Thesis Report| Ayush Agarwal| Rhythm of the Dunes|Architectural Thesis

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THESIS PROJECT REPORT

“CULTURAL CENTER”

Submitted in partial fulfilment for Architectural design project (AR 801) 8th semester B.Arch BY AYUSH AGARWAL (1MS16AT011)

SCHOOL OF ARCHITECTURE RAMAIAH INSTITUTE OF TECHNOLOGY (Autonomous Institute affiliated to Visvesvaraya Technological University) VIDHYA SOUDHA, BANGALORE

Prof. PUSHPA DEVANATHAN

Ar. REEMA GUPTA

HEAD OF THE DEPARTMENT,

ASSOCIATE PROFESSOR, SOA

SCHOOL OF ARCHITECTURE

Prof. PUSHPA DEVANATHAN Ar. REEMA GUPTA Ar. DIVYA SUSANNA EBIN STUDIO CO-ORDINATORS

ADP CO-ORDINATOR

Ar. LAVANYA ASSISTANT PROFESSOR, SOA THESIS GUIDE

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SCHOOL OF ARCHITECTURE RAMAIAH INSTITUTE OF TECHNOLOGY (Autonomous Institute affiliated to Visvesvaraya Technological University) VIDHYA SOUDHA, BANGALORE

CERTIFICATE This is to certify that the Thesis Report entitled “CULTURAL CENTER” is a bonafide work carried out by AYUSH AGARWAL, 1MS16AT011 in partial fulfilment of the Elective of 8th Semester, B.Arch in the year 2019-2020.

The project has been approved as it satisfies the academic requirement with respect to the project work prescribed by VISVESWARAYA TECHNOLOGICAL UNIVERSITY, BELGAUM

Prof. PUSHPA DEVANATHAN HEAD OF THE DEPARTMENT SCHOOL OF ARCHITECTURE Ar. REEMA GUPTA ASSOCIATE PROFESSOR, SOA ADP CO-ORDINATOR EXTERNAL JUROR: 1.

2.

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ACKNOWLEDGEMENTS I would like to thank my college, Ramaiah Institute of Technology, and the Head of Department, School of Architecture, Prof. Pushpa Devanathan for giving me this opportunity to publish this report.

I express my sincere gratitude to my thesis guides, Asst. Prof. Lavanya Vikram, our Architectural Design Project Studio Coordinators Assoc. Prof. Reema H Gupta, Asst. Prof.

Divya Susanna Ebin and our visiting faculty, Ar. Satej Alur and Ar. Hemanth M for their constant guidance and support during my research endeavours. Their continuous support and suggestions have helped me tremendously in this process for valuable inputs on this topic and on the thesis work that will follow.

I would also like to thank Prof. Vishwas Hittalmani for his assistance in selecting and refining my topic of study for the design project.

Finally, I would like to thank my parents and friends for their support and encouragement, during this period of study.

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Contents CHAPTER 1- INTRODUCTION ................................................................................................. 12 1.1

ABSTRACT .................................................................................................................... 12

1.2 PROBLEM STATEMENT .................................................................................................... 13 1.3 AIM....................................................................................................................................... 13 1.4 OBJECTIVE.......................................................................................................................... 13 1.5 SCOPE .................................................................................................................................. 13 1.6 LIMITATION ....................................................................................................................... 14 1.7 METHODOLOGY ................................................................................................................ 14 CHAPTER 2- DATA COLLECTION AND ANALYSIS ............................................................. 15 2.1 BUILDING BY LAWS ......................................................................................................... 15 2.1.1 SET BACKS AND FAR ................................................................................................. 15 2.1.2 GROUND COVERAGE/ FAR EXEMPTIONS ............................................................... 16 2.1.3 ROAD WIDTH AND BUILDING HEIGHT ................................................................... 16 2.1.4 HEIGHT LIMITATIONS AND EXEMPTIONS ............................................................. 16 2.1.5 BASEMENTS................................................................................................................. 17 2.1.6 GARAGE ....................................................................................................................... 17 2.1.7 ALLOWED PORCH....................................................................................................... 17 2.1.8 ALLOWED BALCONY ................................................................................................. 17 2.1.9 ALLOWED PROJECTION............................................................................................. 17 2.1.10 PARKING FACILITIES ............................................................................................... 17 2.1.11 WIDTH OF CORRIDOR AND STAIRCASE ............................................................... 18 2.2 DATA FROM TIME SAVERS STANDARDS ...................................................................... 18 2.2.1 MUSEUM....................................................................................................................... 18 2.2.2 LIBRARY....................................................................................................................... 20 CHAPTER 3- LITERATURE AND CASE STUDIES ................................................................. 24 3.1 BHARAT BHAVAN, BHOPAL. ........................................................................................... 24 3.1.1 INTRODUCTION .......................................................................................................... 24 3.1.2 ABOUT THE PROJECT ................................................................................................. 24 3.1.3 HISTORY....................................................................................................................... 25 3.1.4 CLIMATE AND TOPOGRAPHY: ................................................................................. 25 3.1.5 ARCHITECTURAL STYLE........................................................................................... 26 3.1.6 OVERVIEW ................................................................................................................... 26 3.1.7 PLANNING .................................................................................................................... 27 3.1.8 OBSERVATION ............................................................................................................ 28 3.2 UTTARAYAN ART FOUNDATION, GUJARAT. ............................................................... 29

P age |5 3.2.1 INTRODUCTION .......................................................................................................... 29 3.2.2 LOCATION .................................................................................................................... 29 3.2.3 CLIMATE AND VEGETATION .................................................................................... 29 3.2.4 CIRCULATION AND AREA ANALYSIS ..................................................................... 29 3.2.5 TOPOGRAPHY.............................................................................................................. 30 3.2.6 ART CENTER ................................................................................................................ 30 3.2.7 SPECIAL FEATURES.................................................................................................... 31 3.2.8 OBSERVATOINS .......................................................................................................... 32 3.3 SEJONG ART CENTER, SOUTH KOR

EA ....................................................................... 33

3.3.1 INTRODUCTION .......................................................................................................... 33 3.3.3 URBAN STRATERGY .................................................................................................. 33 3.3.4 DESIGN ELEMENTS .................................................................................................... 34 3.3.5 ZONING......................................................................................................................... 35 3.3.6 ACCESS AND USE ....................................................................................................... 35 3.3.7 SUSTAINABILITY ASPECTS:...................................................................................... 36 3.3.8 OBSERVATIONS .......................................................................................................... 37 3.4 KU.BE HOUSE OF CULTURE, DENMARK ....................................................................... 38 3.4.1 INTRODUCTION .......................................................................................................... 38 3.4.2 ABOUT THE PROJECT ................................................................................................. 38 3.4.3 OVERVIEW ................................................................................................................... 38 3.4.4 PLANNING .................................................................................................................... 39 3.4.5 OBSERVATION ............................................................................................................ 42 3.5 JAWAHAR KALA KENDRA, JAIPUR ................................................................................ 43 3.5.1 INTRODUCTION .......................................................................................................... 43 3.5.2 ABOUT THE PROJECT ................................................................................................. 43 3.5.3 SITE ............................................................................................................................... 43 3.5.4 ARCHITECTURE .......................................................................................................... 44 3.5.5 PLANNING .................................................................................................................... 45 3.5.6 ACTIVITIES .................................................................................................................. 47 3.5.7 PROGRAMETIC DENSITY........................................................................................... 48 3.5.8 OBSERVATION ............................................................................................................ 50 3.6 KALA ACDEMY, GOA ........................................................................................................ 51 3.6.1 INTRODUCTION .......................................................................................................... 51 3.6.2 ABOUT THE PROJECT ................................................................................................. 51 3.6.3 PLANNING .................................................................................................................... 52 3.6.4 ZONING......................................................................................................................... 53

