chilled beam and roofing systems.

Figure: Use of Jalli in Pearl Jaipur. Source: ArchDaily

3. SAFETY Core to core travel distance for all functions to be 60m (30m travel distance) Lift lobbies and staircases to be pressurized. 2M minimum width of staircases. External staircases can be provided so that there is a visual connection with the public realm. 4. STRUCTURE Framed RCC systems used in areas of the learning centers. Pratt Trusses is adopted for the roof systems of the auditorium for its large span roof.

OVERALL CONCEPT FOR PLANNING F&B BRIDGING THE TWO BLOCKSRestaurants, cafes to be placed in the centre for better attraction and bringing people together in the central public space.

R DO

STUDIOS & ACCOMODATION OVERLOOKING THE COURTYARD: The studios and accomodation are located in a slighty private zone for expance views to the greens and privacy.

EA R A

VISUAL ARTS CENTRE TOWARDS THE WEST- Seperation of vehicular traffic for the complex. Students/ Artists/ Professional visiting will be coming to the site from here.

ACCOMODATION

PEDESTRIAN ENTRY

STUDIOS

RECREATION

VEHICULAR ENTRY

AUDITORIUM

PEDESTRIAN ENTRY STUDIOS RETAIL WITH FRONTAGE THAT OPENS INTO THE MAIN COURTYARD: Commercial activity to attract people.

PERFORMANCE ARTS CENTRE TOWARDS THE EAST- Seperation of vehicular traffic for the complex. The interest driven individual coming be vehicles can access the site from here.

OW R 0

3 VEHICULAR ENTRY

Figure: Drivers for overall site planning. Source: Author

SI ER

V DI O BI RK PA

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OVERALL DESIGN JOURNEY

STAGE 1: CONCEPT Zoning + Circulation + Edge Identification

STAGE 2: FORM EXPLORATION Floorwise distribution & relationship

STAGE 3: DETAILING OF SPACES Landscape Development

Strengths: 1. Response to site edges. 2. Attempt to connect it with context. 3. Partially utilising N-S axis. 4. Courtyards to every function.

Strengths: 1. Response to site edges. 2. Attempt to connect it with context. 3. Utilising N-S axis. 4. Courtyards to every function.

Strengths: 1. Response to site edges. 2. Central common courtard connecting to different corridors and courtyards. 3. Partially utilising N-S axis.

Weaknesses: 1. Monotonous form. 2. Weak relationship between functions. 3. Strong intent missing.

Weaknesses: 1. No connection of exhibition, F&B and studios. 2. Negative spaces formed. 3. Entrance not welcoming.

Weaknesses: 1. Landscaping not articulated. 2. Weak relationship between components of performing arts centre. 3. Auditorium not welcoming.

SKETCH DESIGN + ZONING

FUNCTIONAL DISTRIBUTION

CIRCULATION

FORM DEVELOPMENT

संस्कृति को समझना- संस्कृति एक व्यापक शब्द है जो मानव समुदायों में सामाजिक व्यवहार और परंपराओं के साथ-साथ इन समाजों को बनाने वाले लोगों के ज्ञान, विश्वास, कला, कानून, रीति-रिवाजों, क्षमताओं और आदतों को शामिल करता है। सांस्कृतिक केंद्रों/स्थानों की आवश्यकता को समझना - सामान्य तौर पर, एक ऐसा स्थान जहां लोग विचार साझा कर सकते हैं - जीवन की जांच, मूल्यांकन और मूल्य जोड़ने का प्रयास है। किसी भी राष्ट्र के विकास में संस्कृति की अहम भूमिका होती है। यह साझा दृष्टिकोण, मूल्यों, लक्ष्यों और प्रथाओं के एक समूह का प्रतिनिधित्व करता है। संस्कृति और रचनात्मकता लगभग सभी आर्थिक, सामाजिक और अन्य गतिविधियों में प्रकट होती है। भारत जैसे विविधता वाला देश अपनी संस्कृति की बहुलता का प्रतीक है। भारतीय संस्कृति की बहुलता और बहुलता पूरी दुनिया के लिए स्पष्ट है क्योंकि भारत में गीतों, संगीत, नृत्य, रंगमंच, लोक परंपराओं, प्रदर्शन कलाओं, संस्कारों और अनुष्ठानों, भाषाओं, बोलियों, चित्रों और लेखन का दुनिया का सबसे बड़ा संग्रह है। (एमओसी: भारत सरकार, 2022)

कार्यक्रम का परिचय

समस्या की पहचान: शहर में सांस्कृतिक स्थलों का अभाव है। इस परियोजना का लक्ष्य गुड़गांव की शहरी सेटिंग में सार्वजनिक स्थानों की कमी को पूरा करने के लिए एक गतिशील संस्कृति केंद्र बनाना है। इस थीसिस का उद्देश्य गुड़गांव में सांस्कृतिक, मनोरंजक और सीखने के स्थानों के रूप में सार्वजनिक स्थानों के विचार और डिजाइन को फिर से सक्रिय करना है, जिसमें साझा सार्वजनिक उपयोगिताओं और सांस्कृतिक तानेबाने का अभाव है। यह इन सार्वजनिक स्थानों की दोहरी प्रकृति से भी निपटता है, अर्थात् कुछ विशिष्ट प्रदान करने की उनकी क्षमता और पूरे शहर के लिए फायदेमंद होने के साथ-साथ तत्काल आसपास के लोगों के लिए सक्रिय और प्रासंगिक होने के बावजूद। (ओल्डर्नबर्ग, 2000)।

OVERALL AREA PROGRAM ANALYSIS Service Appartments & Dorm, 6790, 18%

Administration & Office, 1827, 5%

Learning Centre, 4886, 13%

Performing Arts Centre, 2620, 7%

Exhibition Centre, 10229.8, 28%

प्रस्ताव वक्तव्य - सभी पहचाने गए मुद्दों के आलोक में, यह थीसिस इस प्रकार एक समावेशी, टिकाऊ और सांप्रदायिक सांस्कृतिक केंद्र बनाकर सामाजिक बुनियादी ढांचे की कमी को दूर करने का प्रस्ताव करता है जहां कलाकार और रुचि से प्रेरित लोग ज्ञान का अनुभव, प्रचार और साझा करने के लिए एक साथ आ सकते हैं। ताकि गुड़गांव जैसे शहर में रहने वाले शहरी जीवन की गुणवत्ता को आर्थिक संसाधन बनाने के अलावा सुधारा जा सके।

Retail + F&B, 6790, 19%

Recreation Centre, 3745, 10%

डिजाइन पर अनुसंधान का प्रभाव

सार्वजनिक स्थानों के लिए रणनीतियाँ: 1. साइट नियोजन पारंपरिक तीसरे स्थान जैसे आंगन, बावड़ी, चौक, बैठक और चबूतरा से प्रेरणा ले सकता है। इसे मूल निवासियों से जोड़ने के लिए बावड़ियों के कदमों से मालिश को प्रेरित किया जा सकता है। 2. विभिन्न ब्लॉकों के बीच आंगन स्वयं छायांकित आरामदायक बाहरी वातावरण को बढ़ावा दे सकते हैं। कला और शिल्प का प्रदर्शन: 1. निचले स्तर पर प्रदर्शित, प्रचारित और बेचे जाने वाले शिल्प। निचले स्तर पर पारंपरिक युग के तत्व हैं। 2. विभिन्न आयोजनों और त्योहारों के दौरान लोगों को आकर्षित करने के लिए प्लाजा आमंत्रित और पर्याप्त विशाल होना चाहिए। 3. पारंपरिक भवन या अंतरिक्ष तत्वों का उपयोग ताकि हर आयु वर्ग, वर्ग और जातीयता के लोग इससे जुड़ सकें। समकालीन समय में परंपरा की व्याख्या करना: 1. अग्रभाग में छिद्रित पैनल/जाली का प्रयोग।

सर्विस अपार्टमेंट स्टूडियो

EXHIBITION RETAIL चित्र: अनुसंधान से निष्कर्ष स्रोत: लेखक

2. एक माइक्रॉक्लाइमेट बनाने के लिए लैंडस्केप सुविधाएँ। 3. शहरी हस्तक्षेप में तीसरे स्थान का निर्माण।

डिजाइन पर केस स्टडी का प्रभाव कार्यस्थल योजना: साइट को वाहनों और पैदल यात्रियों के लिए सुलभ स्थान में विभाजित किया गया है। सामने की ओर सार्वजनिक किनारा और पीछे की ओर सेवा का किनारा- जनता के लिए सुलभ नहीं और सामूहिक रूप से छिपा हुआ। साइट के सबसे निजी क्षेत्र में रहने का स्थान जो वज़ीराबाद बंध रेस्टोरेशन पार्क की ओर है। खुदरा कार्यों का एक बाध्यकारी कारक होना। विभिन्न प्रयोजनों के लिए आगंतुकों को अलग इंटरलिंकेज: केंद्र के एक संपूर्ण अनुभव करने के लिए दो ड्रॉप ऑफ प्रदान किए के लिए स्थानिक इंटरलिंकेज आवश्यक जाएंगे। है। सार्वजनिक क्षेत्र: निचले स्तर को सार्वजनिक कार्यों जैसे रिटेन और प्रदर्शनी रिक्त स्थान के लिए समर्पित किया जाना चाहिए, ताकि कार्यों को आसानी से पहुँचा जा सके। अतिथि कक्ष उच्च स्तर पर उपलब्ध कराए जाने चाहिए ताकि दृश्यों का लाभ उठाया जा सके। सेवाएं/घर के पीछे: रेस्टोरेंट और फूड कोर्ट को कॉमन कॉरिडोर के जरिए पेश किया जाएगा। सुरक्षा के कारण केवल जमीनी स्तर से साइट पर सेवाएं दी जाएंगी। सुरक्षा: कोई निष्क्रिय स्थान नहीं, सभागार के पीछे उतराई खण्ड। बेहतर प्राकृतिक निगरानी के लिए खुले पूर्व-कार्य क्षेत्रों के लिए सेवाओं का क्षेत्र का सामना करने वाले स्थान। कनेक्शन

साइट योजना: सार्वजनिक, निजी और सेवाओं को अलग करना। के माध्यम से केंद्र को सक्रिय करना retail.

सेवा: खाने की जगहों को सर्विस कॉरिडोर द्वारा समर्थित किया जाना है। के लिए अलग संचलनservices.

ज़ोनिंग: निचले स्तर अधिक सार्वजनिक होते हैं और जैसे-जैसे कोई आगे बढ़ता है गोपनीयता बढ़ती है।

बहुउद्देशीय: जीवन की गुणवत्ता बढ़ाने के लिए सभी लोगों- बच्चों, किशोरों, विकलांगों, बुजुर्गों के लिए डिज़ाइन किए गए स्थान।

डिजाइन पर क्षेत्र कार्यक्रम का प्रभाव

तालिका: ग्राउंड लेवल सर्कुलेशन। स्रोत: लेखक

कार्य है कि एक अधिक सार्वजनिक पैदल यात्री और वाहनों के प्रवेश बिंदुओं के पास रखा जाएगा। जिनके पास आवास जैसी निजी प्रकृति है, उन्हें शांत वातावरण के लिए ऊपरी स्तरों पर रखा जा सकता है।

तालिका: लंबवत परिसंचरण। स्रोत: लेखक

समग्र संबंध इस तरह से स्थापित किया गया है कि ते सार्वजनिक स्थान जो खुदरा और प्रदर्शनी है, केंद्रीय आंगन में और उसके आस-पास रखा जाता है और अन्य सभी functons के साथ दृश्य कनेक्ट होता है।

तालिका: समग्र कार्यात्मक संबंध। स्रोत: लेखक

डिजाइन पर साइट अध्ययन का प्रभाव किनारा सबसे शांत है और इसका उपयोग उन कार्यों को करने के लिए किया जा सकता है जिनके लिए विचारों के अलावा शांति और शांति की आवश्यकता होती है।

किनारा महत्वपूर्ण है क्योंकि यह साइट को व्यापक दृश्य प्रदान करेगा। रेस्टोरेशन पार्क और मुख्य कनेक्टिंग रोड से सटा हुआ।

किनारे सबसे व्यस्त होने की उम्मीद है क्योंकि साइट की ओर जाने वाली सड़क है। egde संभावित रूप से मुख्य सार्वजनिक कार्यों में से एक के लिए प्रवेश बिंदु हो सकता है।

दृश्य हरा करने के लिए किनारे का उपयोग सेवा में प्रवेश/निकास के लिए किया जा सकता है क्योंकि यह पीछे की ओर स्थित है और दूर से जनता के लिए दृश्यमान नहीं है।

दृश्य हरा करने के लिए

मैक्स। एन-एस ओरिएंटेशन

चित्र: साइट विश्लेषण से सीख और आगे की राह दिखाने वाली योजना। स्रोत: लेखक

डिजाइन पर अनुसंधान का प्रभाव 1. स्थिरता बाहरी टैरेस क्षेत्रों में हरी छतों को अपनाया जाएगा जो एक माइक्रोकलाइमेट बनाने के साथ-साथ इमारत को ठंडा भी रखेंगे। इससे अर्बन हीट आइलैंड इफेक्ट को कम करने में भी मदद मिलेगी। छतों पर जहां छतों का उपयोग करने योग्य नहीं हैं, वहां सौर पैनल लगाए जाएंगे। फिल्टर्ड लाइट और वेंटिलेशन के लिए जाली पैनल का इस्तेमाल किया जाएगा।

चित्र: हरी दीवार। स्रोत: Google छवियां

चित्र: पर्ल जयपुर में जल्ली का प्रयोग। स्रोत: आर्कडेली

2. सेवाएं अतिथि और छात्र आवास के लिए अपनाई जाने वाली वीआरएफ प्रणाली।

3. सुरक्षा: सभी कार्यों के लिए कोर से कोर यात्रा दूरी 60 मीटर (30 मीटर यात्रा दूरी) होनी चाहिए

सामान्य क्षेत्रों के लिए ठंडा जल-शीतलन प्रणाली।

लिफ्ट लॉबी और सीढ़ियां दबाव डालने के लिए।

तीन जोनों के लिए आवश्यक एएचयू और विद्युत कक्ष।

सीढ़ियों की न्यूनतम चौड़ाई 2M। बाहरी सीढ़ियां प्रदान की जा सकती हैं ताकि सार्वजनिक क्षेत्र के साथ एक दृश्य संबंध हो।

वीआरवी प्रणाली के लिए बाहरी इकाइयों की आवश्यकता (100 कमरों के लिए) बेसमेंट में लगाया जाएगा चिलर प्लांट सभागार और अन्य शिक्षण स्थलों के लिए छत पर कूलिंग टावर लगाए जाएंगे। चिल्ड बीम और रूफिंग सिस्टम को शामिल करें।

4. संरचना शिक्षण केंद्रों के क्षेत्रों में प्रयुक्त फ़्रेमयुक्त आरसीसी प्रणालियां। सभागार की छत प्रणालियों के लिए प्रैट ट्रस को इसकी बड़ी अवधि की छत के लिए अपनाया गया है।

योजना के लिए समग्र अवधारणा

स्टूडियो और आवास आंगन की ओर देख रहे हैं: स्टूडियो और आवास हरियाली और गोपनीयता के विस्तार के विचारों के लिए एक छोटे से निजी क्षेत्र में स्थित हैं।

एफ एंड बी दो ब्लॉकों को पाटना- बेहतर आकर्षण और लोगों को केंद्रीय सार्वजनिक स्थान पर एक साथ लाने के लिए रेस्तरां, कैफे को केंद्र में रखा जाएगा।

ल

ला

रा डो

्र

आवास

्षेत

क

पश्चिम की ओर दृश्य कला केंद्र- परिसर के लिए वाहनों के आवागमन का पृथक्करण। यहां से आने वाले छात्र/कलाकार/पेशेवर साइट पर आएंगे।

पैदल यात्री प्रवेश

स्टूडियो

मनोरंजन

वाहन प्रवेश

सभागार

पैदल यात्री प्रवेश स्टूडियो मुख्य आंगन में खुलने वाली सीमा के साथ खुदरा: लोगों को आकर्षित करने के लिए वाणिज्यिक गतिविधि। पूर्व की ओर प्रदर्शन कला केंद्र- परिसर के लिए वाहनों के आवागमन को अलग करना। रुचि चालित व्यक्ति आने वाले वाहन यहां से साइट तक पहुंच सकते हैं।