P age |6 3.6.3 PLANNING .................................................................................................................... 53 3.6.5 DESIGN INTENT........................................................................................................... 53 3.6.6 THE NEGATIVE SPACES AND ITS IMPORTANCE ................................................... 54 3.6.7 LIVING SPACES ........................................................................................................... 55 3.6.8 FLOW OF SPACES........................................................................................................ 55 3.6.9 AREAS AND SPACES................................................................................................... 56 3.6.10 OBSERVATIONS ........................................................................................................ 57 3.7 CRITICAL ANALYSIS OF LITERATURE STUDIES.......................................................... 58 3.8 COMPARATIVE ANALYSIS............................................................................................... 59 3.8 CONCLUSION/ INFERENCE .............................................................................................. 63 CHAPTER 4- RESEARCH AND STUDIES ................................................................................ 64 4.1 BACKGROUND STUDY OF THE FOLK ............................................................................ 64 4.1.1 TEXTILE AND PRINTING............................................................................................ 64 4.1.2 ARCHITECTURE AND STONE WORK ....................................................................... 65 4.1.3 MUSIC ........................................................................................................................... 65 4.1.4 CRAFT ........................................................................................................................... 66 4.1.5 DANCE .......................................................................................................................... 66 4.1.6 HANDLOOM ................................................................................................................. 67 4.1.7 LOCAL MARKET AND STREET OF JAISALMER...................................................... 68 4.2 STUDY FOR PASSIVE COOLING TECHNIQUES: TERI RETREAT, GURGAON ............ 69 4.2.1 INTRODCUTION: ......................................................................................................... 69 4.2.2 ORIENTATION: ............................................................................................................ 69 4.2.3 BUILDING FORM: ........................................................................................................ 70 2.4.4 SHADING: ..................................................................................................................... 70 4.2.5 DAYLIGHT INTEGRATION: ........................................................................................ 70 4.2.6 WATER BODIES: .......................................................................................................... 70 4.2.7 ADVANCED PASSIVE COOLING STRATEGIES: ...................................................... 73 4.3 STUDY FOR STRATEGIES FOR A LARGE-SCALE NET ZERO DEVELOPMENT: IIT, JODHPUR................................................................................................................................... 75 4.3.1 INTRODUCTION .......................................................................................................... 75 4.3.2 DEVELOPMENT PLAN ................................................................................................ 75 4.3.3 NET POSITIVE CAMPUS ............................................................................................ 76 4.3.4 ARCHITECTURAL STRATEGIES................................................................................ 77 4.3.5 LANDSCAPING ............................................................................................................ 79 4.4 STUDY OF KINETIC FAÇADE: RMIT'S DESIGN SCHOOL ............................................. 80 4.4.1 INTRODUCTION: ......................................................................................................... 80

P age |7 4.4.2 MATERIAL AND CONSTRUCTION: ........................................................................... 81 4.4.3 WORKING ..................................................................................................................... 81 4.4.4 SENSORY SYSTEM ...................................................................................................... 82 4.4.5 OBSERVATIONS .......................................................................................................... 82 4.5 STUDY OF MARKET SPACE: DELHI HAAT .................................................................... 83 4.5.1 BACKGROUND: ........................................................................................................... 83 4.5.2 INTRODUCTION .......................................................................................................... 83 4.5.3 DESIGN PHILOSOPHY................................................................................................. 83 4.5.3 SITE DEVELOPMENT .................................................................................................. 84 4.5.3 FUNCTIONALITY......................................................................................................... 84 4.5.4 SPACES AROUND THE HAAT .................................................................................... 86 4.5.5 THE VAULTS ................................................................................................................ 87 4.5.6 THE SHOPS ................................................................................................................... 88 CHAPTER-5 SITE SELECTION AND ANALYSIS ................................................................... 89 5.1 SELECTION OF THE CITY ................................................................................................. 89 5.2 INTRODUCTION TO CITY ................................................................................................. 90 5.3 PROFILE .............................................................................................................................. 90 5.4 ARCHITECTURE AND PLANNING ................................................................................... 90 5.6 PROXIMITY ......................................................................................................................... 92 5.7 MAJOR ROAD NETWORKS AND OUTSKIRT LINKS ...................................................... 93 5.8 TOURIST FOOT FALL ........................................................................................................ 93 5.9 CLIMATE ANALYSIS ......................................................................................................... 94 5.10 AREA LEVEL ANALYSIS ................................................................................................. 95 5.10 MAJOR TOURIST ATTRACTIONS................................................................................... 95 5.11 ZONING AND CITY ORIENTATION ......................................................................................... 96 5.12 CITADEL AND THE STREET PLANNING ................................................................................... 96 CHAPTER-6 DESIGN DEVELOPMENT ................................................................................. 102 6.1 CONCEPTUAL SKETCHES .............................................................................................. 102 6.2 CONCEPT AND FORM DEVELOPMENT ....................................................................... 104 6.3 AREA STATEMENT .......................................................................................................... 106 CHAPTER-7 FINAL DESIGN ................................................................................................... 109 REFERENCES .................................................................................................................................. 127

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TABLE OF FIGURES Figure 1 MEASUREMENTS OF ADULT AND SIX YEARS OLD ................................................................ 18 Figure 2 DIFFICULTIES ENCOUNTERED IN VIEIWING DETAILS ........................................................... 19 Figure 3 VIEWING DISCTANCE INCERESES WITH SIZE OF OBJECT ...................................................... 19 Figure 4 OPTIMUM SHELVING CONDITIONS FOR TEENAGERS ......................................................... 20 Figure 5 OPTIMUM SHELVING CONDITIONS FOR ADULT .................................................................. 20 Figure 6 OPTIMUM SHELVING CONDITIONS FOR CHILDREN ............................................................ 20 Figure 7 MINIMUM CLEARNACES IN STACKING AREA....................................................................... 21 Figure 8 SEATER REQUIREMENTS IN LIBRARY................................................................................... 21 Figure 9 SEATING AND AISLE ARRANGEMENT .................................................................................. 22 Figure 10 LIBRARY SIZE AND CAPACITY ............................................................................................ 22 Figure 11 TYPES OF ROWS ............................................................................................................... 23 Figure 12 AUDITORIUM DETAIL ....................................................................................................... 23 Figure 13 LOCATION MAP OF BHARAT BHAVAN............................................................................... 24 Figure 14 SITE IMAGERY OF BHARAT BHAVAN ................................................................................. 24 Figure 15 ENTRANCE COURTYARD ................................................................................................... 25 Figure 16 Courtyard with play of light and shadow .......................................................................... 25 Figure 17 BHOPAL CLIMATE DATA ................................................................................................... 25 Figure 18 SITE TOPOGRAPHY ........................................................................................................... 25 Figure 19 PLAN OF BHARAT BHAVAN BHOPAL ................................................................................. 26 Figure 20 SECTION THROUGH THE SITE............................................................................................ 27 Figure 21 TERRACING COURTYARD .................................................................................................. 27 Figure 22 DETAIL OF DISPLAY AREA ................................................................................................. 28 Figure 23 Satellite Imagery of site and surroundings ........................................................................ 29 Figure 24 Zoning and Circulation ..................................................................................................... 29 Figure 25 view of art Center ............................................................................................................ 30 Figure 26 Topography- Slope ........................................................................................................... 30 Figure 27 Aerial view of campus ...................................................................................................... 30 Figure 28 Cottages ........................................................................................................................... 30 Figure 29Art Center Zoning.............................................................................................................. 31 Figure 30 Section ............................................................................................................................. 32 Figure 31City Context ...................................................................................................................... 33 Figure 32 View from Entrance ......................................................................................................... 33 Figure 33 Urban Strategy ................................................................................................................. 33 Figure 34 Aerial View of Sejong Center ............................................................................................ 34 Figure 35 Entrance podium for theatres .......................................................................................... 34 Figure 36 Zoning Diagram ................................................................................................................ 35 Figure 37 Access and Use................................................................................................................. 35 Figure 38 Sections from main block ................................................................................................. 36 Figure 39 Sustainability Parameters ................................................................................................. 36 Figure 40Front elevational view ....................................................................................................... 37 Figure 41 Auditorium....................................................................................................................... 37 Figure 42 Location of Ku.Be house of culture ................................................................................... 38 Figure 43 View from roadside .......................................................................................................... 38 Figure 44 Play area .......................................................................................................................... 38 Figure 45 Ground Floor plan of KU.Be house of culture.................................................................... 39 Figure 46 Form development........................................................................................................... 39

P age |9 Figure 47 First floor plan of Ku.Be house of culture .......................................................................... 40 Figure 48 Second Floor Plan of Ku.Be house of culture..................................................................... 40 Figure 49 Functional use of wall....................................................................................................... 40 Figure 50 Corridor space .................................................................................................................. 40 Figure 51 Play area .......................................................................................................................... 40 Figure 52 Section ............................................................................................................................. 41 Figure 53 Vertical Circulation Feature .............................................................................................. 41 Figure 54 Side Elevation................................................................................................................... 42 Figure 55 Foyer................................................................................................................................ 42 Figure 56 Earth imagery of site and surroundings of JKK .................................................................. 43 Figure 57 zoning and Site Plan of JKK ............................................................................................... 43 Figure 58 Climate data for Jaipur ..................................................................................................... 44 Figure 59 Stepped Courtyard ........................................................................................................... 44 Figure 60 Development grid of Jaipur .............................................................................................. 45 Figure 61 Shipla SHatras .................................................................................................................. 46 Figure 62 Zoning of JKK .................................................................................................................... 46 Figure 63 Plan of JKK, Jaipur.......................................................................................................... 47 Figure 64 Courtyard space new cafeteria ......................................................................................... 47 Figure 65 Programmatic Density ...................................................................................................... 48 Figure 66 Entrance view of JKK ........................................................................................................ 48 Figure 67 Internal space of workshop block ..................................................................................... 49 Figure 68 Play of Light and Shadow ................................................................................................. 49 Figure 69 Section through the blocks ............................................................................................... 49 Figure 70 Play of Light and Shadow ................................................................................................. 49 Figure 71 Jali Works......................................................................................................................... 50 Figure 72 Jupiter based block .......................................................................................................... 50 Figure 73 Satellite image of site and surroundings of KALA Academy ............................................... 51 Figure 74 Entrance of the campus ................................................................................................... 51 Figure 75 Floor Plan ......................................................................................................................... 52 Figure 76 Zoning of KALA Academy, Goa.......................................................................................... 53 Figure 77 Stepped shaded space ...................................................................................................... 53 Figure 78 Public shaded space ......................................................................................................... 53 Figure 79 Backside view of campus .................................................................................................. 54 Figure 80 Elevational View of Kala Academy .................................................................................... 55 Figure 81 Flow of spaces .................................................................................................................. 55 Figure 82 Inside lobby space ............................................................................................................ 55 Figure 83 Footfall/ Temporal Diagram ............................................................................................. 56 Figure 84 Pause Spaces ................................................................................................................... 56 Figure 85 Vertical Zoning ................................................................................................................. 57 Figure 86 Floor Plans ....................................................................................................................... 57 Figure 87 Clay work of Jaisalmer ...................................................................................................... 64 Figure 88 Local talents in Music ....................................................................................................... 64 Figure 89 Traditional Dance ............................................................................................................. 64 Figure 90 Embroidery Work ............................................................................................................. 64 Figure 91 Women working together on embroidery ........................................................................ 64 Figure 92 Stone work of Jaisalmer Haveli ......................................................................................... 65 Figure 93 Rajasthani instruments..................................................................................................... 65 Figure 94 Handloom Work ............................................................................................................... 66

P a g e | 10 Figure 95 Dance form of the folk ..................................................................................................... 66 Figure 96 Leather market in the streets ........................................................................................... 67 Figure 97 Puppets............................................................................................................................ 67 Figure 98 Curtain work .................................................................................................................... 67 Figure 99 Commercial Streets of Jaisalmer....................................................................................... 68 Figure 100 Residential Street of Jaisalmer........................................................................................ 68 Figure 101 Layout of street in town ................................................................................................. 68 Figure 102 Site of TERI RETREAT ...................................................................................................... 69 Figure 103 Air towers ...................................................................................................................... 69 Figure 104 Driveway ........................................................................................................................ 70 Figure 105 Solar sheets and jali work ............................................................................................... 70 Figure 106 Exterior View.................................................................................................................. 71 Figure 107 Center of excellence ....................................................................................................... 71 Figure 108 Buidling Plan .................................................................................................................. 72 Figure 109 Section ........................................................................................................................... 72 Figure 110 Passive cooling design elements ..................................................................................... 73 Figure 111 Earth Air Tunnel System ................................................................................................. 74 Figure 112 Master Plan of IIT, Jodhpur ............................................................................................. 75 Figure 113 Master Plan development .............................................................................................. 75 Figure 114 view of public plaza on campus with various Jali feature ................................................ 76 Figure 115 Climate Analysis ............................................................................................................. 76 Figure 116 Sustainable features in design ........................................................................................ 77 Figure 117 view of public garden ..................................................................................................... 77 Figure 118 Central Interactive space ................................................................................................ 78 Figure 119 Sectional View of passive cooling ................................................................................... 79 Figure 120 Sectional view of landscape design ................................................................................. 80 Figure 121 FRONT FACADE OF RMIT'S SCHOOL ............................................................................... 80 Figure 122 ELEVATIONAL VIEW ........................................................................................................ 81 Figure 123 SKIN DETAIL: ROTATABLE DISCS...................................................................................... 81 Figure 124 DISCS USED ON SKIN ...................................................................................................... 82 Figure 125 VIEW OF SKIN FROM COIRRIDOR .................................................................................... 82 Figure 126 SITE IMAGE OF DILLI HAAT ............................................................................................. 83 Figure 127 TENSILE ROOFING OF MARKET SPACE ............................................................................ 83 Figure 128 PUBLIC SPACES WITH SEMI SHADED SPACE .................................................................... 83 Figure 129 ARCHED SHADED WALKWAY SCREEN ............................................................................. 84 Figure 130 SITE SECTION OF DILLI HAAT........................................................................................... 85 Figure 131 MASTER PLAN OF DILLI HAAT ......................................................................................... 85 Figure 132 SECTIONS ....................................................................................................................... 86 Figure 133 VIEW OF MARKET SPACE ................................................................................................ 87 Figure 134 THE THREE VAULTS ........................................................................................................ 87 Figure 135 OPEN AIR THEATRER ...................................................................................................... 88 Figure 136 ROOFING DESIGN ........................................................................................................... 88 Figure 137 LOCATION MAP FOR JAISALMER..................................................................................... 89 Figure 138 TOURIST CIRCUIT MAPPING OF RAJASTHAN ................................................................... 90 Figure 139 CITY GOOGLE IMAGE ...................................................................................................... 90 Figure 140 DEVELOPMENT PLAN OF GOLDENT CITY ......................................................................... 91 Figure 141HISTORICAL IMAGERY OF SITE AND SURROUNDINGS ...................................................... 91 Figure 142 PROXIMITY MAP WRT SITE ............................................................................................. 92

P a g e | 11 Figure 143VIEW OF GOLDEN TOWN OF JAISAMLER ......................................................................... 92 Figure 144 TOURIST DATA MAPPING ............................................................................................... 94 Figure 145 INWARD EFFECT OF TOURISM ON SITE ........................................................................... 95 Figure 146 STREET ELEVATION ......................................................................................................... 97 Figure 147 PLAN OF UPPER CITY/ FORT ............................................................................................ 97

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CHAPTER 1- INTRODUCTION 1.1 ABSTRACT In this urbanizing world, we often tend to deviate from our roots of culture and heritage, the community we share, the place we call home. Not everyone feels a connection with their cultural heritage, as over time its importance, its value is fading in this uprising interest in modernism. What is it about cultural heritage that draws these people to it? Some may think traditions and ancient practices which are no longer interesting or important, but in reality, culture and heritage is something that made us. It created the human race.