30 वाहन प्रवेश चित्र: समग्र साइट योजना के लिए ड्राइवर। स्रोत: लेखक

पंक

्ति जैव

ध

वि वि

ार्क

प ता

N 24

समग्र डिजाइन यात्रा

चरण 1: अवधारणा ज़ोनिंग + सर्कुलेशन + एज आइडेंटिफिकेशन

चरण 2: फॉर्म एक्सप्लोरेशन तलवार वितरण और संबंध

चरण 3: रिक्त स्थान का विवरण लैंडस्केप विकास

ताकत: 1. साइट किनारों पर प्रतिक्रिया। 2. इसे संदर्भ से जोड़ने का प्रयास करें। 3. आंशिक रूप से एन-एस अक्ष का उपयोग करना। 4. हर समारोह के लिए आंगन।

ताकत: 1. साइट किनारों पर प्रतिक्रिया। 2. इसे संदर्भ से जोड़ने का प्रयास करें। 3. एन-एस अक्ष का उपयोग करना। 4. हर समारोह के लिए आंगन।

ताकत: 1. साइट किनारों पर प्रतिक्रिया। 2. विभिन्न गलियारों और प्रांगणों को जोड़ने वाला केंद्रीय सामान्य प्रांगण। 3. आंशिक रूप से एन-एस अक्ष का उपयोग करना।

कमजोरियां: 1. नीरस रूप। 2. कार्यों के बीच कमजोर संबंध। 3. मजबूत इरादा गायब।

कमजोरियां: 1. प्रदर्शनी, एफ एंड बी और स्टूडियो का कोई कनेक्शन नहीं। 2. नकारात्मक रिक्त स्थान का गठन। 3. प्रवेश स्वागत योग्य नहीं है।

कमजोरियां: 1. भूनिर्माण स्पष्ट नहीं है। 2. प्रदर्शन कला केंद्र के घटकों के बीच कमजोर संबंध। 3. सभागार स्वागत योग्य नहीं।

स्केच डिजाइन + ज़ोनिंग

कार्यात्मक वितरण

संचलन

प्रपत्र विकास

TABLE OF CONTENTS List of Figures List of Tables

28 40

THESIS SEARCH

1.1 Background & Identification

1.2 Thesis Proposition

1.3 Need Identification

1.4 The Design Project

1.5 Lessons Learnt

1.6 Conceptualisation & Way 50 Forward

LITERATURE STUDY

2.1 Area of Research 2.1.1 Understanding Public Space 2.1.2 Aspects for promoting Community Interaction 2.1.3 Understanding Indian Culture & its Expression 2.1.4 Current Issues of Inactive Public Spaces

2.1.5 Third Place 2.1.6 Features of a ‘Third Places’ 2.1.7 Possible steps for promoting the proposed centre 2.1.8 Haryana’s Cultural & Architectural Context 2.1.9 Inference & Conclusion 2.2 Case Studies 2.2.1 India Habitat Centre 2.1.2 India International Centre 2.2.3 Triveni Kala Sangam 2.2.4 Jameel Arts Centre, Dubai 2.2.5 Comparitive Matrix for Case Study

58 58 59 60 64 65 67 73 77 84 88

DESIGN PROJECT

3.1 Project Information

3.2 User groups & profile

3.3 Space Standards

3.4 Area Program

104

3.5 Area Program Analysis & Functional Relationship

109

3.6 Inferences & Conclusion 113

SITE ANALYSIS

4.1 Location & Context 4.2 Site Evolution 4.3 Landuse Analysis 4.4 Site Surroundings & Context Analysis 4.5 Development Control 4.6 Precinct Level 4.7 Built Fabric Analysis 4.8 Circulation Analysis 4.9 Edge Activities, Potential Users, Site Plan & Sections 4.10 Climatic Analysis 4.11 Drainage Pattern 4.12 Learnings & Way Forward

114 115 116 117 118 121 122 123 124 125 126 128 131

52 53 55 57

TECHNOLOGY ARMATURE

132

5.1 Sustainability

133

5.2 Services

PROJECT VISION & CONCEPT 153

DESIGN DEVELOPMENT 161

7.1 Project Vision

154

136

7.2 Moodboard

155

5.3 Structure

140

156

5.4 Safety

143

7.3 Concepts for Planning from Research

8.2 Stage 2: Updated Sketch 167 Design

7.4 Concept for Planning from Site

158

8.3 Miscellaneous Stages

170

7.5 Zoning & Form Development

159

8.4 Design Development 1

172

8.5 Design Development 2

173

7.6 Overall concept for planning

161

8.6 Pre-final Design

174

8.7 Overall Design Journey

175

DESIGN DETERMINANTS 145

6.1 Lessons learnt from research and program

146

6.2 Derivatives from Case Studies

147

6.3 Derivatives from Site

148

6.4 Derivatives from technology armature

150

6.5 SWOT Analysis

151

8.1 Stage 1: Sketch Design Iteration 1 Iteration 2

163

DESIGN PORTFOLIO

176

9.1 Thesis Search 178 9.2 Thesis Objective & 179 Proposition 9.3 Research 180 9.4 Case Studies 181 9.5 Understanding Area 183 Program 9.6 Site Surroundings & 184 Context Analysis 9.7 Site Location 185 9.8 Determinants from 186 site study 9.9 Zoning & Form 187 Development 9.10 Overall Design Journey 188 9.11 Site Plan at Ground 189 Level 9.12 Floor wise program 190 distribution 9.13 Circulation at site 191 level 9.14 Drawings 192 Jury Comments Bibliography

224 225

LIST OF FIGURES (PROPOSITION & RESEARCH) Figure 1.1: Understanding culture. Source: TOI

Figure 1.2: Artists impression of GGN. Source: TOI Figure 1.3: Artists impression of GGN’s Culture. Source: TOI Figure 1.4: Advertisement for Cultural Centre in GGN. Source: TOI

Figure 2.1.3: Social dimension & urban vitality of the space promotes positive space use. Source: Google Images Figure 2.1.4: Components of a public space. Source: Google Images Figure 2.1.6: Components of a cultural space. Source: Google Images

Figure 1.5: Client Requirements as per newspaper article. Source: Author Figure 1.6: Lessons Learnt from background study. Source: Author Figure 1.7: Conceptualisation and way forward Source: Author Figure 2.1.1: Domino Park is successfully designed to achieve a series of ingredients that enhance its use as meeting places. Regardless of the scale, some important features are designing for people’s needs, the human scale, a mix of uses, multifunctionality and flexibility, comfort and safety, and integration to the urban fabric. Source: Arch Daily Figure 2.1.2: World-recognized Shibuya crosswalk in Tokyo, Japan. Source: Sean Pavone, Arch Daily

LIST OF FIGURES (CASE STUDY) Figure 2.2.1: View of IHC. Source: Google Images

Figure 2.2.14: View of IIC. Source: Google Images

Figure 2.2.2: IHC Site Plan Source: https://www.indiahabitat.org/page?view=location

Figure 2.2.15: IIC Site Plan Source: IIC Webpage

Figure 2.2.3: Location of IHC in Lodhi Estate. Source: Google Earth

Figure 2.2.16: Main Auditorium Honey Comb Ceiling Source: IIC Webpage

Figure 2.2.4: Movement in IHC Ground Floor Source: PDF Coffee

Figure 2.2.17: Central Portico Source: IIC Webpage

Figure 2.2.5: IHC Basement Plan Source: PDF Coffee

Figure 2.2.18: Trees are an important feature of the IIC landscape Source: IIC Webpage

Figure 2.2.6: Section through bridges. Source: PDF Coffee

Figure 2.2.20: IIC Ground Floor Plan Source: PDF Coffee

Figure 2.2.7: Schematic section showing the framing of views by bridges. Source: PDF Coffee

Figure 2.2.21: Jalis blend tradition with modern architectural design. Light and shade balance form and design Source: IIC Brocure

Figure 2.2.8: IHC Scale Source: PDF Coffee

Figure 2.2.22: IIC Auditorium Source: IIC Brocure

Figure 2.2.9: IHC Typical Office Floor Source: PDF Coffee

Figure 2.2.23: IIC Landscaping Source: IIC Brocure

Figure 2.2.13: Location f IIC. Source: Google Earth

Figure 2.2.24: View of Triveni Kala Sangam’s Front Side. Source: Google Images

LIST OF FIGURES (CASE STUDY) Figure 2.2.25: TKS Site Plan Source: Palak Verma, Thesis 2021

Figure 2.2.35: Sculture Court TKS Source: TKS Webpage

Figure 2.2.26: Location of Triveni Kala Sangam, Tansen Marg. Source: Google Earth

Figure 2.2.36: View of Jameel Arts & Crafts Centre Source: Arch Daily

Figure 2.2.27: 3D Model TKS Source: Model by Palak Verma

Figure 2.2.37: Plaza of Jameel Arts & Crafts Centre Source: Google Images

Figure 2.2.28: TKS Sections Source: https://anyflip.com/zrvnf/fjrp/basic

Figure 2.2.38: Jameel Arts & Crafts Centre context. Source: Google Images

Figure 2.2.29: Overhead roof sheds. Source: TKS Website

Figure 2.2.39: Site Plan- Roof Level Source: Arch Daily

Figure 2.2.30: Ventilation through jalli. Source: TKS Website

Figure 2.2.40: View of Jameel Arts & Crafts Centre Colonnades Source: Arch Daily

Figure 2.2.31: Precast Concrete Facade Source: TKS Website

Figure 2.2.41: View of Jameel Arts & Crafts Centre’ Gallery Entrance Source: Arch Daily

Figure 2.2.32: TKS Auditorium Plan & Views Source: https://anyflip.com/zrvnf/fjrp/basic

Figure 2.2.42: Jameel Centre Ground Floor Source: ArchDaily

Figure 2.2.33: Facade TKS Source: TKS Webpage

Figure 2.2.43: Jameel Centre First Floor Source: ArchDaily

Figure 2.2.34: OAT TKS Source: TKS Webpage

Figure 2.2.44: Jameel Centre Second Floor Source: ArchDaily

LIST OF FIGURES (CASE STUDY + AREA PROGRAM) Figure 2.2.45: Jameel Centre Courtyard Source: ArchDaily Figure 2.2.46: Jameel Centre Landscaping Source: ArchDaily Figure 2.2.47: JC Facade Source: ArchDaily Figure 2.2.48: JC connect with context. Source: ArchDaily Figure 3.1.1: Gurgaon-Manesar 2021 Source: HDA, Author Figure 3.1.2: Site Enlarged Source: Author Fig 3.1: View angle determination. Source: Google Image Fig 3.2: Seating angle determinitation. Source: Neuferts Figure 3.3 The viewing angle determines the auditorium width and wings division on the stage. Source: Neuferts Figure 3.4 Row width & aisle dimensions. Source: Neuferts

Figure 3.5 Configuration of bed and bathroom: a) Corner unit: Bathroom placed between bedrooms allows for natural light and less number of services (4m wide) b) Student’S Room- Bedroom + Toilet in minimum space- (3.6m wide) c) Standard Rooms- Narrow frontage scheme against bathroom (3m wide) d) Executive Room- 28sq.m Room with angled window with extra sitting area & directional view. Source: Neuferts Figure 3.6 Layout of beds in dorm. a) 10-beds 30sq.m b) 16-beds 48sq.m c) 4-beds 16sq.m d) 10-beds 32.5sq.m Source: Neuferts Fig 3.7: Flexible furniture arrangement- Same space can be used to host range of events/ types of classes. Source: CAEN, University of Michigan Fig 3.8: Tiers in life studio: seat ar/student 0.65sq.m Source: Neuferts Fig 3.9: Sequence of operation: clay modelling and pottery Source: Neuferts Fig 3.10: Small Pottery kiln Source: Neuferts Fig 3.11: Area Needed for Potter’s wheel. Source: Neuferts

LIST OF FIGURES (AREA PROGRAM) Fig 3.12: 80sq.m Classrooms layout with attached practical’s lab. Source: Neuferts

Figure 3.22 Table layout and section on ease of movement. Source: Neuferts

Fig 3.13: Teaching area with staffroom. Source: Neuferts

Fig 3.23: Circulation for bakery: shop well ventilated with steam extractor Source: Neuferts

Fig 3.14: Student furniture heights according to age group. Source: Neuferts Figure 3.15 a) Arangement of benches in workshop. b) Layout of wood and metal shop. Source: Neuferts Figure 3.16 Spatial Arrangement in art studios and music room. Source: Neuferts Figure 3.17 Arrangement of workstations in design studio. Source: Neuferts Figure 3.18 Arangement of benches in workshop. Source: Neuferts Figure 3.19 Table layout and spacing in plan. Source: Neuferts Figure 3.20 Table layout and spacing in section. Source: Neuferts Figure 3.21 Typical Banquette Seating. Source: Neuferts

Fig 3.24: Plan of small bakery: bread store with good connection to bakery, shop and dispatch. Source: Neuferts Fig 3.25: Min spaces between equipment to allow circulation. Source: Neuferts Fig 3.26: Limiting height for storage shelf Source: Neuferts Fig 3.27: Kitchen & Food flow diagram Source: Neuferts Fig 3.28: Sales counter with screen: bread compartments Source: Neuferts Fig 3.29: Shelf arrangement: bread on slatted shelves (air circulation) with tins below to catch flour. Source: Neuferts Figure 3.30 Routes of Customer & Services in Retail Source: Neuferts

LIST OF FIGURES (AREA PROGRAM) Figure 3.31 Aisle shops: No seperation between customer and sales staff, whole room at disposal of customer. Source: Neuferts Figure 3.32 Placement of door for the selected size of the shop with counters installed on both sides. Cashier near door. Source: Neuferts Figure 3.33 Section through sales floor for heights of storage. Source: Neuferts Figure 3.5.1: Overall Built-up area breakup. Sourse: Author Table 3.5.2: Administration & Office built-up breakup. Source: Author Table 3.5.3: Learning Centre built-up breakup. Source: Author Table 3.5.4: Recreation centre built-up breakup. Source: Author Table 3.5.5: Performing arts centre built-up breakup. Source: Author Table 3.5.6: Exhibition centre built-up breakup. Source: Author Table 3.5.7: Exhibition centrefunctional diagram. Source: Author

Table 3.5.8: Accommodation built-up breakup. Source: Author Table 3.5.9: Accomodation functional relationship. Source: Author Table 3.6.1: Ground level Circulation. Source: Author Table 3.6.2: Vertical Circulation. Source: Author Table 3.6.3: Overall functional relationship. Source: Author Figure 4.1.1: Location of Gurgaon with respect to Delhi. Source: Google Maps Figure 4.1.2: Location of Site in GGN. Source: Google Maps Figure 4.1.3: Location of Sector 53 in GGN. Source: Google Maps Figure 4.1.4: Location of Site in Sector 53, GGN. Source: Google Maps Figure 4.2.1: Site Context in 2004 Source: Google Earth

LIST OF FIGURES (SITE ANALYSIS) Figure 4.2.2: Site Context in 2008 Source: Google Earth

Figure 4.7: Grain Analysis of Site surroundings. Source: Author

Figure 4.2.3: Site Context in 2016 Source: Google Earth

Figure 4.8.1: Pedestrian Movement around the site. Source: Author

Figure 4.2.4: Site Context in 2021 Source: Google Earth

Figure 4.8.2: Vehicular Movement around the site. Source: Author

Figure 4.3: Gurgaon Master Plan 2031 Source: Asset Yogi

Figure 4.9: Edge & Activities along it. Source: Author

Figure 4.4.1: Site Plan Source: Author

Figure 4.10.1: Wind Animation Rainbow for Sector-53, GGN. Source: https://www.meteoblue.com

Figure 4.4.2: Site Sections Source: Author

Figure 4.10.2: Average temperatures and precipitation for GGN. Source: https://www.meteoblue.com

Figure 4.4.3: Site Plan with Context Buildings. Source: Author

Figure 4.10.3: Cloudy, sunny, and precipitation days for GGN. Source: https://www.meteoblue.com