Culture can give people a connection to certain social values, beliefs, religions, and customs.

It allows them to identify with others of similar mindsets and backgrounds. Cultural heritage can provide an automatic sense of unity and belonging within a group and allows us to better understand previous generations and the history of where we come from.

Elaborating the expression of culture on the built form is usually the unconscious effort of every designer. Culture plays a dominant role at the very outset of any design process. This is because, any design when conceptualized to perform the desired function, is directly or indirectly derived from or synchronized with the cultural identity. The very essence of every built form or built-up environments is the manifestation of culture masked behind its layers of abstraction. The manifestation may be royal and imposing like those of the mighty empires or maybe simple and yet powerful to create an identity for those who adhere to it. It’s similar to an artist who paints his canvas and thereby builds a sanctuary in the hearts of people and lives forever through his work.

Culture and architecture are never perceived in isolation. Over the years cultural influences have moulded the way spaces have been designed in India. Not only in areas of ritualistic and religious importance such as temples and mosques, but also the design of cities has been a direct result of the cultural practices prevalent during the time. One such example is the golden city of Jaisalmer, Rajasthan. A city that looks golden, feels golden, and lives golden! Jaisalmer is the shimmering golden hue in the palette of colours that is Rajasthan. Located in the heart of Thar Desert, this remarkable city is the prime example of how culture and royalty have seeped into the vast corners of this state.

The project proposal intends to develop a platform for artisans, and folks of Jaisalmer, Rajasthan to enhance their talent and give it the deserving importance. It deals with finding out the suitable provisions mandatory for upliftment of tourisms, economy, talent, and city lifestyle such that it boosts the importance of culture and implant its seed for generations.

People pursue artistic and creative expression through a variety of outlets: formal theatrical performances, sculptures, paintings, and buildings; as well as the less formal arts, music and food festivals, celebrations and informal cultural gatherings, bands, and crafts groups.

Together, these formal and informal, tangible and intangible, professional and amateur artistic and cultural activities constitute a community’s cultural assets. These activities – which encompass a diverse set of locations, spaces, levels of professionalism and participation, products, events, consumers, creators, and critics – are essential to a community’s well-being, economic and cultural vitality, sense of identity, and heritage.

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1.2 PROBLEM STATEMENT Most cities are in a transition, and are busy revitalising and renewing their economic bases order to move up the value chain and to become more knowledge intensive places. The cultural sphere, without denial is the MISSING link and solution to all these issues.

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

1.3 AIM REVIVAL OF DIMNISHING CULTURAL HERITAGE OF JAISALMER AND TO STRENGTHEN ECONOMICAL AND TOURISM BASE TO UPLIFT LOCAL TALENT

1.4 OBJECTIVE  To design a platform that promotes culture and arts.  To uplift local talents in the dance, music, craft and industry. Also, it would be a centre where a talented lot of future artists of India would be nurtured and the talent of the artisans is known around and not ignored.  To give a boost as well as to recognize culture of Jaisalmer, Rajasthan.  To develop economy from local art and craft within the market space and production centre.  To awaken hidden and suppressed talent, to share knowledge about the heritage and culture of the city and make people experience and learn it.  To develop scope of performing arts, proposal has a learning centre that offers various courses to learn, live, and live the culture.

1.5 SCOPE  The project will help in preserving the rich cultural heritage of the city of Jaisalmer.  Sustaining interest in the heritage, disseminating and teaching it the people visiting there would not only promote the culture of Rajasthan but would also give a globalised view in upcoming days.  The project will be the combination of the art, architecture and the communal heritage of the city of Jaisalmer.  This project would help in promoting the mutual understanding amongst the people of the Jaisalmer and would also help in relating each of them with their culture.  To generate more & more revenue from the tourists visiting Jaisalmer.  To study and implement, advancing on architectural parameters of passive cooling, an construction in arid region.

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1.6 LIMITATION  Design restrictions due to existing heritage sites in the locality

 The project will be limited to cultural heritage of Rajasthan only. It will not cater to other parts of country.

1.7 METHODOLOGY AIM

OBJECTIVE

SCOPE

LIMITATIONS

DATA COLLECTION

PRIMARY DATA COLLECTION

SECONDARY DATA COLLECTION

ANALYSIS AND INFERENCES

REQUIREMENTS

SITE SELECTION AND SITE ANALYSIS

DESIGN BRIEF

DESIGN DEVELOPMENT

DESIGN PROPOSAL

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CHAPTER 2- DATA COLLECTION AND ANALYSIS 2.1 BUILDING BY LAWS 2.1.1 SET BACKS AND FAR

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2.1.2 GROUND COVERAGE/ FAR EXEMPTIONS  Garden, rockery, well, open waterproof, swimming pool and related constructions upto height of 2.1 m from road level. Fire-escape staircase, tree platform, tank, fountain, bench, open platform or similar constructions.  Open ramp  Balcony up to 1.2m or less than 1/3rd of setback, whichever is less.  For plot sizes above 500 sqm, 6.25 sqm guard room at all entrance gates.  Facilities such as transformer, generator room, pump room, electric panel room, switch room, PBX or HVAC installations, guard room, gas bank, swimming pool changing room, up to 7% of total FAR shall not be counted towards ground coverage and allowed in setback area.  Ramp in setback area for basement or other floors after leaving 3.6m from front boundary.  Underground water tank in setbacks.

2.1.3 ROAD WIDTH AND BUILDING HEIGHT

2.1.4 HEIGHT LIMITATIONS AND EXEMPTIONS  For plots on road width less than 12m, building height of 12m (without stilt) or 15m (with stilt) is permissible.  For plots on road width more than 12m but less than 18m, building height equivalent to road width is permissible.  For plots on road width more than 18m but less than 30m, building height equivalent to 1.5 times road width is permissible.  For plots on road width more than 30m, building height equivalent to 1.5 times road width + front setback is permissible.  In case of basements and stilts used for parking, for plinth height upto 1.2m from road level and stilt beam bottom upto 2.8m from plinth level, the combined heights of basement and stilt shall be exempted from building height.  If upper floors are used for parking, total of 6.2m height (excluding plinth) used for parking shall be exempted from building height.  Exemptions in height: Water tank and related structure upto 3.0m height, if water tank is constructed on mumty roof, then combined height of 5.0m, HVAC equipment, lift room, open staircase upto 3.0m height, lift machine room upto 7.75m height, architectural elements upto height of 4.5m and solar energy installations.

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2.1.5 BASEMENTS  Basement is allowed after leaving required building setbacks on all sides, irrespective of building envelope.  For plot sizes 1250 sqm or more, 2 basements are allowed with at least one used for parking.  For plot sizes 2000 sqm or more, maximum 3 basements are allowed with atleast two used for parking.  If basement is used for any purposes other than parking or services, its area shall be counted in FAR. 2.1.6 GARAGE  For plots with 3.0m or more side setback, garage of maximum 20 sqm, to a maximum of 9m from back boundary is allowed.  First floor above garage is permissible and the area of garage and 1st floor construction shall be counted towards ground coverage and FAR.  For plot size above 750 sqm, if FAR of more than 1.2 is proposed, garage in setback is not allowed.

2.1.7 ALLOWED PORCH  Porch on columns in setback is allowed in front setback if front setback is 6.0m or more and is allowed inside setback if side setback is 3.0m or more.  No construction allowed over porch.  Normally only one porch per plot is allowed, however, in larger constructions 2 porches may be allowed by authority.  Maximum porch area shall be 18 sqm and width 3.0m.

2.1.8 ALLOWED BALCONY  For upto 6m setback, lesser of 1.2m or 1/3rd of setback depth of balcony is allowed.  For more than 6m upto 12m setback, 1.5m balcony and for setback more than 12m, balcony of 1.8m is allowed.

2.1.9 ALLOWED PROJECTION  Chajja upto 0.6m width but less than 1/3rd of setback and minimum height of 2.1m from floor level.  Staircase landing upto 1m width but less than 1/3rd of setback and minimum height of 2.4m from floor which can be covered by jaali or grill. This is exempted from ground coverage and FAR.  Almirah for each habitable room of 2.0m length x 0.6m width and minimum 3.5 m height from plinth level.

Parking:  No compulsion of parking provision for plots under 500 sqm, however, if more than 3 units are proposed, parking provision shall be done.  For plots bigger than 500 sqm, for every 150 sqm of FAR area one car shall be provisioned.

2.1.10 PARKING FACILITIES  No parking facility compulsory for less than 500 Sqm plot.  1 ECU per 150 sqm. FAR. For more than 500 sqm. Residential project.

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For theatre 1 ECU per 10 seats.

For commercial 1 ECU per 50 Sqm FAR 1 ECU = 23 sqm in open area. o 1 ECU = 28 sqm in ground level parking.

1 ECU = 32 sqm in Basement parking 75 % of total ECU is reserved for car, 20% two wheelers and 5 % for Bicycle 25 % extra parking provision for Guests.

Car 2.5m x 5m, Two-wheeler 1m x 2m, Bicycle 0.5m x 2m

2.1.11 WIDTH OF CORRIDOR AND STAIRCASE

2.2 DATA FROM TIME SAVERS STANDARDS 2.2.1 MUSEUM

Figure 1 MEASUREMENTS OF ADULT AND SIX YEARS OLD

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Figure 2 DIFFICULTIES ENCOUNTERED IN VIEIWING DETAILS

Figure 3 VIEWING DISCTANCE INCERESES WITH SIZE OF OBJECT

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2.2.2 LIBRARY

Figure 5 OPTIMUM SHELVING CONDITIONS FOR ADULT

Figure 4 OPTIMUM SHELVING CONDITIONS FOR TEENAGERS

Figure 6 OPTIMUM SHELVING CONDITIONS FOR CHILDREN

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Figure 7 MINIMUM CLEARNACES IN STACKING AREA

Figure 8 SEATER REQUIREMENTS IN LIBRARY

P a g e | 22 2.2.3 THEATRE

Figure 9 SEATING AND AISLE ARRANGEMENT

Figure 10 LIBRARY SIZE AND CAPACITY

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Figure 11 TYPES OF ROWS

Figure 12 AUDITORIUM DETAIL

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CHAPTER 3- LITERATURE AND CASE STUDIES 3.1 BHARAT BHAVAN, BHOPAL. 3.1.1 INTRODUCTION      

AREA: 27200 SQM ARCHITECT: CHARLES CORREA YEAR: 1882 CLIENT: GOVT. OF MADHYA PRADESH PROJECT DURATION: 1975 – 1981

LOCATION: J SWAMINATHAN MARG, SHYMALA HILLS, BHOPAL, MADHYA PRADESH 462002, I NDIA

3.1.2 ABOUT THE PROJECT

Figure 13 LOCATION MAP OF BHARAT BHAVAN

Bharat Bhavan is an autonomous multi-art complex and museum in Bhopal, India, established and funded by the Government of Madhya Pradesh. The architect of Bhavan is Charles Correa. Opened in 1982, facing the Upper Lake, Bhopal, it houses an art gallery, a fine art workshop, an open-air amphitheatre, a studio theatre, an auditorium, a museum tribal and folk art, libraries of Indian poetry, classical music as well as folk music.

Figure 14 SITE IMAGERY OF BHARAT BHAVAN

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3.1.3 HISTORY In the late 1970s, the Government of India launched an initiative to build in every state capital an institution to celebrate the cultural and creative output of the nation.

Although the scheme was largely unsuccessful, one shining example remains: Bharat Bhavan (‘India House’), located in Bhopal.

Figure 15 ENTRANCE COURTYARD Designed by Indian architectural Figure 16 Courtyard with play of light and shadow luminary Charles Correa, this multi-arts centre first opened its doors in 1982. More than thirty years later, it continues to house a variety of cultural facilities and play host to multitude of arts events. The design of the complex is a product of Correa’s mission to establish a modern architectural style specific to India and distinct from European Modernism. Drawing on the plentiful source material provided by the rich architectural heritage of his home country, at Bharat Bhavan Correa produced a building for the modern era which manages to also remain firmly rooted in the vernacular traditions of India’s past.

3.1.4 CLIMATE AND TOPOGRAPHY: The warm, dry winter (Dec–Feb) is peak travel. Mar–May is hot.

Monsoon season (Jul–Sep) is cooler.

Site slopes down to difference of 18 metres. This promotes the use of levels in designing and steps descending to lakeside Figure 17 BHOPAL CLIMATE DATA

Figure 18 SITE TOPOGRAPHY

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3.1.5 ARCHITECTURAL STYLE Rather than importing the “sealed boxes” of European architecture, necessitated by the colder Western climate, instead Correa created “open-to-sky spaces.” He observed that “in a warm climate, the best place to be in the late evenings and in the early mornings is outdoors, under the open sky.” The sunken courtyards at Bharat Bhavan provide shade from the scorching midday sun, while the raised terraces offer refreshing air and space at cooler times of day. This climate-control solution was lifted directly from India’s architectural history, inspired by the courtyards and terraces of the Red Fort at Agra.

3.1.6 OVERVIEW

The complex includes an art gallery of Indian painting and sculpture, a fine art workshop, an open-air amphitheatre (Bahirang), a studio theatre (Abhirang), an auditorium (Antarang), a museum tribal and folk art, libraries of Indian poetry, classical music as well as folk music.

Besides this, Bhavan hosts artists and writers under its artist-in-residence program at the "Ashram". Over the years, it has become a popular tourist attraction.

Some of the wings include:  Roopankar - Museum of Fine

 



 

Art: Gallery of contemporary folk and tribal art, and a modern art gallery.

Graphic art workshop, and ceramics art workshop Rangmandal - theatre repertory Vagarth - center of Indian poetry, library, archive, and translation centre Anhad - library of classical and folk music, audio and video Figure 19 PLAN OF BHARAT BHAVAN BHOPAL archives, organizes dance recitals and classical music series like, Parampara, Saptak Chhavi - center of classical cinema Nirala Srijanpeeth - the chair for creative writing, founded by the Government of Madhya Pradesh

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3.1.7 PLANNING

Figure 20 SECTION THROUGH THE SITE

Built into a hillside which slopes down toward a lake, a series of terraces and courtyards comprise the complex. Upon entering, the visitor has the choice of following the path of terraces cascading down to the lake, or descending to the three courtyards which provide access to the majority of the cultural facilities. These include contemporary art galleries, a museum of tribal art, an auditorium, a library of Indian poetry, a print shop, and a studio for an artist-in-residence. From the courtyards, wide glass-panelled openings to the buildings ensure the arts program is both literally and figuratively accessible to all. At the bottom of the site sits an amphitheatre, where open-air performances take place with the lake forming a natural backdrop.

The route through the terraces encourages movement down the site’s natural gradient, with the courtyards providing tranquil spaces for rest and relaxation. “Correa emphasized the spirituality of his own pathways by drawing parallels with those found in religious architecture, including “the sun temples of Mexico” and the Hindu temples of Bali “with their ritualistic pathways up the hillside.

The outdoor spaces at Bharat Bhavan are physical manifestations of the concept of “Empty Space,” a recurring theme both in India’s visual culture and, in particular, its philosophy. Away from the activity within the buildings, the courtyards provide a contemplative void, enhanced by the placing of sculptures in their centre. These act a meditative focal point for the viewer, much like the solitary tree often found in the centre of Japanese courtyards.