Figure 4.4.4: Public transport connectivity. Source: Author

Figure 4.10.4: Precipitation amounts for GGN. Source: https://www.meteoblue.com

Figure 4.5.1: Plan showing site. Source: Author

Figure 4.10.5: Maximum temperatures for GGN. Source: https://www.meteoblue.com

Figure 4.5.2: Traffic Analysis near site. Source: Author

Figure 4.10.6: Wind rose for GGN. Source: https://www.meteoblue.com

Figure 4.6: Precint Context Analysis. Source: Snazzy Maps

Figure 4.11.1: Topography Map of Site & Context. Source: https://en-gb.topographic-map.com/maps/jgd7/New-Delhi/

LIST OF FIGURES (SITE ANALYSIS & TECHNOLOGY) Figure 4.11.2: Water collection points near Site. Source: Google Images Figure 4.12: Plan showing Learnings & Way Forward from Site Analysis. Source: Author Figure 5.1.1.1: Sustainable Strategies adopted. Source: Author Figure 5.1.1.2: Idea Location of windows for ventilation. Source: Google Images Figure 5.1.2.1: Efficient building shape. Source: Google Images Figure 5.1.2.2: Efficient building arrangement & massing. Source: Google Images Figure 5.1.5.1: Intensive green roof Source: Google Images Figure 5.1.5.2: Energy consumption result in a green roof, Source: https://www.researchgate.net Figure 5.1.5.3: Water retention capacity Source: https://cdn.ymaws.com/www.mdspe.org

LIST OF FIGURES (DESIGN DETERMINANTS) Figure 6.1.1: Functional Relationship diagram from Area Program Analysis 1. Source: Author

Figure 6.2.5: Separate entry/exits for Learning Arts, Performing Arts and Exhibition Spaces. Source: Author

Figure 6.1.2: Functional Relationship diagram from Area Program Analysis 2. Source: Author

Figure 6.2.6: Segregating pedestrian and vehicular movement. Restricting vehicular movement inside site. Source: Author

Figure 6.3.2: Determinants for functional distribution, zoning, site planning & movement. Source: Author

Figure 6.3.1: Placemaking in this thesis. Source: Author

Figure 6.2.1: Strategic central location of the public spaces as a binding factor of the center. Source: Author Figure 6.2.2: Segregating services and other circulation. Source: Author

Figure 6.3.2: Determinants for functional distribution, zoning, site planning & movement. Source: Author Figure 6.4.1: Green wall. Source: Google Images Figure 6.4.2: Use of Jalli in Pearl Jaipur. Source: ArchDaily

Figure 6.2.3: Classroom and more private function located on upper levels so that only interested enrolled people can ac-cess. Source: Author Figure 6.2.4: Ground floor caters to all public activities, increasing footfall of general public. Source: Author

LIST OF FIGURES (PROJECT VISION & CONCEPT) Figure 7.3.1: Visual connect established at different levels. Source: Author

Figure 7.5.1: Retail & F&B connects Visual arts & Performing arts center. Source: Author

Figure 7.3.2: Courtyard overlooking the exhibition spaces at lower level and studios at the upper level Source: Author

Figure 7.5.2: Connection between different functions on site. Source: Author

Figure 7.3.3: Entrance courtyard an inviting feature. Source: Author Figure 7.3.4: Street typology and visual connect at levels. Source: Author Figure 7.3.5: Retail streets at lower level. Source: Author Figure 7.3.6: Retail Corridor for & Haat space. Source: Author Figure 7.4.1: Footprint of building in red denotes the response to edge. Source: Author Figure 7.4.2: Footprint of building in green denotes the connection of open space on site. Source: Author Figure 7.4.3: Footprint of building in black denotes the N-S Orientation of blocks. Source: Author

Figure 7.5.3: Functional Distribution & Zoning Source: Author Figure 7.5.4: Conceptual Massing. Source: Author Figure 7.5.5: Translation of idea in form. Source: Author Figure 7.5.6: Understanding the massing. Source: Author Figure 7.5.7: Carving the blocks. Source: Author Figure 7.5.8: Introducing the public spaces. Source: Author Figure 7.5.9: Final Form. Source: Author Figure 7.6: Drivers for overall site planning. Source: Author

LIST OF FIGURES (DESIGN DEVELOPMENT) Figure 8.1.1.1: Sketch Design 1- Massing Source: Author

Figure 8.1.2.3: Sketch Design 2- Planning at Ground Level Source: Author

Figure 8.1.1.2: Determinants for Sketch Design 1- Planning Source: Author

Figure 8.1.2.4: Sketch Design 2- Concept Source: Author

Figure 8.1.1.3: Sketch Design 1- Planning at Ground Level- Streets and Courts Source: Author

Figure 8.1.2.5: Sketch Design 2- Front View showing the active edge. Source: Author

Figure 8.1.1.4: Sketch Design 1- Concept Source: Author

Figure 8.1.2.6: Sketch Design 2- Open areas towards the studios and exhibition for spillover. Source: Author

Figure 8.1.1.5: Sketch Design 1- Front View showing the visual connect with the city greens. Source: Author

Figure 8.1.2.7: Sketch Design 2- View from Wazirabad Bundh Restoration Park Source: Author

Figure 8.1.1.6: Sketch Design 1- Axis creation Source: Author

Figure 8.2.1: Sketch Design 3- Zoning. Source: Author

Figure 8.1.1.7: Sketch Design 1- View from Wazirabad Bundh Restoration Park Source: Author

Figure 8.2.2: Massing for Modified Sketch Design Source: Author

Figure 8.1.2.1: Sketch Design 2- Massing from front. Source: Author Figure 8.1.2.2: Determinants for Sketch Design 2 Source: Author

Figure 8.2.3: Sketch Design 3- Planning at Ground Level Source: Author Figure 8.2.4: Sketch Design 3- Concept Source: Author Figure 8.2.5: Sketch Design 3- Front View showing the active edge. Source: Author

LIST OF FIGURES (DESIGN DEVELOPMENT) Figure 8.2.6: Sketch Design 3- Exhibition visible from road. Source: Author

Figure 8.3.5: Final Modified Sketch Design from St. Thomas Marg. Source: Author

Figure 8.2.7: Sketch Design 3- View from houses in rear, porous edge creation. Source: Author

Figure 8.2.6: Massing of final modified sketch design, creation a porous entry. Source: Author

Figure 8.2.8: Roof Level plan with section markings. Source: Author

Figure 8.4.1: DD1 Site Plan Source: Author

Figure 8.2.9: Sketch Design 3- Section fron central open space. Source: Author

Figure 8.4.2: Massing showing performance block, view from East. Source: Author

Figure 8.2.10: Sketch Design 3- Section BB’ Source: Author

Figure 8.4.3: Design Development Massing showing the entrance. Source: Author

Figure 8.2.11: Sketch Design 3- View from performing arts block. Source: Author

Figure 8.5.1: DD2 Site Plan Source: Author

Figure 8.3.1: Sketch Design with improvements and design along axis. Source: Author

Figure 8.5.2: Massing for DD2, showing open-built relationship. Source: Author

Figure 8.3.2: Pedestrian connectivity for Modified Sketch Design Source: Author

Figure 8.5.3: Inviting Entrance in Model. Source: Author

Figure 8.2.3: Massing of modified sketch design, creation a porous entry. Source: Author

Figure 8.5.4: Sketch Design 3- Internal spillouts of exhibition & studios. Source: Author

Figure 8.3.4: Final Modified Sketch Design with improvements and design along axis. Source: Author

Figure 8.6.1: Pre-final site plan. Source: Author

LIST OF FIGURES (DESIGN DEVELOPMENT)

LIST OF TABLES

Figure 8.6.2: Prefinal massing model. Source: Author

Table 3.4: Area Program & Analysis. Sourse: Author

Figure 8.6.3: View of inviting entrance of the centre. Source: Author

Table 3.5: Number of occupants. Sourse: Author

Figure 8.6.4: View of Plaza from pedestrian entrance. Source: Author

PART I

DESIGN INVESTIGATION

CHAPTER 1: THESIS SEARCH 1.1 Background & Identification 1.2 Thesis Proposition 1.3 Need Identification 1.4 The Design Project 1.5 Lessons Learnt 1.6 Conceptualisation & Way Forward

1.1 BACKGROUND & IDENTIFICATION CULTURAL SPACES IN GURGAON Poulomi Bose, an artist based in Gurgaon mentioned in an interview that: “For those of living in Gurgaon for the last few years, going to Delhi was the only option if someone wanted to go someplace that was not a mall!” Gurugram’s bars and restaurant business have held the fort and frequently hosted a variety of events. However, this is a limitation. Joy Singh, partner-founder of Raasta, Gurugram in an interview said, “That the F&B industry is not just about alcohol and food, cosmopolitan public spaces like Lounges are also providing experiences like comedy shows, live performances, dance performances like a cultural centre would provide. The new generation enjoys an an amalgamation of everything, and cater to all senses to the public providing them with an experience. (Das, 2021)

RELATING CULTURE WITH CONTEXT OF CULTURE As a result of the city’s lack of cultural venues and the inactive character of public institutions. The goal of this project is to create a dynamic culture centre to fill the lack of public spaces in Gurgaon’s urban setting. This thesis aims to re-energize the idea and design of public spaces as cultural, recreational, and learning places in Gurgaon, which lacks shared public utilities and a cultural fabric. It also tackles the dual nature of these public spaces, namely their potential to provide something distinctive and be beneficial to the city as a whole while still being active and relevant to the people in the immediate vicinity on a frequent basis. (Oldernburg, 2000).

UNDERSTANDING THE POPULATION IN GURGAON WITH REFERENCE TO SPACE AND TIME: Dynamic with space, Dynamic with Time- Educated People, MNC/BPO Employees Dynamic with space, Static with Time- Migrant workers Static with space, Dynamic with Time- Original Inhabitants Visitors from neighbouring areas (international, domestic & local) (Tewari, 2013) IDEA OF CULTURAL SPACE ACCORDING TO USER GROUPS: 1. PERFORMING AREA: In terms of events in the city, there has been a limited exposure of cultural concepts. The city’s public functions fall short of showcasing the users’ cultural characteristics. The mediascape implies the possibility of offering a cultural platform for the public, which might be translated as a public performance space. 2. VIDEO CINEMA: The small-scale ‘Video Cinemas’ might be understood as a reaction to the city’s burgeoning multiplexes in search of ‘entertainment.’ With limited resources and technical understanding, this phenomenon has grown over time to small-scale ‘Video Cinema Theatres.’ 3. RAMLILA GROUND: Despite the fact that category 3 has modernised and is still urgently trying to modernise, the people continue to follow the customs and events that they had for many years. Providing an open space performaing area can always adapt to the user’s associations and cultural surroundings. (Tewari, 2013)

UNDERSTANDING CULTURE- Culture is a broad term that incorporates social behaviour and conventions in human communities, as well as the knowledge, beliefs, arts, laws, customs, abilities, and habits of the people who make up these societies. Understanding the necessity for cultural centers/ spaces—in general, a place where people can share ideas—the endeavour is to investigate, assess, and add value to life. (Pappas, 2021) INTANGIBLE INDIAN CULTURAL HERITAGE Culture plays an important role in the development of any nation. It represents a set of shared attitudes, values, goals and practices. Culture and creativity manifest themselves in almost all economic, social and other activities. A country as diverse as India is symbolized by the plurality of its culture. The plurality and multiplicity of the Indian Culture is evident to the whole World as India has one of the world’s largest collections of songs, music, dance, theatre, folk traditions, performing arts, rites and rituals, languages, dialects, paintings and writings. (MOC:GOI, 2022) The intangible cultural heritage constitutes a set of living and constantly recreated practices, knowledge and representations enabling individuals and communities, at all levels, to express their broad conception through systems of values and ethical standards. Cultural centres creates a sense of belonging and continuity by fostering community participation at regional, district and grassroots level.

Figure 1.1: Understanding culture. Source: Google Images

1.2 THESIS PROPOSITION

“Expression of Culture” Developing a contemporary public space that promotes the traditional art, crafts, culture and portrays them to interest driven people. AIM The aim of this thesis is to energize the void of a public space, apply contextual building practices, techniques and traditional elements to the space that promotes learning, performing, exhibiting and bussiness and acts as an icon of the city. OBJECTIVES Designing a complex with all contemporary amenities and services along witn creating an experience which reflects the values of built form and spaces. Reinterpreting the concepts in buildings of similar climatic conditions and apply them to the design of a sustainable building complex.

Figure 1.2: Artists impression of GGN.

Source: TOI

VISION Encourage interaction between craftsperson and local and interest driven people. It will become a common platform for bringing the diverse population will aid in social awareness and mixing of cultures. It will also shape the image of the context which will influence the association of the masses with the city which at present is missing or inadequate. (Tewari, 2013) Also, proposing a haat (retail and exhibition component) will be a catalyst in generating employment to local craftsperson’s/ residents/ people for personal skill and urban development. This proposal will be an opportunity to address dynamic individual and collective identities. The of the proposed site is located near residential areas where there are less cultural activities and most of the people have to spend their time in malls or other shopping areas as the existing developments doesn’t offer opportunities catering to people of all age groups. The opportunity to experience, educate, learn and perform various activities will improve the wellbeing, the proposed complex will become a cultural landmark with vibrant spaces. 1. To integrate the traditional knowledge of arts and crafts with the modern culture, so that a balance can be created and spaces of interest to all generations is developed in the context of the proposed sites. 2. To provide a stage to existing artists as there is no cultural centre in Gurgaon. 3. Interaction and recreation space near offices and residences. 4. At city level such a space will be an asset. It will not only be a platform for artists but will also give the general public an opportunity to interact. It will act as a vibrant, freely accessible public domain.

The theme of the centre would revolve around the amalgamation of culture and today’s different generational needs. This will give an opportunity to design vibrant public space with traditional teaching, learning and entertainment spaces. The idea is to establish a connect between the place, people and the culture so that a dynamic experience is created between the visitors and the proposed cultural centre. In support of the previously mention ideas, this scheme also proposes a meditation, health and fitness centre along with the cultural activities so that the multicultural centre will provide a comprehensive environment for learning and enjoying diverse cultures in a shared urban context which become an agora for public interactions. The proposal will be an asset and will promote active involvement from the residential, commercial and other visitors. Exhibition spaces along with retail will give craftsperson’s a platform to sensitize people towards crafts. The emphasis to establish a link between the city and the cultural centre will also aid in sowing seeds of a landmark in Gurgaon. The centre is on an urban axis so a link can be created between existing context and future development so that the present complements the past and future. The lower level has made accessible from all direction so that the cultural centre is stitched into the context. Public spaces are shared so that a seamless connection can be made. The proposed design will be a sustainable design so that overall dependence on artificial sources of light will be reduced. Proposition Statement- In light of all the identified issues, this thesis thus proposes to address the lack of social infrastructure by creating an inclusive, sustainable and communal cultural hub where artists and interest driven people can come together for experiencing, promoting and sharing knowledge to the community so that the quality of urban living in a city like Gurgaon can be improved apart from making it an economic resource.

1.3 NEED IDENTIFICATION

Current Scenario “The Haryana administration has showed utter contempt towards art enthusiasts. There is no mention of a cultural complex in the government’s criteria for converting Gurgaon into a smart city. This is a surprising fact. We reserve private studios and galleries to exhibit our work. Gurgaon needs a complex similar to Mandi House.” Noted photographer Aditya Arya said this to Hindustan Times. (Singh, 2016) Over the years, the development of residential and commercial developments is given more importance than community spaces as the major focus is on accommodating the rising population making the quality of life a secondary issue. Also, larger number cultural hubs are located in the central part of Delhi which is far off from the proposed site and is accessible rarely. (Tewari, 2013) The existing social infrastructure is falling short for the present population of 20 lakh while a survey by the Directorate of Town and Country Planning has projected the city population to rise above 69 lakhs by 2031. (Kumar, 2015) The cities are growing every day and the urban culture is so engaging that the traditions are not paid attention. The ignorance in a corporate city is disconnecting the cultural identity of the city from its people. Since the selected site is located near an affluent area with absolutely no social infrastructure it will attract people if intervened consciously.

Figure 1.3: Artists impression of GGN’s Culture.