Correa’s characteristic use of the void as an architectural tool has been widely described as ‘non-building’. He marvelled at the expressive potency of nothingness, reflecting that it is “strange indeed that since the Figure 21 TERRACING COURTYARD beginning of time, Man has

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always used the most inert of materials, like brick and stone, steel and concrete, to express the invisible that so passionately move him.”

Figure 22 DETAIL OF DISPLAY AREA

3.1.8 OBSERVATION  Sunken courtyard provides shade from scorching midday sun and raised terraces offer fresh air and space at cooler times of the day.  Complex caters to various art-oriented functions i.e. gallery, workshops, theatre, libraries and poetries giving in depth knowledge and experience of art and culture of the country.  Contours gives opportunity to play with levels. Upon entering, the visitor has the choice of following the path of terraces cascading down to the lake, or descending to the three courtyards which provide access to the majority of the cultural facilities.

 The route through the terraces encourages movement down the site’s natural gradient, with the courtyards providing tranquil spaces for rest and relaxation.

 From

the courtyards, wide glass-panelled openings to the buildings ensure the arts program is both literally and figuratively accessible to all.  The outdoor spaces at Bharat Bhavan are physical manifestations of the concept of “Empty Space,” a recurring theme both in India’s visual culture and, in particular, its philosophy.  The flow of one space to another is semi open and transition is very smooth.

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3.2 UTTARAYAN ART FOUNDATION, GUJARAT. 3.2.1 INTRODUCTION SITE AREA: 80 ACRES YEAR: 2009 3.2.2 LOCATION  Located at a distance of 25 km from main city.  Distance from railway station15.2 km  Distance from airport-6.1km  Distance from bus stand-5.6Km 3.2.3 CLIMATE AND VEGETATION Figure 23 Satellite Imagery of site and surroundings

 Average temperature: 23- 40°C  Average humidity (%) – 56.2  Average rainfall-93 cm

 Climatic condition –semi arid 3.2.4 CIRCULATION AND AREA ANALYSIS

Figure 24 Zoning and Circulation

 Vehicular movement and pedestrian are connected by a wide stairway over viewing the whole campus and it act as linking bridge between canteen, residential area and training area.

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   

Total site area= 80 acre Area of art centre= 8.6 acre (34800sq m) Build up area= 1420sq m Un-built area: lawn area, outdoor exhibition, amphitheatre road network and pathway

Figure 25 view of art Center

3.2.5 TOPOGRAPHY The site is divided in three contour levels:  Upper level-covering art centre  Middle level- covering canteen and cottages  Lower level- bride type structure connecting middle level to Mahi River

Figure 26 Topography- Slope

Figure 27 Aerial view of campus

Figure 28 Cottages

3.2.6 ART CENTER  Art centre has studio for painting, sculpture making, pottery, seminar hall, office area and conference hall.

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    

Simple C shape plan form with central courtyard.

This courtyard act as social gathering space or interaction space.

Use of contours such that level difference segregate the activities.

Natural lights are for exhibition.

Since it is a working space for artist, studios are carefully angled towards the best source of light.  Double heighted studios with sky lights for natural lighting and wind turbine ventilation.

Figure 29Art Center Zoning

3.2.7 SPECIAL FEATURES  Jali work- To make façade interesting different jali patterns were used.  Brick patterns- Different brick pattern techniques  Tiles work- Small tiles work in windows and doors creates focus.  Double heights- Skylights were provided on sloping double height sloping roofs to receive glare free light.

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Figure 30 Section

 Modern techniques were used.  Vernacular architecture- A slight historical reference i.e. elements of style of vadodara and brick architecture.  Parapets were constructed in interesting way which can also acts as step seating.

3.2.8 OBSERVATOINS  Vehicular movement and pedestrian are connected by a stairway over viewing the whole campus and it act as linking bridge between canteen, residential area and training area.  Due to heavy contours, the site is in major 3 levels catering to different functional needs i.e. cottage, academy, public space, etc.  Use of natural light, play of levels due to heavy contours, and planning of central courtyard space in C shaped building made spaces more interactive and active.  Vernacular style of architecture, with jail works, double heights, pitched roofs, colonnaded walkways etc. brings more cultural importance to the buildings.

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3.3 SEJONG ART CENTER, SOUTH KOR EA 3.3.1 INTRODUCTION SITE AREA: 43493 SQM ARCHITECT: DMP Partners YEAR: 2012 LOCATION: NASEONG-DONG, SEOUL, SOUTH KOREA CLIENT: SEJONG ART CENTER 3.3.2 PROJECT OVERVIEW Figure 31City Context

Designed by DMP Partners, their winning proposal for the Sejong Art Centre (SAC) is composed of two theatres, a main theatre with more than 800 seats, a medium sized theatre with 300 seats, a film theatre with 250 seats, and an art gallery. Located in the international cultural area between nature-scape and urban-scape, the building combines nature and city through its straight, linear shape. This form is applied in accordance with the city and its curvature shape is in accordance with nature to create a comfortable feeling.

Figure 32 View from Entrance

3.3.3 URBAN STRATERGY Avenue Park, located in the north area, Public square ‘Arrival plaza’ and cinema located in south area, is the most important place in city. There is open space to have fine view to the

Figure 33 Urban Strategy

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sky and landscape, where is joined end point of city and starting point of nature. CafĂŠ is a part of the plaza and the resting space under the roof shadow. There is Main entrance at the end of the passage between two theatres and visitors have open view to the central park.

3.3.4 DESIGN ELEMENTS The building is designed for various performing arts such as musical, ballet, dancing and etc. The grand hall and two theatres are facing to the central park and there is open space of magnificent energy people can feel. It is originated from the nature (Central Park, Geum-gang (river) and Guewha-san (mountain)), and transforms into performing arts when it meets the urban. The main Figure 34 Aerial View of Sejong Center theatre of Sejong Art Centre provides best sound quality to the audience by using SAR (Source Selective Absorption & Reflection) Structure wall and which is able to hold the performing arts wide range from normal type such as musical, opera and contemporary music to cross over performance.

Figure 35 Entrance podium for theatres

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3.3.5 ZONING

Figure 36 Zoning Diagram

3.3.6 ACCESS AND USE The spaces are zoned to provide maximum ease to access the buildings. After entering into the SAC, visitors arrive Grand hall in-between halls of two theatres, which are connected with outdoor space through entrance and parking space on B1 level. Grand hall, Grand step and Hall

Figure 37 Access and Use

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of Main Theatre are public space for citizens holding small event even though there is no performance.

Figure 38 Sections from main block

3.3.7 SUSTAINABILITY ASPECTS: A three-dimensional wall design gives best quality for sound and aesthetic. Specially, an amplified case, which needs large power speaker, that acoustic drapery and acoustic trap control reflected sound. Also lighting fixture and many types of equipment hidden inside of wall to make beauty and tidy.

The space where is connecting theatre to waterside going to be meaningful place for Sejong city. This place will be very last place for public journey, where is started from public square

Figure 39 Sustainability Parameters

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and cinema to move through history park and public space. This journey is for everyone who comes to visit to sejong art centre.

The grand hall and two theatres are facing to the central park and there is open space of magnificent energy people can feel. It is originated from the nature (Central Park, Geumgang (river) and Guewha-san (mountain)), and transforms into performing arts when it meets the urban.

Figure 40Front elevational view

3.3.8 OBSERVATIONS  Located in the international cultural area between nature-scape and urban-scape, the building combines nature and city through its straight, linear shape.  Considering the urban scenario, the zoning, and accessibility is made to ensure maximum ease to public and also connect spaces on area level.  The building is designed for various performing arts such as musical, ballet, dancing and etc.  Parking is well connected with defined pedestrian pathways throughout the complex.  Public spaces with the functional spaces are given importance as they act as transitional spaces.  The spaces are zoned to provide maximum ease to access the buildings.  The grand hall and two theatres are facing to the central park and there is open space of magnificent energy Figure 41 Auditorium people can feel.