Delhi NCR is known for its diverse population; it attracts people from all parts of the country for work, better opportunities and other purposes. Indian culture is unique, varied and rich in art, literature, music and heritage. But the balance of social, emotional and imageability is lacking in Delhi NCR. Culture-related activities are powerful tools for urban development, revitalisation and rejuvenation and its presence in cities like Gurgaon & Delhi are immensely important as the cities thrive to be the centre of social and cultural life. “On one hand, Gurgaon epitomizes the popular perception of ‘hi-technology’, ‘development’ and ‘way of living’, but on the other, unplanned and unchecked growth, insufficient infrastructure facilities, mindless encroachments to nature, ceaseless loss of agricultural land may sum up the present development trends.” (Biswas, 2006)

Source: TOI

1.4 THE DESIGN PROJECT Project: Socio-cultural Centre Client: Municipal Corporation Gurgaon

The Municipal Corporation Gurgaon has envisioned to connect the public of the city with its cultural roots by creating a complementing ecosystem for learning, performing, exhibiting and business to co-exist and enhance the cities potential by creating Urban public spaces to improve the social lifestyle and promote cultural exchange to experience the city and improve the lifestyle of the people. Gaps in Existing Development The fast life of citizens of Gurgaon & Delhi has distanced them from art and craft forms because there is a lack of deeper understanding of culture. (Tewari, 2013)

Figure 1.4: Advertisement for Cultural Centre in GGN. Source: TOI

Globalisation has its own pros and cons, the adoption of the new technological norms and over engagement of the millennials with recreational activities is limiting their engagement with cultural activities. (Das, 2021) This proposal aims to bridge the gap between the people of the city, artisans and craftsperson’s and architecture that caters to the interest of all the people can act as an important catalysis to bring it together. The privatised cultural zones in Gurgaon at present have typical characters, they are very exclusive and confined and do not connect flow of the outside with inside. The focus of this thesis is to create a relationship between different functions and the site’s context so that the site is in synchronization with the urban fabric.

CLIENTS REQUIREMENT AS PER BRIEF

ADMIN. OFFICES

LEARNING SPACES

PERFORMING SPACES

EXHIBITION SPACES

HOSPITALITY

RETAIL

ACCOMODATION

Figure 1.5: Client Requirements as per newspaper article.

RECREATION SPACES

Source: Author

1.5 LESSONS LEARNT

Interpreting the proposition through the project

Complex visited by International & interest driven people

Required services to be provided.

BUSINESS PROMOTION & ATTRACTION IN CITY

FULFILLING FUNCTIONAL REQUIREMENTS

SOCIO-CULTURAL CENTRE

DESIGNING A CONTEMPORARY FUNCTIONAL BUILDING COMPLEX Exploring contemporary and sustainable strategies.

DESIGNING INCLUSIVE SPACES Will make the complex accessible and activated at all times

PLACE FOR PORTRAYAL OF CULTURAL VALUES

Figure 1.6: Lessons Learnt from background study.

Source: Author

1.6 CONCEPTUALISATION & WAY FORWARD

incorporating the components of socio-cultural centre with its safety and requirements, based on the concepts of CPTED, urban intervention and heirarchy of spaces. etc.

RESPONSE TO EDGES CONCEPT OF PLANNING combining design components for visual appeal to create an experience influenced by heirarchy.

incorporating the components of socio-cultural centre with landscaped spaces and designing of an interesting transition from site’s threshold.

PROGRAM REQUIREMENTS IN A CULTURAL CENTRE

SOCIO-CULTURAL CENTRE BASED ON CONTEMPORARY NEEDS

LANDSCAPED COURTYARDS AS SPILLOUT/ RELIEF SPACES

SOCIO-CULTURAL CENTRE BASED ON CONTEMPORARY NEEDS

design of the socio-cultural centre in totality, based on contemporary expression of culture with relationship of open and built spaces in the building complex. Figure 1.7: Conceptualisation and way forward

Source: Author

CHAPTER 2: RESEARCH 2.1 Area of Research 2.1.1 Understanding Public Space 2.1.2 Aspects for promoting Community Interaction 2.1.3 Understanding Indian Culture & its Expression 2.1.4 Current Issues of Inactive Public Spaces 2.1.5 Third Place 2.1.6 Features of a ‘Third Places’ 2.1.7 Possible steps for promoting the proposed centre 2.1.8 Haryana Cultural & Architectural Context 2.1.9 Inference & Conclusion

2.1.1 UNDERSTANDING PUBLIC SPACES “All places of public use, accessed by all for free,” is defined by UN-Habitat. The term “public space” refers to an area that is used for social, economic, recreational, and mobility purposes. (CABE, 2007)

The overwhelming majority of people today have a desire to maintain association to the rest of the globe. Public spaces may connect that interaction by providing avenues for mobility, conversation spaces, and a shared space for leisure, that are vital. The value of public spaces has long been acknowledged, primarily in terms of improving quality of life through a pleasant environment and rich public life, enhancing urban image through urban vitality, and spurring economic development through investment drawn by a positive image. (Raipat, 2015)

Figure 2.1.1: Domino Park is successfully designed to achieve a series of ingredients that enhance its use as meeting places. Regardless of the scale, some important features are designing for people’s needs, the human scale, a mix of uses, multifunctionality and flexibility, comfort and safety, and integration to the urban fabric. Source: Arch Daily

Neighbourhoods’ community ties are shaped via public spaces. They are meeting locations that can aid with political mobilisation, actions, and crime prevention. They are places where people may interact and exchange ideas about how to improve the quality of the urban environment. Public spaces also provide physical and mental health benefits: people feel better and are more active in attractive public spaces. Public spaces, which bring life to the urban voids, are inextricably linked to the formation of what we call a city and impact the interactions that emerge inside it. (Abdel-Rasoul, 2017).

Figure 2.1.2: World-recognized Shibuya crosswalk in Tokyo, Japan. Source: Sean Pavone, Arch Daily

2.1.2 ASPECTS FOR PROMOTING COMMUNITY INTERACTION A good public space is one that celebrates variety while also encouraging individuals to coexist effortlessly. The principles listed if taken into account a high-quality public place will help shape vibrant public spaces: 1. MIXTURE OF FUNCTIONS: People are drawn to retail along with exhibition, recreational and cultural regions make the surroundings more secure and pleasant. External energy is generated by the variety of uses. activities that help to keep people safe spaces. Planning public areas in a thoughtful manner that promotes harmony and coexistence. People’s constancy is also a technique of expressing in public spaces and regular visits can be initiate by mixing of functions.

Humans have always been thought of as sociable creatures. People in cities may live alone, but they eventually require social connection with other people and their surroundings. A human being’s daily routine consists of changing motions from one private area to another, with public space serving as an intermediary between these destinations. Public spaces, especially in cities, are gathering areas for people to connect with the city. Throughout history, public spaces have played an important part in numerous reform efforts, public places serve as a crucial background for people’s coming together. In addition to facilitating leisure activities, public spaces should encourage a healthy urban lifestyle.

2. ACTIVE FAÇADES: The connection between the ground level of buildings, the sidewalk, and the street adds to urban design safety and attractiveness. People choose more fascinating streets because they are more visually appealing. Furthermore, this link has an impact on people’s perceptions of the city and how they use it. 3. SOCIAL DIMENSION AND URBAN VITALITY: Wide, accessible streets, squares, parks, sidewalks, bike routes, and urban furniture encourage people to connect with the environment, promote positive space use, and boost urban vitality. 4. HUMAN SCALE: High-density, high-scale development can be harmful to people’s mind. People’s impressions of public areas are positively influenced by human-scale structures. 5. ILLUMINATION: Lighting that is both efficient and people-oriented makes it easier to use public spaces at night, which improves safety. When there is no natural light, public illumination provides the required conditions for safe movement.

Figure 2.1.3: Social dimension & urban vitality of the space promotes positive space use. Source: Google Images

6. BOOSTING THE LOCAL ECONOMY: High-quality public spaces serve individuals by providing recreational and living spaces, but they also have the ability to promote the local economy. Walking and cycling are encouraged by the safe and pleasant environment, allowing for simple access to local commerce. 7. LOCAL IDENTITY: Public areas may be designed to accommodate the neighbourhood’s local enterprises. Small enterprises and projects have a long-term impact on the community and contribute to its personality and identity. The social dynamics and cultural specificities of the place must be considered while constructing a public space. 8. COMPLETE STREETS: Public places should be thought of in terms of Complete Streets and “shared spaces” whenever practicable. The notion of Complete Streets refers to streets that are built to enable the safe circulation of all users, including walkers, bicycles, automobiles, and public transportation riders. 9. GREEN SPACES: In addition to improving air quality and cooling cities in the summer, vegetation has the ability to humanise cities by inviting people to participate in outdoor activities. Access to green public spaces will become even more crucial as cities become denser, as urban forestation can reduce stress and improve city wellbeing. Furthermore, trees, plants, and flowerbeds are important for urban drainage and biodiversity. 10. SOCIAL PARTICIPATION: Users must be involved in the design, development, and management of urban public spaces and the neighbourhoods in which they live in order for these places to preserve their quality. Residents’ input ensures that the nature and usage of public space are tailored to the community’s specific requirements. Social engagement is a key component in creating safer, more equal public spaces. (Pacheco, 2017)

Figure 2.1.4: Components of a public space. Source: Google Images

2.1.3 UNDERSTANDING INDIAN CULTURE & ITS EXPRESSION India’s culture is highly rich, like a jumble of incomprehensible proportions. But underlying the apparent anarchy lies a thousand-year-old scientific foundation. Social norms, ethical principles, cultural practises, belief systems, political systems, objects, and technologies that originated in or are synonymous with the Indian subcontinent are referred to as Indian culture. Beyond India, the term refers to countries and cultures whose histories are inextricably linked to India, whether through immigration, colonisation, or influence, especially in South Asia. The languages, religions, dance, music, architecture, food, and customs of India vary from region to region. Indian culture, which is sometimes referred to as a mash-up of different cultures, has been influenced by a millennia-long history that dates back to the Indus Valley Civilization. (Mohammada, 2007) NEED FOR A CULTURAL SPACE Cultural centres have an acknowledged mission to engage in the conservation, interpretation and dissemination of cultural, scientific, and environmental knowledge, and promote activities meant to inform and educate citizens on associated aspects of culture, history, science and the environment. These spaces are primarily public which engage in the spreading and flourishing of culture and cultural attributes. The dissemination of culture can be in various ways, through books, performing arts, social gatherings, talks, videos and thus comes in the various types namely museums, libraries, historical or botanical societies, and community cultural centres. The basic idea on which cultural centres are based is the exhibition of masterpieces of artistic production, the promotion of imagination, animation and education. Choosing the material and presentation of cultural products from local, national and world cultural heritage is the key role and feature of the propagation of culture in a cultural centre. (Raipat, 2015)

Figure 2.1.5: Components of a cultural space. Source: Google Images

There are institutional segments with their own, clearly defined space and operation, a library with a reading room, a gallery or a museum collection or phonetics to perform this role entirely. The cultural centre generally has the following sectors: theatre, music, art, cultural, literary, and social and political sciences, which have been produced, animated and disseminated through different programme activities. The role of the cultural centre should be to promote the production and promotion of cultural products, and it should be a centre of cultural life in an atmosphere in which civic education is influenced by the quality of its work. It can only succeed by providing all organizations, artists, and cultural workers with sufficient space and opportunity to introduce their programs. (Liddell, 2018) ASSESSING THE STRUCTURE OF A CULTURAL CENTER The main objective of the space is to serve as a public space - capable of extending the cultural fabric in the city : showcasing, educating and initiating dialogue on arts & culture. But since they are designed with the ambitious aim of mega events, these center remain dead on a day to day basis, and are unable to create a condusive ecosystem for the promotion of ‘culture’. Hence, this model of a cultural center needs to be re-examined. (Tims and Mean, 2005) EARLIER MODEL IN DELHI Although great for providing range of exposure, these centers rarely stay active as they enjoy varying popularity amongst the masses. Thus, some spaces get activated while some remain neglected even while being ‘present’ on the” campus. PROPOSED MODEL In order to generate a holistic environment and activate all the spaces, inter disciplinary collaboration between departments need to be encouraged. All the facilities need to be housed and accessed together.

2.1.4 CURRENT ISSUES OF INACTIVE PUBLIC SPACES IN GURGAON Public spaces reflect and form the image of the city for both - the tourist and the locals as it the most commonly accessed space that they can interact with. (Thukral, 2018) Public spaces are an essential part contributing to the socio-cultural character of a city such as Gurgaon - a characteristic which makes it a lively urban space. These spaces help in bridging the various communities existing together and helpgenerate interpersonal relationships and even a common, local identity. (K.P. Narayana and Misra, 2012) Most public spaces in the city, however, are facing the challenges of staying relevant and active. Several of these are ill-maintained and hardly inviting for the general public. The lack of imaginative planning together with lack of appreciable spaces serves to create a rather derelict environment. There is thus,a huge gap between civic needs and aspirations of the people and the built environment around them. (Dollinger, 2008) With advancements in technology, media and entertainment, physical cultural spaces, also have to compete with the virtual and with screen cultures. Viewed as spaces where culture is merely ‘preserved’, they are unable to engage the public on an everyday basis and soon transform into event specific spaces. They are unable to serve as active, public recreational spaces and are also in need for an intervention to breathe new life into them. (Jha, 2016) “The privatisation of ‘leisure and recreational spaces’ has further added to this problem. With chowks getting replaced with malls and parks getting displaced by food joints, public spaces are getting eroded from the urban cityscape. Access to these spaces are becoming more exclusive”resulting in an increasing divide between the have and have nots of the society. (K.P. Narayana and Misra, 2012) Diminishing public spaces has resulted in a loss of engagement and interaction amongst people and has led to the absence of a public and cultural realm from our cities. There has thus been a failure to foster mutual understanding and symbiotic relationship amongst people of different regions, classes and gender. This is specially critical in a city such as Delhi which has emerged as major metropolitan center and attracts migrants and visitors from across India. (Thukral, 2018) Thus it is critical to rethink the design of public spaces in a way that can be re-activate them and help them serve important community functions. These interventions are also critical as they can serve as catalysts for the rejuve nation of surrounding areas. These spaces can help extend the boundaries of the cultural fabric of the city and make public institutions accessible for all making them more productive and active, in current times and context.

2.1.5 THIRD PLACE

2.1.6 FEATURES OF A ‘THIRD PLACES’

The greatest way to address the purpose of public spaces is to create ‘third places.’ To assist revive activities at the socio-cultural centre, it’s critical to provide a variety of services and facilities that cater to the community’s and users’ individual demands. However, it is critical that these spaces be created as ‘common commodities,’ with the intention of being utilised and experienced by everyone, making them truly public and democratic. (Jeffres Et. Al., 2009)

Even as the number of commercial businesses that embrace and promote the culture of leisure and frequent visitors grows, third places are still necessary for a healthy community. This is owing to the several functions they perform:

‘Third place’ is a concept of community building that was first introduced by sociologist Ray Oldenburg in his book ‘The Great “Good Place’ (1989). It is envisioned as a separate location from the house (the first place) and the workplace (the second place), acting as a place where people can assemble and interact at their leisure.

2. SOCIAL BONDING: “In an age of virtual distancing, spending time together in these public areas fosters a sense of community and collectiveness.”

It is a space where one can express one’s problems, emotions, viewpoints, and opinions. In essence, this is a place where people may interact with one another and spend leisure time.” (Dollinger, 2008) In India, these places are not a foreign concept. They are, in fact, an important feature of the vernacular architecture in many sections of the country. ‘Chabutras, oatla, baoli chowks’ - around trees and intersecting streets - are examples of these spaces. They’re spaces where everyone is welcome and encouraged to mingle and stroll in a relaxed atmosphere. (Dollinger, 2008)

1. AN INCLUSIVE PLATFORM FOR ENGAGEMENT: These places encourage interaction among visitors across various parts of the community.

3. PRODUCTIVE LEISURE: While encouraging informal behavior, these areas can also be used for collaborations and debates, which can be more efficient and fruitful when done without external pressure.” 4. DEVELOPMENT OF SOCIAL CAPITAL: People can learn new skills and broaden their horizons by participating in debates and interactions. 5. PSYCHOLOGICAL WELL-BEING: By encouraging people to spend time “outside of their homes,” third spaces can help people live a healthier life - both physically and psychologically - by boosting interaction. These are especially important for the elderly and young people. (Williams, 2006)

2.1.7 POSSIBLE STEPS FOR PROMOTING THE PROPOSED CENTRE Need for a cultural centre from today’s day and age: Creating an urban space to commemorate cultural events. Preserve culture and create opportunity for the craftsperson’s and interest driven people. A platform for educating the crafts, integrating the society and sensitizing the people. Facilitate crafts fairs and exhibition which in today’s time in insufficient in Gurgaon. Representing culture of the country.

The promotion of the centre will be achievable by integrating the following aspects: Arts: Fine arts, dance, music, poetry, literature, theatre. Performing Arts: Street plays (Nukkad-nataks), festival oriented, Dance, Musical shows. Entertainment: Concerts, Music shows, theatre plays. Retail: This component is absent in the context and can help in connecting to the context and energizing the entire stretch. Promotion of the craftsperson’s: Training the interested ones to promote the crafts. Institution for education and research of culture and art. Opportunity for the people to create, enjoy and participate in cultural activities. Recreational activities to support the primary activities of the cultural centre.

The spatial requirements for making a vibrant public space Establishing a strong connection between the context, interiors and exterior. The concept should be based on the city’s philosophy of combining nature and innovative technology so that every set of users can relate to the centre. The concept of courtyards or internal open space can become tool for attracting people. The space can also be used for outdoor events because usually in a cultural centre the OAT which is the only open space is positioned in the corner. The pedestrian areas should be completely free of vehicles like IHC, well defined and designed. The central public courtyard should be visually connecting to all parts of building. Sustainable design with the latest technology and construction can be done. The design of the centre can be done is such a way that shared open spaces are created that act as a split-out. The ground floor has to be porous and visually connected for security and accessibility. The project will become an urban intervention and it will provide a link between the existing development and future urban development.

2.1.8 HARYANA CULTURAL & ARCHITECTURAL CONTEXT BACKGROUND & HISTORY OF GURGAON

The region of Gurgaon originally fell under the Kuru Kingdom. Early people to inhabit the region were Hindus ruled over by the Ahir clan. Yadu tribes were a part of this clan and today their descendants commonly hold the last name Yadav. In late 4th century BCE, the city was absorbed by the Maurya Empire as part of Chandragupta Maurya’s earliest expansions of his kingdom. (Oldenburg, 2018) Gurgaon may be same as the Gudapura town mentioned in the 12th century text Prithviraja Vijaya. According to the text, Nagarjuna, a cousin of the Chahamana king Prithviraj Chauhan, rebelled against the king and captured the town. Prithviraj crushed the rebellion and recaptured the town. (Wikipedia, 2022) During the Mughal and initially during the British colonial era, Gurgaon was just a small village in Jharsa paragana of Delhi subah. Report of a Tour in Eastern Rajputana in 1882–83 (published in 1885) by Alexander Cunningham, the then Director-General of Archaeological Survey of India, he mentions a stone pillar at Gurgaon of a local feudal lord “Durgga Naga” with a 3-line inscription “Samvat 729 or 928, Vaisakh badi 4, Durgga Naga lokatari bhuta” dating back to 672 AD or 871 AD. Jharsa paragana passed to Begum Samru in 1776–77 and came under direct British rule in 1836 after her death when her territory was taken over by the British who established a civil lines at Jharsa and a cavalry cantonment at nearby Hiyadatpur. A 1882 land revenue settlement report records that the idol of Sitla Mata was brought to Gurgaon 400 years earlier (15th century). Begum Samru claimed the offering to Sitla Mata temple during the Chaitra month and the revenue from the offerings given to the deity for rest of the month was distributed among the prominent Jat zamindars of the area. In 1818, Bharawas district was disbanded and Gurgaon was made a new district. (Oldenburg, 2018)

Figure 2.1.2: Gurgaon, present view. Source: Google Images

ART & CRAFT FORMS & CULTURE Haryana being an agricultural state, women also work with men in the fields; hence crafts have not evolved into art forms and remain rooted to their original usage. Nevertheless, the arts and crafts never cease to fascinate the true art connoisseurs. Art and craft of Haryana mainly covers the range of pottery, embroidery and weaving. Colourful Phulkari dupatta of Haryana is famous in India and abroad. Art and craft of Haryana also include sculpture and murals both of Persian and Mughal style. Woven furniture, artistic sheet metal work, wooden bead making, zari & tilla jutti (leather footwear), lace work, bone carving, wood carving are some of the artistic craft that Haryana is known for. (HSPC, 2017) Panipat in Haryana is famous for its handloom tradition, especially rugs and upholstery fabric that is the reason why it is known as a major textile town in India. Haryana is famous for two types of woven furniture Mudhas (round stools) and chairs made of sarkanda (a reed) from Farookh Nagar and pidhis from Soniepat which are essentially wooden stools with seat woven in cotton threads or sutli. One of the interesting items made at Jhijjar is pitcher made from clay. Interestingly, the clay gives a sweet taste to the water stored in the pitcher. (Corporation, 2022) SCULPTURE

PAINTING

BAGH

CRAFTS OF HARYANA POTTERY Figure 2.1.2: Crafts of Haryana Source: Haryana PSC Notes

EMBROIDERY & WEAVING

CHOPE

Figure 2.1.2: Zari & Tilla Juttis Source: Google Images

Figure 2.1.2: Phulkari Dupattas Source: Google Images

Figure 2.1.2: Crafts using Sarkanda Source: Google Images

INFERENCES: 1. Retail can play an important role in promoting traditional crafts to the visitors. 2. The public spaces/ courtyards shall be designed in such a manner that most of the functions spillover in it. 3. Small areas with workshops to be provided for pottery, etc. and larger for showcasing and selling of other crafts.

CURRENT URBAN RETAIL TYPOLOGY

LOCAL MARKET TYPOLOGY

Mall typology was extremely famous in the early 2000s, but due to revitalisation of the street shopping typology into high street shopping, malls in Gurgaon have ended up becoming dead spaces. Malls are increasingly being converted into Co-working spaces and the newer developments are adopting the high street retail typology. (Anand, 2016)

Like any other place in Delhi, Gurgaon also has vibrant and colorful local market spaces where one can find large numbers of retailers bustling with the tourists and locals. Some of the most famous markets in Gurgaon is the Banjara market and the Sadar Bazar. Usual style setup of hawkers happens in a bye-lane in front of the the permanent stores are lined up around both big and small stores on either side and each bylanes has its own specialty. (Trikha and Wadhwa, 2016)

Stronger Sense of Community-High Street retail located in the center of the community gives a stronger sense of community and local identity. Consumers see the High Street as the center of their community and play a key role in ensuring its identity. The most important part of this community is small independent retailers that give a consumer a better retail experience. The High Street retail also maintains the individuality of the city and provides a greater sense of community. (Bureau, 2021)

PERMANENT SHOPS

HAWKERS

PEDESTRIAN STREETS PERMANENT SHOPS

HAWKERS

Figure 2.1.2: Layout of local shops. Source: Author

Figure 2.1.2: Ambience Mall Source: Google Images

Figure 2.1.2: DLF Galleria, Gurgaon Source: Google Images

Figure 2.1.2: Sarojini Nagar Market Source: Google Images

Figure 2.1.2: Janpath Market Source: Google Images

Figure 2.1.2: DLF CyberHUB, Gurgaon Source: Google Images

Figure 2.1.2: Worldmark, Gurgaon Source: Google Images

Figure 2.1.2: Chakkerpur Market, Gurgaon Source: Google Images

Figure 2.1.2: Dilli Haat, INA Source: Google Images

TRADITIONAL THIRD PLACES IN INDIAN CONTEXT STEPWELLS

CHOWK

BAITHAK

CHABUTARA

Stepwells were designed as spaces to fetchup water in areas where there was water shortage. Currently, these spaces act as an interaction spaceand tourist spots. The centre can progress upwards as steps inspired from Stepwells.

The centre open space in a chowk acts as a community binder. The buildings on the edge serve important purposes. This intent can be adopted for the centre.

The urban intervention can be supported by elements of the past that is baithaks. The is not only act as an urban furniture but will also aid in enhancing eyes on street as the more number of people will get an opportunity to sit on the site.

Chabutaras can be used as urban street element on site. Such relief space will help in providing relief on lower level.

Figure 2.1.2: Stepwell, social space at community level. Source: Google Images

Figure 2.1.2: Chowk, social space at community level. Source: Google Images

Figure 2.1.2: Baithak, social space outside the house. Source: Google Images

INFERENCES: 1. The cultural centre can be designed on the concept of the chowk. 2. Courtyards between different buildings can act as a relief space. 3. Urban furniture can be replaced by baithaks and chabutara, that will behave as traditional elements in urban setting. 4. Adoption of street typology, hawkers and informal shops are important elements of the market.

Figure 2.1.2: Chabutra, social space for theneighbourhood. Source: Google Images

2.1.9 INFERENCES & CONCLUSION

SERVICE APPAR. STUDIOS EXHIBITION RETAIL Figure 2.1.2: Inferences from Research Source: Author

2. Landscape features to create a microclimate. 3. Creation of third places in urban intervention.

CHAPTER 2: RESEARCH 2.2 Case Studies 2.2.1 India Habitat Centre 2.1.2 India International Centre 2.2.3 Triveni Kala Sangam 2.2.4 Jameel Arts Centre, Dubai 2.2.5 Comparitive Matrix for Case Study

INTRODUCTION TO CASE STUDIES

INDIA HABITAT CENTRE, DELHI TO STUDY: – Use of materials & scale Built-open relationship Relationship of functions Mix of various functions Program

INDIA INT. CENTRE, DELHI TO STUDY: – Use of materials Creation of public spaces supported by certain functions Mix of various functions Program

ANALYSIS PARAMETERS DESIGN INTENT

POROSITY AT PEDESTRIAN LEVEL

Key concept of the project & aspects which make it different

Level of public accessibility in design

TRADITIONAL ARCHITECTURE/HERITAGE INFLUENCE

Massing in proportion to the open spaces

BUILT - OPEN RELATIONSHIP

TRIVENI KALA SANGAM, DELHI

JAMEEL ARTS CENTRE, DUBAI

TO STUDY: – Combining aspects of the traditional understanding with modern possibilities in design Built-open relationship Nature of spaces for different art forms Vertical zoning Program

TO STUDY: – Confluence of various art forms – Functional zoning (Learning, Community-level interaction & Public Private segregation horizontally & vertically) Segregated collaborative space for arts

CONTEXT

Surroundings & neighbours of the project

SUSTAINABLE DESIGN FEATURES

NATURE OF OPEN SPACE OPEN-SPACE TYPOLOGY AND ITS SIGNIFICANCE IN DESIGN

DESIGN INNOVATION

2.2.5 COMPARITIVE MATRIX FOR CASE STUDY PARAMETER

IHC, DELHI

IIC, DELHI

TKS, DELHI

JAMEEL ARTS CENTRE, DELHI

SITE AREA

36421sq.m

19263sq.m

2425sq.m

4000sq.m

BUILT UP AREA

97000sq.m

6250sq.m

7275sq.m

10000sq.m

SIGNIFICANCE

The complex is multipurpose building. IHC is one of India’s most comprehensive convention centers that is aimed at bringing individuals and institutions working in diverse habitat and environment related areas together.

Considered one of the country’s premier cultural institutions, the India International Centre is a non government institution. It is widely regarded as a place where statesmen, diplomats, policymakers, intellectuals, scientists, jurists, writers, artists and members of civil society meet to initiate the exchange of new ideas and knowledge.

Triveni Kala Sangam is an important cultural and arts complex and education centre in New Delhi. It contains four art galleries, a chamber theatre, outdoor theatre, open air sculpture gallery, besides this it runs its various arts, music and dance classes. The proposed centre in Gurgaon is supposed to develop on the lines of this centre.

LOCATION/ CONTEXT IMPORTANT FEATURES

200M from Lodhi Corner Bus Stop 1Km from JLN Metro Station (Violet Line) 18Km from IGI Airport 9Km from NDRS JA Stein, BV Doshi, JR Bhalla

1Km from JLN Metro Station (Violet Line) 18Km from IGI Airport 9Km from NDRS

500M from Mandi House Bus Stop 1Km from Mandi House Metro Station (Violet Line) 3Km from NDRS JA Stein

Jameel Arts Centre is connected to yet apart from Dubai’s famed skyscraper-filled cityscape, as it sits on a sliver of land that juts out into Dubai Creek. The idea to overlay galleries also helps to create sightlines to many areas from a single vantage point – be it a garden or another exhibition space – allowing spectators to link locations and initiate discourse. Dubai Airport (5.8Km)

ARCHITECT

JA Stein

Serie Architects

REMARKS/ OBSERVATION Site Are (2.5H) closest to IIC, Delhi. Maximum built-up allowed= 37,500sq.m (FAR=1.5) The project is envisioned as an Iconic Public Complex with facilties for promoting arts, crafts, exhibition and retails with all contemporary amenities and services along with creating an experience which reflects the values of built form and spaces.

Proximity of airport varies from case to case. Proximity to metro station is crucial.

THESIS 2022

PARAMETER

IHC, DELHI

IIC, DELHI

TKS, DELHI

JAMEEL ARTS CENTRE, DELHI

REMARKS/ OBSERVATION

CIRCULATION & The site can be acZONING ON SITE cessed from all the

The site is well connected with various parts the city with Connaught place is in close proximity. The access road, the Tansen Marg links Bengali market to the Mandi house roundabout.

Colonnades establish a porous bridge between small gallery rooms and the public waterfront promenade’s social activity, enabling visitors to move through and along the space.

Services & Public areas have been segregated. The central postion has been designed free of vehicles. Seperation of cores for different functions. Retail as a connection between different parts of buildings.

FUNCTIONAL ZONING

Auditorium Art Galleries Cafeteria Administration Amphitheatre Guest Accomodation

1,000sq.m dedicated gallery space 300sq.m open-access research centre events and screening spaces book and design shop rooftop restaurant

Gallery Spaces Retail Administration Office Performing Arts Visual Arts Studios Restaurants & Cafe Service Appartments

The site is accessed from two roads Max Mueller Marg & Joseph three sides bounded Stein Marg. The main by the road. Lodhi pedestrian entry is Road towards north along the former road serves as pedestrian access. Roads on the on the east. There are five different ways to west, Max Mueller Marg and south Vard- get inside the facility. haman Marg serve as Max Muller marg has direct access roads to three entries, while Joseph Stein Lane has different areas of the complex and entry to one public entry and vehicles. one service entry. • 40000sq.m of office Hostel Block space Auditorium • Multiple Conference Conference rooms Rooms with a capacity Central Courtyard of 1000 in various con- Art Gallery figurations (from 30 to Amphitheater Library 450 people). Dining Hall • 60 guest rooms, 5 suites, 5 service apart- Double Occupancy ments. Room (28) • Conference Rooms, Single Occupancy Room (48) Cafeteria, Fine dine Courtyards & Landfacility • 420 people capacity scaping auditorium & 250 capacity amphitheater

PARAMETER INTENT AND SYNTHESIS

IHC, DELHI

IIC, DELHI

TKS, DELHI

JAMEEL ARTS CENTRE, DELHI

REMARKS/ OBSERVATION

The genesis of design is rooted in the notion that there has been an attempt to incentivize pedestrianism by modify the climate. The application for these principles with client’s co-operation led to development of a conscious decision bringing IHC into place. The complex is an oasis of quiet and greenery in the midst of chaos of the city.

The center was design to provide three activity steams ‘TRIVENI’, intellectual, cultural and social. •The Intellectual Stream, which is bolstered by a wellstocked library that assists scholars and researchers, as well as a steady stream of seminars, symposia, gatherings, and discussions. •The Cultural Stream includes dance and music performances, exhibitions, cinema screenings, and theatre. • The Publications Division publishes the IIC Quarterly, an internationally recognized multidisciplinary journal, as well as monographs known as Occasional Publications.

Auditorium, Sculpture Court, Director, Art Gallery, Reception, Office, Art Gallery, Amphitheater, Cafeteria. The complex omprises of two phases: the academic block, Phase-I and the auditorium block, Phase-II. The internal linkage of the academic block is supported by the OAT serving as the core of complex, with the building around it. The building houses four art galleries (basement and ground floor), outdoor garden theatre (amphitheatre), sculpture court (open) adjoining the auditorium, hostels for artists, dance and music rooms (on first and second floors respectively), painting and photography studios, cafeteria and terrace tea garden.