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3.4 KU.BE HOUSE OF CULTURE, DENMARK 3.4.1 INTRODUCTION AREA: 3200 SQM ARCHITECT: ADEPT, MVRDV YEAR: 2010-2016 LOCATION: FREDERIKSBERG, DENMARK CLIENT: FREDERIKSBERG MUNICIPALITY, RELDANIA, LOA 3.4.2 ABOUT THE PROJECT Figure 42 Location of Ku.Be house of culture

Ku.Be House of Culture in Movement was designed for the municipality of Frederiksberg as a focal point for both the immediate community and also the wider area of Copenhagen; one that the people themselves could take ownership of and that would evolve its programme based on the specific wants and needs of its users. The project is a new typology, developed out of the response to a brief that solely asked for a building that would bring people together and improve the quality of life. In reply MVRDV and ADEPT answered with one that blends theatre, sport and learning into a space where body and mind are activated to promote a healthier life for everyone, regardless of age, ability or interest; creating links between people that wouldn’t otherwise connect with each other.

3.4.3 OVERVIEW Figure 43 View from roadside

Ku.Be House of Culture and Movement, an activity hub in Frederiksberg, Denmark, which explores the boundaries between culture, health and movement.

The project, designed by ADEPT and MVRDV, is the first of its typology; a community space which also focuses on exploring and developing our most fundamental process, movement. Ku. Be facilitates both fixed and spontaneous programmes. Main volumes define specific tempos of activities, whereas voids are left without a defined use to let users interpret them how they wish and discover new Figure 44 Play area ways to use and get around the building. The activity from inside then spills out into the community as a garden, which will offer a variety of interactive environments.

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Figure 46 Form development

The six primary volumes which make up Ku.Be, each with their own programme, are clad in a unique colour and material, clearly defining them within the building; from outside these shapes are hinted at in the fragmented tile façade. “We designed Ku.Be to encourage the unexpected,” explains MVRDV co-founder Jacob van Rijs. “Larger volumes are suited to hold performances or public meetings; smaller ones can be for exhibitions or debates. The fast-pace rooms are perfect for dance, or parkour; and zen rooms give you the contrast of yoga or meditation. It’s between these volumes where the real fun will happen though; spaces where we hint at a use, but which will become entirely user-defined.”

3.4.4 PLANNING The route through the building focuses on developing and encouraging alternate forms of movement. The Labyrinth gets people on their hands and knees climbing through a threedimensional network of cubes from the second to third floors; or alternatively they could take the Mousetrap, a vertical maze.

A net which spans several floors throughout the building, lets users climb up from floor to

Figure 45 Ground Floor plan of KU.Be house of culture

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floor – suspended over the voids – and slides and fireman poles offer a fast way to get back down. “In Ku.Be we tried to turn your average experience of a building on its head,” tells ADEPT co-founder Martin Krogh. “What would otherwise be a simple, mindless journey through the building turns into an exploration and discovery of movement. Here it’s you that defines the route, however you want: climbing, sliding, crawling … jumping.” To cater for all Figure 47 First floor plan of Ku.Be house of culture abilities and ages, both easier and more standard ways of moving around are provided but even then a visual connection is maintained throughout Ku.Be. The urban gardens outside form the connection between Ku.Be and the urban realm, playing an important role in expressing the eight volumes and the activities happening inside. The diverse landscape - a system of microclimates with changing sounds, lights and scents which blends seamlessly into a hill with integrated slides reaches out into the gardens and ends in an amphitheatre outside.

Figure 48 Second Floor Plan of Ku.Be house of culture

By becoming an extension of the urban landscape of Frederiksberg and integrating the community to such an extent, the House of Culture and Movement looks to become an incubator for further development within the neighbourhood.

Figure 51 Play area

Figure 49 Functional use of wall

Figure 50 Corridor space

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Ku.Be is MVRDV’s third completed project in Denmark. Ragnarock, a museum for youth culture, pop and rock music opened in April of this year in nearby Roskilde and the Frøsilos, a conversion of two old silos into housing, was completed in Copenhagen in 2005.

Figure 52 Section

Aside from Ku.Be, ADEPT has completed a number of cultural and educational buildings within the last few years. Among these are Dalarna Media Library in Falun, Sweden, Cortex in Odense, Denmark and UCN in Aalborg, Denmark.

MVRDV and ADEPT achieved the project through close collaboration with: Soeren Jensen Engineers who provided the complex structural engineering to support the visionary architecture; SLA landscape architects, who designed the urban garden surrounding Ku.Be ; and Max Fordham LLP to achieve environmental comfort throughout the building. Ku.Be was made possible by major contributions by Realdania and LOA (Lokale& Anlægsfonden).

Figure 53 Vertical Circulation Feature

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Figure 54 Side Elevation

Figure 55 Foyer

3.4.5 OBSERVATION  Projects focuses on creating spaces that brings people together and improves quality of life.  Functions are picked such that it connects people, seeking the interest, ability and requirements.  Main volumes define specific tempos of activities, whereas voids are left without a defined use to let users interpret them how they wish and discover new ways to use and get around the building.  The activity from inside then spills out into the community as a garden, which will offer a variety of interactive environments and public spaces.  Movement of people inside the space is not defined path.  There is a three-dimensional network created within the mass which makes humans to choose and fulfil the requirements from the space.  The connections between different floors is not only through vertical cores, but also through maze along the walls and other interesting features.  By becoming an extension of the urban landscape of Frederiksberg and integrating the community to such an extent, the House of Culture and Movement looks to become an incubator for further development within the neighbourhood.

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3.5 JAWAHAR KALA KENDRA, JAIPUR 3.5.1 INTRODUCTION AREA: 7.5 ACRES ARCHITECT: CHARLES CORREA YEAR: 1986 PROJECT DURATION: 1986 - 1992

3.5.2 ABOUT THE PROJECT Jawahar Kala Kendra (JKK) is a multi-arts centre Figure 56 Earth imagery of site and surroundings of JKK located in Jaipur in India. It was built

by Rajasthan government with the purpose of preserving Rajasthani arts and crafts. The centre has been made in eight blocks housing museums, one amphitheatre and the other closed auditorium, library, arts display rooms, cafeteria, small hostel and art-studio. It also houses two permanent art galleries and three other galleries. and host its own theatre festival each year.

3.5.3 SITE  The ground coverage of JKK is 27612.20 sqm with plot Dimension of 154 x176 metres approximately.  Built up area of JKK counts to 8100 sqm  The dimension of each square unit is 30x30 metres  Offset of 45 metres is taken from east (front), 32 metres from south, 18 metres from west (rear) and 54 metres from north.  Overall, 80% of total area is open space, promoting interactive space, free flow of air, and climatological effects.

Figure 57 zoning and Site Plan of JKK

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Figure 58 Climate data for Jaipur

3.5.4 ARCHITECTURE The design was prepared by the noted architect Charles Correa in 1986 and the building was ready in 1992. The plan is inspired by the original city plan of Jaipur, consisting of nine squares with central square left open The Jawahar Kala Kendra adapts and applies concepts from ancient architectural principles called the Vastu Vidya.

The centre is an analogue of the original city pIan of Jaipur drawn up by the Maharaja, a scholar, mathematician and astronomer, Jai Singh the Second, in the mid-17th century. His city plan, guided by the Shipla Shastras, was based on the ancient Vedic madala of nine squares or houses which represent the nine planets (including two imaginary ones Ketu and Rahu). Due to the presence of a hill one of the squares was transposed to the east and two of the squares were amalgamated to house the palace.

Figure 59 Stepped Courtyard

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3.5.5 PLANNING Correa's plan for the Kendra invokes directly the original navagraha or nine house rnandala.