Complex is inspired from Kunsthalle. The design of Jameel Arts Centre was originally imagined as a family of forms bordered by a low colonnade. On both a personal and a community-wide scale, the building’s massing and spatiality are inspired by two regional architectural traditions: the early Emirati Sha’abi houses, which featured a series of rooms circling a courtyard, and the Madinat style of city planning, which featured an accumulation of houses with courtyards. The Centre’s design fractures and tessellates the courtyard with recurring juxtapositions of geometric forms and gardens, always layering a relationship between inside and outdoors, art and nature.

Incentifizing pedestrian movement. Confluence of culturedesigning a space for all, massing and spatiality inspired from the traditional Indian and contemporary architectural elements. The center is designed to provide three activity streams: RETAIL & RECREATION, INTELLECTUAL, CULTURAL & LITRARY

PARAMETER

IHC, DELHI

PARKING

Parking for 933 cars & 2000 two-wheelers + surface parking.

LANDSCAPING

• The blue-green sunshades in courtyards/ open spaces help in maintaining comfortable environment and has a cooling effect. • The trees help maintain a comfortable environment. • Fountains make the environment cooler, giving an effect of lightness. • The building is planned in such a way that maximum part of the floor enjoys sunlight. Monumental scale, landscaping & textures bring it to human scale. Huge blocks with cladding gives it a relatable scale.

FACADE

IIC, DELHI

TKS, DELHI

JAMEEL ARTS CENTRE, DELHI

Surface parking is provid- Surface parking is proed with 220 cars, there is vided. no basement parking.

No basement parking only surface parking.

Careful choice of material and the amalgamation in constructing a complex that is understated in aesthetic expression and at the same time is beautiful, use of local materials and new construction techniques.

Building’s surfaces incorporate an interplay between raw concrete & semi-reflective aluminium cladding, creating a subtle shimmer in response to the surrounding water and atmospheric changes.

REMARKS/ OBSERVATION

Minimal surface parking for Visual Arts Centre’s visitors, rest will be accomodated in basement. The series of courtyard Spillout spaces as relief. The Centre is adjacent to Shaded courtyards, Massing around overstaircase and pergolas desert gardens that the Lodi gardens overlooking open space. and walkways lead punctuate the archilooking a magnificent tecture ensure that Water channels connects landscape of gardens and to the studios, this alternating encounters block and diverting attenhistoric monuments from becomes an interesting way of transition of art and landscape tion of visitors. the sixteenth century. Outdoor seating requires from public to private. remain integral to Like the main building, blends harmoniously Café opens to OAT that the experience of the landscaped areas. building, encouraging with the environment binds to the rest the of the Lodi gardens. In spaces through the moments of repose. green spaces at the keeping with the spirit of the entire complex, it center of building. offers spaces for seminars and cultural performances, refreshments and boarding in a serene and tranquil environment. Extensive areas of jaalis and planting boxes arranged into vertical gardens are prominent elements at TKS. The jaali panel create a cool space of filtered light in the classroom buildings’ corridor.

Extensive used of jalli to promote shading and increase ventilation. Facade material to be local.

INFERENCE & CONCLUSION Site Planning: • Site divided into vehicular and pedestrian accessible space. Public edge towards the front and service edge towards the rear- not accessbile to public and hidden by massing. • Accomodation to be in the most private zone of the site that is towards the Wazirabad Bundh Restoration Park. • Retail to be a binding factor of the INTERLINKAGE: Spatial Interlinkfunctions. age is necessary for a wholesome • Two drop offs to be provided for experience of the centre. seperation of visitors for different purposes.

SITE PLANNING: Segregating public, private and services. Energizing the centre through retail.

SERVICE: Eating spaces to be supported by service corridors. Seperate circulation for the services.

ZONING: Lower levels more public and privacy increases as one moves up.

MULTIUSER: Spaces designed for all people- children, teens, handicaped, elderly, to enhance quality of life.

CHAPTER 3: DESIGN PROJECT 3.1 Project Information 3.2 User groups & profile 3.3 Space Standards 3.4 Area Program 3.5 Area Program Analysis & Functional Relationship 3.6 Inferences & Conclusion

BIODIVERSITY PARK

W. BUNDH PARK

SITE

PETROL PUMP

LAL DORA Figure 3.1.2: Site Enlarged Source: Author

3.2 USER GROUPS

TRAVELLERS MODE OF TRANSPORT

Public Transport Private Vehicle Rented Cars

SPATIAL REQUIREMENT

Accomodation Recreational Spaces Restaurants & Cafes Retail

ART & CULTURE ENTHUSIAST MODE OF TRANSPORT

LOCAL INTEREST DRIVEN PEOPLE MODE OF TRANSPORT

LEARNERS MODE OF TRANSPORT

Public Transport Private Vehicle Rented Cars By Foot

SPATIAL REQUIREMENT

Exhibition Spaces Accomodation Recreational Spaces Restaurants & Cafes Retail Parking Spaces

Exhibition Spaces Recreational Spaces Cultural Spaces Restaurants & Cafes Retail

Exhibition Spaces Accomodation Recreational Spaces Cultural Spaces Restaurants & Cafes Retail

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AREA PROGRAM FOR SOCIO-CULTURAL CENTER, SECTOR-53, GURGAON S.No.

FUNCTIONS

NO. OF PEOPLE

STANDARD PER PERSON (in sq.m)

TOTAL AREA

UNITS

Notes

NATURE OF SPACE

LIGHT EXPOSURE

1 Administrative + Office 1.1 Administration 1.1.1 Foyer + Waiting Area 1.1.2 Reception 1.1.3 Staff Workstations (Hot Seats) 1.1.4 Research Dept. 1.1.5 Meeting Rooms 1.1.6 Accounts office 1.1.7 Conference Room 1.1.8 Ast. Director Office 1.1.9 Director's Office 1.1.10Managers Cabin 1.1.11Staff Office 1.1.12Storage Total 1.1 Add 40% Circulation + Toilet 1.2 1.2.1 1.2.2 1.2.3 1.2.4

Ancillary Function Waiting Lounge Cafeteria Pantry for office Medical Room with Beds Total 1.2 Add 40% Circulation + Toilet Total of Administration & Office

10 10 100 10 12 5 30 5 5

6 5 3.7 10 2.5 10 2.5 10 10

1 1 1 1 2 2 1 1 1

20 25

6 2

1 1 1 1

60 50 370 100 60 100 75 50 50 30 100 30 1075 430

Semi Public Semi Public Private Private Private Private Private Private Private Private Private Private

Natural + Artificial Natural + Artificial Natural + Artificial Natural + Artificial Natural + Artificial Natural + Artificial Natural + Artificial Natural + Artificial Natural + Artificial Natural + Artificial Natural + Artificial Artificial

120 50 10 50 230 92

Semi Public Semi Public Semi Public Semi Public

Natural + Artificial Natural + Artificial Natural + Artificial Natural + Artificial

1827

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Table 3.4: Area Program & Analysis. Sourse: Author

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3.5 AREA PROGRAM ANALYSIS Overall function wise requirement of individual functions and spaces which are a part of the program. Understanding the physical needs, light and ventilation requirements, vicnity to outdoor spaces and other factors which would determine the zoning of the respective functions in relationship with each other.

OVERALL AREA PROGRAM ANALYSIS Administration & Office, 1827, 5%

Service Appartments & Dorm, 6790, 18%

Learning Centre, 4886, 13%

Performing Arts Centre, 2620, 7%

Exhibition Centre, 10229.8, 28% Retail + F&B, 6790, 19%

Recreation Centre, 3745, 10%

Table 3.5: Number of occupants. Source: Author

Table 3.5.1: Overall Builtup area breakup. Source: Author

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ADMIN & OFFICES ADMINISTRATION + OFFICE

Medical Room with Beds, 50, 4%

LEARNING CENTRE

Multipurpose Room, 240, 7%

Foyer + Waiting Area, 60, 5%

Pantry for office, 10, 1% Cafeteria, 100, 8%

Reception , 50, 2%

Equipment storage, 30, 1%

Waiting Lounge, 120, 4% Painting Studio, 240, 7%

Music Studio, 240, 7%

Reception, 50, 4%

Waiting Lounge, 60, 5% Pottery Studio, 360, 11%

Storage, 30, 2% Dance Studio, 360, 11%

Staff Workstations (Hot Seats), 370, 29%

Staff Office, 100, 8%

Props storage/studio, 20, 1% Changing Rooms, 20, 1%

Ceramic Studio, 300, 9%

Managers Cabin, 30, 2% Director's Office, 50, 4%

Drama studio, 360, 11%

Drying Area for Pottery, 50, 2% Kilns, 50, 2%

Ast. Director Office, 50

Storage for raw materials, 50, 2% Store, 150, 5%

Conference Room, 75, 6% Accounts office, 100, 8%

Research Dept. , 100, 8%

Kitchen for Culinary Arts, 300, 9% Staff Room/Office (Hot Seat), 370, 11%

Meeting Rooms, 60, 5%

Table 3.5.2: Administration & Office built-up breakup. Source: Author RECREATION CENTRE

RECREATION ZONE Creche & Playarea for children, 300, 11%

Table 3.5.3: Learning Centre built-up breakup. Source: Author

PERFORMING ARTS CENTRE

Reception , 50, 2% Waiting Lounge, 120, 5% Mangers Cabin, 30, 1% Yoga Room, 250, 9%

Indoor Games (Squash, Billiards), 200, 8%

Meeting Rooms, 750, 29%

Salon, 75, 3%

Auditorium, 1070, 41%

Spa, 150, 6%

Gym, 250, 9%

Meditation Centre, 1000, 37% Game Zone, 250, 9%

Table 3.5.4: Recreation centre built-up breakup. Source: Author

Rooms, 800, 30%

Table 3.5.5: Performing arts centre built-up breakup. Source: Author

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EXHIBITION CENTRE

Reception , 50, 1%

Digital Exhibition space, 250, 3%

Waiting Lounge, 120, 2% Locker Room, 50, 1%

Exhibition Court, 250, 3% Exhibition Space permanent, 500, 7%

Small Gallery, 1200, 16%

Exhibition Space temporary, 500, 7%

Store, 100, 1% Maintenance Office (Hot Seat), 37, 1% Curator's Offices, 50, 1% Demonstartion Kiosks, 200, 3%

Large Gallery, 2000, 27%

Table 3.5.7: Exhibition centrefunctional diagram. Source: Author

Exhibition Court, 2000, 27%

Table 3.5.6: Exhibition centre built-up breakup. Source: Author RETAIL & F&B Standalone food kiosks (@10sq.m), 200, 4% Small Shops (15sq.m), 750, 15%

Food Court, 1000, 21%

RETAIL AREA BREAKUP Small Shops: • • • •

Adequate Light & Ventilation Excellent Visibility Airconditioned Spaces Located at the ground for maximum footfall.

• • •

Restaurant with good views Connectivity to BOH & Kitchen Accessible to outside public

• • •

Large crafts store Can be located at upper level. Well ventilated and lit

F&B: Medium Shops (30sq.m), 900, 19%

Medium & Large Stores:

Restaurants with individual kitchens (75 covers), 1000, 21% Large Shops (50sq.m), 500, 10%

Anchor Stores , 500, 10%

Table 3.5.7: Retail built-up breakup. Source: Author

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SERVICE APPARTMENTS & DORM

Mess, 200, 4%

Guest Rooms:

Laundary, 50, 1%

• Adequate Light & Ventilation • Excellent Views • Airconditioned Spaces • Privacy • Access to Recreational Zone

Kitchen , 50, 1% Dormatory, 600, 12%

Lounge, 100, 2%

Reception & Lobby, 100, 2%

Double Occupancy Rooms (30sq.m), 2250, 47%

Mess/ Eatery:

• Restaurant with good views • Connectivity to BOH & Kitchen • Private to accommodation only

Back of House:

• Connection to service cores • Adequate artificial lighting.

Public Areas:

• Good Views • Airconditioned spaces • Connection to outdoors

Artist's Accomodation (60sq.m), 1500, 31%

Table 3.5.8: Accomodation built-up breakup. Source: Author

Table 3.5.9: Accomodation functional relationship. Source: Author

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3.6 INFERENCES & CONCLUSION

Table 3.6.1: Ground level Circulation. Source: Author

Table 3.6.2: Vertical Circulation. Source: Author

The overall relationship is established in such a manner that te public spaces that is retail and exhibition are placed in and around the central courtyard and haven visual connect with all Table 3.6.3: Overall functional relationship. oter functons. Source: Author

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CHAPTER 4: SITE INFORMATION & ANALYSIS 4.1 Location & Context 4.2 Site Evolution 4.3 Landuse Analysis 4.4 Site Surroundings & Context Analysis 4.5 Development Control & Traffic 4.6 Precinct Level Landuse Analysis 4.7 Built Fabric Analysis 4.8 Circulation Analysis 4.9 Edge & Activities along it 4.10 Climatic Analysis 4.11 Drainage Pattern 4.12 Learnings & Way Forward

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4.3 LANDUSE ANALYSIS Largely the surrounding sectors are condominium typology supported by own ecosytems. Sector-53 has other public buildings apart from retail and commercial towards the metro stationson Golf Course Road. Together with the existing development, the centre has the potential to integrate and for a public space- capible of serving the city of Gurgaon at large.

Figure 4.3: Gurgaon Master Plan 2031 Source: Asset Yogi

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4.4 SITE SURROUNDINGS & CONTEXT ANALYSIS

Figure 4.4.1: Site Plan Source: Author

Figure 4.4.2: Site Sections Source: Author

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CONTEXT PLAN

Site & Surroundings

Sector 53 is an upscale residential destination in the micro-market of Golf Course Road of Gurugram. The sector draws significant advantage from its location on the Golf Course Road which itself is a key employment hub and exhibits excellent environment for residential living. Primarily developed by the DLF Group, the sector includes various multi-storey apartment complexes and gated communities. Some of the prominent residential projects in Sector 53 are DLF Princeton Estate, DLF Wellington Estate, TDI Ourania, DLF Trinity Towers, Vipul Belmonte and DLF Royalton Towers. (Wikipedia, 2022)

8 1. Wazirabad Bundh Park 2. Paras Hospital 3. Bio-diversity Park 4. The Icon 5. Cyber Police Station 6. One horizone Centre 7. Two horizon Centre 8. American Express Building 9. Genpact Office 10. South Point Mall 11. Princeton Estate 12. Willington Estate 13. Carlton Estate 14. Petrol Pump 15. Liquor Shop & Cafe 16. Westend Heights 17. Club 5 18. Lancer’s International School 19. Heritage School

4 5

3 14 15

9 10

Figure 4.4.3: Site Plan with Context Buildings. Source: Author

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TRANSPORT CONNECTIVITY 2 Metro Stations & 7 Bus Stops within 1Km provide connectivity from Gurgaon to Delhi. IGI Airport is in close promixity to the site (15Km)

Figure 4.4.4: Public transport connectivity. Source: Author

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4.5 DEVELOPMENTAL CONTROLS & TRAFFIC Client= HSVP (Haryana Shahari Vikas Pradhikaran) Site Area= 2.4H= 24000sq.m Built Up Area= 36,000sq.m Ground Coverage= 40% FAR= 1.5 SETBACKS Front: 15m Side & Rear: 9m Landuse: Residential Modified Landuse: Public/ Semi-Public Ht. restriction: None

Figure 4.5: Plan showing site. Source: Author

Figure 4.5.2: Traffic Analysis near site.

Source: Author

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4.7 BUILT FABRIC ANALYSIS GRAIN ANALYSIS The area is divided into sectors through a network of clear, broad roads marking the edges of the sector and becoming soft thresholds. Context: Large Grain, Even texture in DLF 5 Precinct: Fine Grain, Uneven texture FIGURE GROUND The current development is structured as clusters surrounded by opaque 3M high walls which turns these buildings into isolated ivory towers. Each of the condominiums have its own ecosystem and there is no interaction at a larger level.

Figure 4.7: Grain Analysis of Site surroundings. Source: Author

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4.8 CIRCULATION ANALYSIS PEDESTRIAN MOVEMENT: The site can be accessed from all directions by foot. The rear side can be the potential vehicular and service entry. The pedestrian entry can be directly from Thomas Marg. The rear side of site open up to the residential area.

Figure 4.8.1: Pedestrian Movement around the site. Source: Author

VEHICULAR MOVEMENT: The main vehicular movement happens on Thomas Marg as the road is a connector road between Golf Course Road and MF Hussain Marg. This road remains busy throughout the day and at peak hours is jampacked.

Inference: 1. Strong influence of movement of Zoning & Massing. 2. The site is next to already established DLF 5 development, the intervention of cultural center needs to be in sync with the existing. Figure 4.8.2: Vehicular Movement around the site. Source: Author

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4.9 EDGE & ACTIVITIES ALONG IT

Day Time Activity

Figure 4.9: Edge & Activities along it. Source: Rajita Jain 2021 Thesis

The site surroundings are used by construction workers.

Cobblers, stalls, potters

Visitors to Café, Liquor Store, Commercial spaces

Gated community & lack of development around the site make the context isolated and unsafe. Schools, commercial activities and nearby construction bring life to the site during the day. The cultural centre will be a boon, it will improve nightlife, energize the context and make it safer.

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4.11 SITE DRAINAGE

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DRAINAGE PATTERN

INFERENCE

There are three water collection points in the site, those points can be used for developing greens so that the ground water table can be recharged.

Figure 4.11.2: Water collection points near Site. Source: Google Images

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SWOTS ANALYSIS OF THE SITE

STRENGTH • Can have a great presence. • Maximize utilisation of the site boundary. • Eare of access, located on a busy road. • Sides can also be accessed.

WEAKNESS

OPPORTUNITY

• View from the site are not so great as the neighbourhood is not designed for public spaces. • Climatic conditions are extremely varying, the outdoor spaces have to be made comfortable. • The site is located in a context with varying building typologies in the context.

• Being one of the first of its kinds this project can act as the icon of the place and the city, becoming an opportunity to build a contemporary building with local influence. • There’s an opportunity of creating a public real within the busy city. • There is an opportunity to create a space for the needs of users.

THREATS • Traffic congestion at the front of site is a threat to the safety of pedestrians. • Unsafe surrounding, bar near the site.

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4.12 LEARNINGS & WAY FORWARD The edge is the calmest and can be used to place functions that require peace and tranquility apart from views.

The edge is important as it will provide extensive views to the site. Adjacency to restoration park and main connecting road.

The edge is expected to be the busiest as there is a road leading to the site. The egde can potentially be the entry point to one of the main public functions.

VIEWS TO GREENS The edge can be utilised for the service entry/ exit as it is located towards the rear side and is nt visible to the public from far ends.

VIEWS TO GREENS

MAX. N-S ORIENTATION

Figure 4.12: Plan showing Learnings & Way Forward from Site Analysis. Source: Author

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CHAPTER 5: TECHNOLOGY ARMATURE 5.1 Sustainability

5.1.1 Building Orientation & Form 5.1.2 Ventilation Technique + Jalli 5.1.3 Solar PV 5.1.4 Earth Air Tunnel System 5.1.5 Green Roof System

5.2 Services

5.2.1 Electrical Systems 5.2.2 Acoustic Requirements 5.2.3 Water & Sanitation 5.2.4 Parking

5.3 Structure

5.3.1 Space frame 5.3.2 Pratt Trusses

5.4 Safety

5.4.1 Fire Exits, Travel Distances & Pressurization 5.4.3 Fire Tank Capacity 5.4.4 CPTED Priciples

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Figure 4.1.1.2: Idea Location of windows for ventilation. Source: Google Images

Figure 5.1.1.1: Sustainable Strategies adopted. Source: Author

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Figure 5.1.2.1: Efficient building shape. Source: Google Images

Figure 5.1.2.2: Efficient building arrangement & massing. Source: Google Images

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GREEN ROOFS Although the construction of a green roof is typically more expensive than that of a conventional roof, there are several economic benefits that can balance this. Increased R–value (a measure of a material’s resistance to heat flow) of the roofing system, together with lower temperatures on the roof, reduce HVAC loads, resulting in energy cost savings. A valuation study was conducted by the University of Michigan, which compared a 2,000 square metre conventional roof to a green roof. The study looked at a variety of green roof benefits, including as storm water management, increased health benefits from decreased pollutants, and energy savings. over its estimated life span of 40 years, it was estimated that it could save about $200,000, 2/3 of which comes from energy saving. (National Park Service, no date)

Figure 5.1.5.1: Intrensive green roof Source: Google Images

Figure 5.1.5.2: Energy consuption result in a green roof, Source: https://www.researchgate.net

Figure 5.1.5.3: Water retention capacity Source: https://cdn.ymaws.com/www.mdspe.org

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Figure 5.1.5.1: Intrensive green roof Source: Google Images

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Parking requirements will be met by underground parking system as the ground and upper levels are kept for occupant use. To accommodate such tracking requirements in a tight side automated and semi automated parking systems are explore to adopt the most appropriate parking system to ensure efficient space utilization and minimum amount of time involved in entry and exit of vehicles. Automated car parking system refers to a mechanical system devised to pass the large number of cards in a minimum available space. However, some of the requirement will be kept on the surface for ease of parking for short duration. PARKING REQUIREMENTS AS PER THE BYE LAWS Total built up area= Parking requirement= 1ECS/40sq.m Total Number of cars= PUZZLE PARKING SYSTEM This semi automated stacker allows each space to be independently accessed and in most cases does not require an attendant. The puzzle is ideal for a new construction or retrofit projects that have a minimum of 12 feet. It is available up to 7 level with or without tips and can be design in tandem configuration. Except the top level, one space will be missing from each level. This allows for each car to be independently accessed via kiosk or a remote fab. System usually has to 2 to 7 levels.

Figure 5.4.9: Car retrival in puzzle parking. Source: https://cityliftparking.com/wp-content/uploads/2018/04/PuzzleSpecSheet_v6.0.pdf

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CHAPTER 6: DESIGN DETERMINANTS 6.1 Lessons learnt from research and program 6.2 Derivatives from Case Studies 6.3 Derivatives from Site 6.4 Derivatives from technology armature 6.5 SWOT Analysis of the Project

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6.1 LESSONS LEARNT FROM RESEARCH AND PROGRAM Basis for forming the area program: The program components should include functions to include functions to incorporate large number of cultural activities including Dance, Drama, Music and Literature Studios. Retail and Exhibition spaces can help in attracting public to the site and portray art forms to general public.

Design moves to inculcate the importance in society: The site shall be developed as an icon of the city. Boundary walls shall be avoided so that the edges become porous. The massing shall be done in such a manner that the place becomes inviting and comforting. A unique identity or image of the place needs to be created amongst the visitor; this can be done by the architectural character of the built form There shall be scope for multiple activities to happen at the place. The place shall be flexible allowing people to use the place the way they want. The streets to be designed as complete streets to ensure safe circulation of all users. As an assembly space, public space has influence over the social dimension.

Figure 6.1.1: Functional Relationship diagram from Area Program Analysis 1. Source: Author Figure 6.1.2: Functional Relationship diagram from Area Program Analysis 2. Source: Author

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6.2 DERIVATIVES FROM CASE STUDIES Case studies helped in understanding the publicness of functions, segregation of circulation and services. Response to context and functional relationship of a socio-cultural centre were understood. Figure 6.2.1: Strategic central location of the public spaces as a binding factor of the center. Source: Author

Figure 6.2.2: Segregating services and other circulation. Source: Author

Figure 6.2.3: Classroom and more private function located on upper levels so that only interested enrolled people can access. Source: Author

Figure 6.2.5: Separate entry/exits for Learning Arts, Performing Arts and Exhibition Spaces. Source: Author

Figure 6.2.6: Segregating pedestrian and vehicular movement. Restricting vehicular movement inside site. Source: Author

STUDIOS STUDIOS EXHIBITION RETAIL

Figure 6.2.4: Ground floor caters to all public activities, increasing footfall of general public. Source: Author

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6.3 DERIVATIVES FROM SITE The socio-cultural center will observe footfall from the neighboring residential and commercial zones and a high pedestrian traffics from the adjacent green spaces. Highrise residential and commercial building in the context visually dominates the views on site. The traffic to and from the site must be directed into the major roads via smaller arterial roads or via by lanes to avoid openings onto the busy road. Dedicated entries for services, the two arts that is performing and visual arts can be situated from the local roads. There is need for dedicated pedestrian entry from the site’s rear end to the two transport nodes of the locality.

ACTIVE PUBLIC SPACES

POROUS EDGES

RESTRICTING VEHICULAR MOVEMENT

LINK TO THE TRANSPORT NODES

SOCIO-CULTURAL CENTRE

ACTIVE EDGES

ICONIC BUILDING

REVIVING TRADITIONS

CONNECTING GREENS

Figure 6.3.1: Placemaking in this thesis. Source: Author

Components like retail can be given more active frontage by placing along the arterial road.

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BIODIVERSITY PARK

VEHICULAR PATH

W. BUNDH REST. PARK

LAL DORA

Calm Zone

TRANSITION SPACES

Noisier Zone

PETROL PUMP

MAXIMIZING N-S ORIENTATION

PEDESTRIAN ACCESS VISUAL CONNECT WITH GREENS

Figure 6.3.2: Determinants for functional distribution, zoning, site planning & movement.

Source: Author

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6.4 DERIVATIVES FROM TECHNOLOGY ARMATURE 1. SUSTAINABILITY Green roofs to be adopted in outdoor terrace areas which would create a microclimate as well as keep the building cools. This would also help in reducing the Urban Heat Island Effect. Solar panels to be placed on roof tops where the terraces are not usable. Jaali panels to be used for filtered light and ventilation.

Figure 6.4.1: Green wall. Source: Google Images

Figure 6.4.2: Use of Jalli in Pearl Jaipur. Source: ArchDaily

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6.5 SWOT ANALYSIS OF THE PROJECT

STRENGTH

WEAKNESS

OPPORTUNITY

THREATS

• The site is located in near the capital city which gives it a lot of exposure. • The metro connectivity and road access make the site easily accessible. • The project has the strength of sensitizing and attracting interest driven people as this center brings arts and cultural values to the society that is rapidly urbanizing. • The Eco-restoration park will attract a large number of pedestrians. • It has the strength of acting as a recreational space for the neighborhood community. • The pedestrian footfall from the residential and commercial areas will be attracted to the cultural center.

• Since this project is one of the first projects of this scale in the vicinity, thus it lacks any strong context.

• Being one of the first of its kinds this project can act as the icon of the place and the city. • The project has the opportunity of spreading knowledge of art and culture amongst the public. • There’s an opportunity of creating a public real within the busy city. • The FAR of 1.5 allows to have a less densely built complex with larger open spaces.

• Traffic congestion at the front of site is a threat to the safety of pedestrians. • Extreme climate of Delhi can be a threat to the usability of the outdoor spaces.

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PART II

DESIGN TRANSLATION

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CHAPTER 7: PROJECT VISION & CONCEPT 7.1 Project Vision 7.2 Moodboard 7.3 Concepts for Planning from Research 7.4 Concept for Planning from Site 7.5 Zoning & Form Development 7.6 Overall concept for planning

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7.1 PROJECT VISION

EXPRESSION OF CULTURE

The project is envisioned as an Iconic Public Complex with facilties for promoting arts, crafts, exhibition and retails with all contemporary amenities and services along with creating an experience which reflects the values of built form and spaces.

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7.2 MOODBOARD

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7.3 CONCEPTS FOR PLANNING FROM RESEARCH CONCEPT DERIVED FROM TRADITIONAL PUBLIC SPACES

1. COURTYARDS- Small spillout courtyards formed, the nature of spaces provides views of outside from inside and vice-versa. The courtyards can host exhibitions, festivals and public gathering.

Figure 7.3.2: Courtyard overlooking the exhibition spaces at lower level and studios at the upperlevel Source: Author

Figure 7.3.1: Visual connect established at different levels. Source: Author

The exhibition spaces are planned along a courtyard. The entry to the courtyard is through the entrance plaza cum courtyard where various events can be carried out like in traditional vernacular building. The courtyards are public and the buildings placed along it are inward looking. The courtyard provides views and becomes a congregational space.

Figure 7.3.3: Entrance courtyard an inviting feature. Source: Author

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2. STREETS- Inspired from the traditional market typology, street shopping has been provided in the centre. The corridor opens into the main plaza in centre. The space remains shaded throughout the day and thus remains comfortable.

Figure 7.3.5: Retail streets at lower level. Source: Author

Figure 7.3.4: Street typology and visual connect at levels. Source: Author

Figure 7.3.6: Retail Corridor for & Haat space. Source: Author

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7.4 CONCEPTS FOR PLANNING FROM SITE STUDY RESPONDING TO THE SITE EDGES

The developments abutting the site act as a major driver for locating functions on site. The performance arts centre has been placed towards the Eastern edge to, the visual arts towards the western edge to establish a relationship of peace and tranquility with the existing restoration park. Retail and F&B have been placed in the centre as a place of congregation point of all functions.

Figure 7.4.1: Footprint of building in red denotes the response to edge. Source: Author

CONNECTING THE OPEN SPACES ON SITE

The courtyards formed due to the built form have temporary exhibition spaces with water channels connecting the courtyards. The idea is to establish a relationship between the existing green towards the front and the West. The two main open spaces are connected.

Figure 7.4.2: Footprint of building in green denotes the connection of open space on site. Source: Author

ORIENTATION

The N-S orientation of the site is utilised to place the studios as they need shadowless glarefree light. The orientation makes the block visible from farther distance. Figure 7.4.3: Footprint of building in black denotes the N-S Orientation of blocks. Source: Author

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7.5 ZONING & FORM DEVELOPMENT

RETAIL

Zoning of various functions is done such that the retail spaces are placed on the ground level and are visible to the public from the road, the exhibition space are place just a level above the retail. The studios are place above the exhibition space and the student/ artists accomodation has been place above the studios.

OPEN EXHIBITS VA CENTRE COURTYARD

Reail energizes the centre at the lower level. The two blocks toward East and West are connected by F&B component in the centre.

VISUAL ARTS CENTRE

RETAIL F&B

MAIN PLAZA CUM COURTYARD

OPEN EXHIBITS

PERFORMING ARTS CENTRE

Figure 7.5.1: Retail & F&B connects Visual arts & Performing arts centre. Source: Author

OPEN EXHIBITS PA CENTRE CORRIDOR

OPEN EXHIBITS F & B

Figure 7.5.2: Connection between different functions on site. Source: Author

PERFORMING ARTS CENTRE • Retail (Bazaar Typology) • Exhibition Spaces • F&B • Studios VISUAL ARTS CENTRE • Retail (Bazaar Typology) • Exhibition Spaces • Service Appartments Figure 7.5.3: Functional Distribution & Zoning Source: Author

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FORM DEVELOPMENT

HT. INCREASES

ROAD Figure 7.5.4: Conceptual Massing. Source: Author

STEPPED FORM Inspired from the traditional public space that is a baoli in my case. The floors become terrace that also act as a spillout. The viewer thus sees the complex as a conflux of the traditional and the contemporary.

Figure 7.5.6: Understanding the massing. Source: Author

Figure 7.5.7: Carving the blocks. Source: Author

Figure 7.5.5: Translation of idea in form. Source: Author

Figure 7.5.8: Introducing the public spaces. Source: Author

Figure 7.5.9: Final Form. Source: Author

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7.6 OVERALL CONCEPT FOR PLANNING F&B BRIDGING THE TWO BLOCKSRestaurants, cafes to be placed in the centre for better attraction and bringing people together in the central public space.

R DO

STUDIOS & ACCOMODATION OVERLOOKING THE COURTYARD: The studios and accomodation are located in a slighty private zone for expance views to the greens and privacy.

EA R A

VISUAL ARTS CENTRE TOWARDS THE WEST- Seperation of vehicular traffic for the complex. Students/ Artists/ Professional visiting will be coming to the site from here.

ACCOMODATION

PEDESTRIAN ENTRY

STUDIOS

RECREATION

VEHICULAR ENTRY

AUDITORIUM

PEDESTRIAN ENTRY STUDIOS RETAIL WITH FRONTAGE THAT OPENS INTO THE MAIN COURTYARD: Commercial activity to attract people.

PERFORMANCE ARTS CENTRE TOWARDS THE EAST- Seperation of vehicular traffic for the complex. The interest driven individual coming be vehicles can access the site from here.

OW R 0

3 VEHICULAR ENTRY

Figure 7.6: Drivers for overall site planning. Source: Author

SI ER

V DI O BI RK PA

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CHAPTER 8: DESIGN DEVELOPMENT 8.1 Stage 1: Sketch Design i) Iteration 1 ii) Iteration 2

8.2 Stage 2: Modified Sketch Design 8.3 Final modified sketch design 8.4 Design Development 1 8.5 Design Development 2 8.6 Pre-final Design 8.7 Overall Design Journey

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8.1 STAGE 1: SKETCH DESIGN I) ITERATION 1

Figure 8.1.1.2: Determinants for Sketch Design 1- Planning Source: Author Figure 8.1.1.1: Sketch Design 1- Massing Source: Author

The sketch design started with the idea of porous massing and planning at lower level along with courtyards dedicated to three major identified functions. Strengths: 1. The central street typology brings essence of traditional street retail. 2. Attempt to connect it with context. Weaknesses: 1. N-S Orientation not utilised. 2. Negative spaces formed. 3. Entrance not welcoming.

Figure 8.1.1.3: Sketch Design 1- Planning at Ground Level- Streets and Courts Source: Author

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Figure 8.1.1.4: Sketch Design 1- Concept Source: Author

Figure 8.1.1.5: Sketch Design 1- Front View showing the visual connect with the city greens. Source: Author

Figure 8.1.1.6: Sketch Design 1- Axis creation Source: Author

Figure 8.1.1.7: Sketch Design 1- View from Wazirabad Bundh Restoration Park Source: Author

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II) ITERATION 2

Figure 8.1.2.2: Determinants for Sketch Design 2 Source: Author

Figure 8.1.2.1: Sketch Design 2- Massing from front. Source: Author

The sketch design started with the idea of porous massing and planning at lower level along with energizing the front with retail. Strengths: 1. Response to site edges. 2. Attempt to connect it with context. 3. Utilising N-S axis. 4. Courtyards to every function. Weaknesses: 1. No connection of exhibition, F&B and studios. 2. Negative spaces formed. 3. Entrance not welcoming.

Figure 8.1.2.3: Sketch Design 2- Planning at Ground Level Source: Author

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Figure 8.1.2.4: Sketch Design 2- Concept Source: Author

Figure 8.1.2.5: Sketch Design 2- Front View showing the active edge. Source: Author

Figure 8.1.2.6: Sketch Design 2- Open areas towards the studios and exhibition for spillover. Source: Author

Figure 8.1.2.7: Sketch Design 2- View from Wazirabad Bundh Restoration Park Source: Author

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8.2 STAGE 2: MODIFIED SKETCH DESIGN

Figure 8.2.1: Sketch Design 3- Zoning. Source: Author

Figure 8.2.2: Massing for Modified Sketch Design Source: Author

The sketch design evolved from the previous attempt, aiming at resolving the relationship between different functions. Strengths: 1. Response to site edges. 2. Attempt to connect it with context. 3. Partially utilising N-S axis. 4. Courtyards to every function. Weaknesses: 1. Monotonous form. 2. Weak relationship between functions. 3. Strong intent missing. Figure 8.2.3: Sketch Design 3- Planning at Ground Level Source: Author

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Figure 8.2.4: Sketch Design 3- Concept Source: Author

Figure 8.2.5: Sketch Design 3- Front View showing the active edge. Source: Author

Figure 8.2.6: Sketch Design 3- Exhibition visible from road. Source: Author

Figure 8.2.7: Sketch Design 3- View from houses in rear, porous edge creation. Source: Author

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Figure 8.2.8: Roof Level plan with section markings. Source: Author

Figure 8.2.9: Sketch Design 3- Section fron central open space. Source: Author

Figure 8.2.10: Sketch Design 3- Section BB’ Source: Author

Figure 8.2.11: Sketch Design 3- View from performing arts block. Source: Author

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5.3 FINAL MODIFIED SKETCH DESIGN

Figure 8.3.1: Sketch Design with improvements and design along axis. Source: Author

Figure 8.3.2: Pedestrian connectivity for Modified Sketch Design Source: Author

The sketch design evolved from refining the circulation along with fixing massing. Strengths: 1. Response to site edges. 2. Plaza has the potential of holding activities and connecting space between different functions. 3. Partially utilising N-S axis. Weaknesses: 1. Drop-offs not clear 2. Courtyards too large, not serving purposes. Figure 8.2.3: Massing of modified sketch design, creation a porous entry. Source: Author

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Figure 8.3.4: Final Modified Sketch Design with improvements and design along axis. Source: Author

Figure 8.3.5: Final Modified Sketch Design from St. Thomas Marg. Source: Author

The sketch design evolved from refining the circulation along with fixing massing. Strengths: 1. Response to site edges. 2. Angular Plaza’s issue solved. 3. Shops placed on the active edge. Weaknesses: 1. Drop-offs not clear 2. Too many stilts. 3. Too many small courtyards. Figure 8.2.6: Massing of final modified sketch design, creation a porous entry. Source: Author

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8.4 DESIGN DEVELPOMENT 1

Figure 8.4.1: DD1 Site Plan Source: Author

Figure 8.4.2: Massing showing performance block, view from East. Source: Author

The design evolved from the previous attempt, aiming at resolving the internal relationship and stilts. Strengths: 1. Response to site edges. 2. Attempt to connect it with context. 3. Partially utilising N-S axis. 4. Visual Arts block relationship resolved. Weaknesses: 1. Divison on site into two halves. 2. No strong sense of arrival. 3. Negative spaces towards East. Figure 8.4.3: Design Development Massing showing the entrance. Source: Author

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8.5 DESIGN DEVELPOMENT 2

Figure 8.5.2: Massing for DD2, showing open-built relationship. Source: Author

Figure 8.5.1: DD2 Site Plan Source: Author

Strengths: 1. Pedestrian street enhanced and vehicular movement restricted to site edges. 2. Attempt to connect it with context. 3. Partially utilising N-S axis. 4. One major central axis that distributes to other functions.

Figure 8.5.3: Inviting Entrance in Model. Source: Author

Weaknesses: 1. Discontinuity in retail and exhibition. 2. Landscaping not working, needs to be articulated. 3. No continuity in performing arts centre.

Figure 8.5.4: Sketch Design 3- Internal spillouts of exhibition & studios. Source: Author

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8.6 DESIGN PRE-FINAL

Figure 8.6.3: View of inviting entrance of the centre. Source: Author

Figure 8.6.1: Pre-final site plan. Source: Author

Figure 8.6.4: View of Plaza from pedestrian entrance. Source: Author

Strengths: 1. Response to site edges. 2. Central common courtard connecting to different corridors and courtyards. 3. Partially utilising N-S axis.

Figure 8.6.2: Prefinal massing model. Source: Author

Weaknesses: 1. Landscaping not articulated. 2. Weak relationship between components of performing arts centre. 3. Auditorium not welcoming.

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8.7 OVERALL DESIGN JOURNEY

STAGE 1: CONCEPT Zoning + Circulation + Edge Identification

STAGE 2: FORM EXPLORATION Floorwise distribution & relationship

STAGE 3: DETAILING OF SPACES Landscape Development

Strengths: 1. Response to site edges. 2. Attempt to connect it with context. 3. Partially utilising N-S axis. 4. Courtyards to every function.

Strengths: 1. Response to site edges. 2. Attempt to connect it with context. 3. Utilising N-S axis. 4. Courtyards to every function.

Strengths: 1. Response to site edges. 2. Central common courtard connecting to different corridors and courtyards. 3. Partially utilising N-S axis.

Weaknesses: 1. Monotonous form. 2. Weak relationship between functions. 3. Strong intent missing.

Weaknesses: 1. No connection of exhibition, F&B and studios. 2. Negative spaces formed. 3. Entrance not welcoming.

Weaknesses: 1. Landscaping not articulated. 2. Weak relationship between components of performing arts centre. 3. Auditorium not welcoming.

SKETCH DESIGN + ZONING

FUNCTIONAL DISTRIBUTION

CIRCULATION

FORM DEVELOPMENT

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CHAPTER 9: DESIGN PORTFOLIO 9.1 Thesis Search 9.2 Thesis Objective & Proposition 9.3 Research 9.4 Case Studies 9.5 Understanding Area Program 9.6 Site Surroundings & Context Analysis 9.7 Site Location 9.8 Determinants from site study 9.9 Zoning & Form Development 9.10 Overall Design Journey 9.11 Site Plan at Ground Level 9.12 Floor wise program distribution 9.13 Circulation at site level 9.14 Drawings

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DESIGN STATISTICS Total Site Area= 2.4H Total Builtup Area= 36,000sq.m FAR Achieved= 1.5 Setbacks= 15m (front) 12m (Sides & Rear)

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01 | THESIS SEARCH

RESEARCH

SOCIO-CULTURAL CENTRE

PEDESTRIAN ACCESSIBILITY

LEARNING ARTS

PUBLIC REALM

RETAIL & F&B

PERFORMING ARTS

ACCOMODATION

TEACH

SUPPORT

“Expression of Culture” Developing a contemporary public space that promotes the traditional art, crafts, culture and portrays them to interest driven people.

The aim of this thesis is to energize the void of a public space, apply contextual building practices, techniques and traditional elements to the space that promotes learning, performing, exhibiting and bussiness and acts as an icon of the city.

THIRD PLACE

EXHIBITION

INTERACTION

AIM

URBAN NODE

LITERATURE

LEARN

OBJECTIVES

Designing a complex with all contemporary amenities and services along witn creating an experience which reflects the values of built form and spaces. Reinterpreting the concepts in buildings of similar climatic conditions and apply them to the design of a sustainable building complex.

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02 | THESIS OBJECTIVE & PROPOSITION TRADITION

CONTEMPORARY CULTURE

URBAN NODE Diverse User profiles

GURGAON NEED FOR CENTRE OF CULTURE

Proposition Statement

Central Location & Ease of Accessibility Lack of cultural infrastructure and effective collaborate space and multiuse spaces

In light of the identified issues, this thesis thus proposes to address the lack of social infrastructure by creating an inclusive, sustainable and communal cultural hub where artists and interest driven people can come together for experiencing, promoting and sharing knowledge to the community so that the quality of urban living in a city like Gurgaon can be improved apart from making it an economic resource.

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03 | RESEARCH

180

04 | CASE STUDIES

181

DERIVATIVES OF CASE STUDIES

182

05 | UNDERSTANDING AREA PROGRAM

183

06 | SITE SURROUNDINGS & CONTEXT ANALYSIS

184

07 | SITE LOCATION

185

08 | DETERMINANTS FROM SITE STUDY

186

09 | ZONING & FORM DEVELOPMENT

187

10 | OVERALL DESIGN JOURNEY

188

11 | SITE PLAN AT GROUND LEVEL

189

12 | FLOORWISE PROGRAM DISTRIBUTION

190

13 |CIRCULATION AT SITE LEVEL

191

192

193

194

195

196

197

198

199

ACCOMODATION DETAILS

200

201

202

203

204

205

206

207

208

209

210

211

212

213

USE OF JALLI

214

TECHNOLOGY DRIVERS

215

216

217

218

219

220

221

222

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JURY COMMENTS Juror: Prof. Satish Khanna As per the jury the overall scheme was comprehensive in itself and all the functions were well detailed out. They were impressed by the detailing of the spaces and the use of Jalli and relatable materials. They praised the built open relationship and how the design could be related by the natives as well as the visitors. The use of sustainable features was appreciated along with the idea of the comfort of users and security being kept in mind while designing. Overall, the functional distribution, design intent, spatial quality and over all expression for the city was working well and that made the design interesting. However, the jury expressed their opinion on the optional deliverable of a walkthrough which if rendered would have given exposure to the current professional trend. Overall, the jury was impressed with the scheme and mentioned that it was the best presentation of the day and the design was working well.

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BIBLIOGRAPHY 1. https://medium.com/interviews-and-articles-on-art-public-spaces/interactive-public-spaces-make-successful-places-c522b4346e55 2. https://www.archdaily.com/929453/public-spaces-archdailys-best-articles-on-the-topic 3. https://www.pps.org/article/grplacefeat 4. https://thecityfix.com/blog/public-spaces-10-principles-for-connecting-people-and-the-streets-priscila-pacheco/ 5. https://www.google.com/search?q=public+spaces&sxsrf=APq-WBv6QPCeEsPxp9iLX_Gx7dRr5v2HZA:1649309256242&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiig9_im4H3AhXBSmwGHe2JAHEQ_AUoAXoECAIQAw&biw=1536&bih=714&dpr=1.25#imgrc=L-Svu4hhRPFNzM 6. What Makes a Successful Place? (no date). Available at: https://www.pps.org/article/grplacefeat (Accessed: 1 April 2022). 7. Liddell, B. (2018) ‘Culture may affect the way your brain processes everything. Here’s why that’s important’, ABC News, 16 August. Available at: https://www.abc.net.au/news/science/2018-08-17/culture-may-affect-the-way-your-brain-processes-everything/10120068 (Accessed: 1 April 2022). 8. Williams, D. (2015) Table 1 Oldenburg’s (1999) eight characteristics of ‘“third places”’, ResearchGate. Available at: https://www.researchgate.net/ figure/Oldenburgs-1999-eight-characteristics-of-third-places_tbl1_227515447 9. Oldenburg, V.T. (2018) Did you know that the history of Gurgaon goes back 2,000 years?, Scroll.in. https://scroll.in. Available at: https://scroll.in/ article/899074/did-you-know-that-the-history-of-gurgaon-goes-back-2000-years (Accessed: 23 April 2022). 10. ‘Gurgaon’ (2022) Wikipedia. Available at: https://en.wikipedia.org/w/index.php?title=Gurgaon&oldid=1083190820 (Accessed: 23 April 2022). 11. Gurugram | Haryana, India, & Population | Britannica (no date). Available at: https://www.britannica.com/place/Gurugram (Accessed: 23 April 2022). 12. Corporation, H.T. (2022) Art and craft | About us | Haryana Tourism Corporation Limited. Available at: https://haryanatourism.gov.in/art-and-craft (Accessed: 23 April 2022). 13. HSPC (2017) ‘Handicrafts of Haryana’, HPSC HAS Exam Notes, 19 October. Available at: https://haryana.pscnotes.com/haryana-history/handicrafts-of-haryana/ (Accessed: 23 April 2022). 14. ‘History | Gurugram | India’ (no date). Available at: https://gurugram.gov.in/history/ (Accessed: 23 April 2022). 15. Trikha, B. and Wadhwa, L. (2016) Calm and chaos coexist in Sarojini Nagar lanes, Hindustan Times. Available at: https://www.hindustantimes.com/ delhi/calm-and-chaos-coexist-in-sarojini-nagar-lanes/story-VXXMgSN4jVKfyqfyjNITuL.html (Accessed: 23 April 2022). 16. Anand, N. (2016) ‘Retailers prefer new outlets in high street over shopping malls’, The Hindu, 22 May. Available at: https://www.thehindu.com/ business/Industry/retailers-prefer-new-outlets-in-high-street-over-shopping-malls/article8633321.ece (Accessed: 23 April 2022). 17. Verma, S. and Akhtar, S. (2018) Gurugram’s MG Road: From a monument hub to ‘notorious’ Mall Mile, Hindustan Times. Available at: https:// www.hindustantimes.com/gurgaon/gurugram-s-mg-road-from-a-monument-hub-to-notorious-mall-mile/story-w0u9ro2vWhglOzMpVyfgkO.html (Accessed: 23 April 2022). 18. Service, T.N. (2021) Gurugram to promote rural culture through statues, Tribuneindia News Service. Available at: https://www.tribuneindia.com/ news/haryana/gurugram-to-promote-rural-culture-through-statues-311382 (Accessed: 23 April 2022).

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THANK YOU MALAIKA BHAT

91-9810986945 bhatmalaika28@gmail.com

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Cultural Conflux of Contemporary Times, Socio-cultural Centre, Sector-53, Gurgaon