One of the squares is pivoted to recall the original city plan and also to create the entrance. The plan of Jaipur city based on the nine square Yantra in which one square is displaced and two central squares combined. the squares is defined by 8m high wall, symbolic of the fortification wall along the Jaipur old city

Figure 60 Development grid of Jaipur

The centre is an analogue of the original city plan of Jaipur drawn up by the Maharaja, a scholar, mathematician and astronomer, Jai Singh the Second, in the mid-17th century. His city plan, guided by the Shipla Shastras, was based on the ancient Vedic madala of nine squares or houses which represent the nine planets (including two imaginary ones Ketu and Rahu). Due to the presence of a hill one of the squares was transposed to the east and two of the squares were amalgamated to house the palace. Correa's plan for the Kendra invokes directly the original navagraha or nine house rnandala. One of the squares is pivoted to recall the original city plan and also to create the entrance. The plan of Jaipur city based on the nine square Yantra in which one square is displaced and two Central squares combined. The squares are defined by 8m high wall, symbolic of the fortification wall along the Jaipur old city.

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Figure 61 Shipla SHatras

Figure 62 Zoning of JKK

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Figure 63 Plan of JKK, Jaipur

3.5.6 ACTIVITIES The centre has been made in eight blocks housing the following spaces with a central OAT      

MUSEUMS, THEATRES, LIBRARY, ARTS DISPLAY ROOM, CAFETERIA, HOSTEL, STUDIO

The centre is frequently occupied with artists and arts loving people. Many exhibitions and performances by local artists are displayed at the centre. The annual festivals of classical dance and music are held in the centre. The centre hosts many workshops of dance and music.

Figure 64 Courtyard space new cafeteria

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3.5.7 PROGRAMETIC DENSITY

Figure 65 Programmatic Density

Figure 66 Entrance view of JKK

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Figure 68 Play of Light and Shadow

Figure 67 Internal space of workshop block

Dedicated to India’s first Prime Minister Jawahar Lal Nehru, Jawahra Kala Kendra is truly metaphoric to the city of Jaipur i.e. an astonishing synthesis of past and future.

A contemporary building based on an archaic notion of the Cosmos; the very same Navgaraha mandala, with one of the squares moved aside and beautiful murals inside, based on cosmology.

Figure 69 Section through the blocks

The main building contains six exhibition galleries, open air theatre, auditoriums, dormitories, and coffee house. Right from the entrance till the exit, every corner, center and even the smallest parts of Jawahar Kala Kendra either tell or make a story. The building is designed with walls bearing paintings, murals, all of them based on astronomy and cosmology, but there are some which also give an honest tribute to art and theatre.

Figure 70 Play of Light and Shadow

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Figure 71 Jali Works

One of the oldest and most iconic coffee houses of Jaipur – Indian Coffee House, houses in its newly revamped look an admirable mural of Ebrahim Alkazi – a living legend who is one of the most influential Indian theatre directors and drama teachers belonging to 20th-century Indian theatre. The Coffee House in the lunar section portrays the less revealed aspects of Indian astronomy through the paintings and creativity shown here; even on the coffee – tables.

Every table depicts a different phase of Moon as seen in a painting at the coffee house.

3.5.8 OBSERVATION  Material: red sandstone and marble  Small punctures on walls for ventilation  Thick walls, Light shafts have stepped profile with marble top  Smaller openings. Central court to bring in light and air  Traditional jali system for ventilation. This also creates effect of light and shadows  Response to program: a volumetric module which is very well defined in terms of functional requirement and transition of spaces Figure 72 Jupiter based block  Response to context: going with tradition, local architectural style and climate.  Hierarchy: well defined, based on program it occupies, density varies as per function.  Community space: mixture of formal and informal space. Acts as transitional core  The open-air theatre is only good to look at, it is enclosed by the high walls which create acoustic and ventilation problems at the time of crowd.  Scale of unit relatable to human as it does not overpower us and also make ground spaces feel larger.  The place has an amazing interplay of light, shadow and colours, evoking emotions in the user and invite him to move further.

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3.6 KALA ACDEMY, GOA 3.6.1 INTRODUCTION  Location: Goa  Architect: Charles Correa  Building Type: Institution  Site Area: 6.3 Acres

3.6.2 ABOUT THE PROJECT

Figure 73 Satellite image of site and surroundings of KALA Academy

The Kala Academy in Panaji is Goa’s premier cultural institution & center for performing arts.

The programme called for the creation of spaces for several performance halls, exhibitions galleries, a large auditorium, amphitheatre, an art gallery, informal public gathering spaces & lounges, in addition to the administrative block. The spatial organisation is relatively horizontal, organised around an orthogonal grid with an interesting play of volumes. The grid allows Correa the flexibility to manipulate spaces to create a very rich sensory experience, while at the same time, meeting the functional requirements of the programme. Thus, the entrance is through a double height space with an open floor plan in the ground floor drawing one inside. One moves through a very interesting series of spaces, a deliberate internal street derived undoubtedly from the nostalgic past of Goa. The architecture of more elite spaces like National Centre for the Performing Arts is more purposively directed. Built in the 1980s, it seeks to invoke the fading prestige of an abstract Western modernism by offering ‘pure form’- that is, elegant building blocks that have the minimum differentiation, do not appear very penetrable, and therefore actively refuse us any purchase on their Figure 74 Entrance of the campus meaning. By opening each of the four main buildings on campus in different directions (and on to three different roads), it also ensures (probably unwittingly) that visitors to each facility never encounter those coming for another one. By looking over the heads of visitors and by disabling contact and solidarity among them, it succeeds in keeping them peripheral to the life of the institution, at bay even, in more ways than one.

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3.6.3 PLANNING The design of Kala Academy’s public spaces provides some answers. The foundational act of design at Kala Academy is that of opening up. The architecture of Kala Akademi clears the ground, literally, letting the gaze (and moving feet) sweep clean through from the pavement outside to the river beyond. In principle, this place says it is open to the city. No architectural sign of exclusion- apart from the gate which is kept generously wide and low- is visible from the footpath to discourage us from entering. Indeed, quite the opposite. This is a building without a plinth, walls and doors with which to keep the world at bay. The ground simply runs in into the shaded heart of the building and out to the open beyond of the garden and promenade by the river. The building extends a notional porch to the pavement, made suggestively grand by a pergola at the roof level of the first floor. This suggestion of a dramatically welcoming civic ‘porch’ (and not some impenetrable sculptural mass) is the big architectural gesture of the building in the direction of the city.

Figure 75 Floor Plan

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3.6.4 ZONING As can be seen in the figure, ‘the circle of presence’, is comprised of all the public areas in the structure, these have been subdivided into smaller sections based on their physical form and functionality. The grey defines the entrance court, red the lobby area, yellow the canteen space, green the open lawn area, purple the wooded foreground and beige the walkway along the river.

3.6.3 PLANNING

Figure 77 Stepped shaded space

Figure 76 Zoning of KALA Academy, Goa

3.6.5 DESIGN INTENT The gesture is apt, since the Kala academy building is fundamentally a pavilion (or unattached porch), where the upper floors housing the academic and administrative spaces form a continuous roof over a sprawling and unenclosed public space at the ground level. A pavilion transcends enclosure, and thereby also the paranoia (and schizophrenia?) of the closed building box. In abjuring walls, it also transcends the strict enforcement of any limited program of use, leaving the dweller of the moment to fashion Figure 78 Public shaded space it anew each time. I have seen films, performances (including my son’s school’s ‘annual day’ programme in the huge open air theatre), and art exhibitions at Kala academy. I have also been in a small reading group that appropriated different spaces in the campus for its weekly meetings. And I have watched my son turn the seat-clusters sprinkled across the covered plaza into play-sculptures that may be climbed, jumped off, peeped through, and slid

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across with a forever incomplete hug. At all times, I have learnt to be amazed at the way the static seat clusters become dynamic people sculptures as bodies perch, nestle and depart.

3.6.6 THE NEGATIVE SPACES AND ITS IMPORTANCE Openness of space does not itself guarantee an open program. The absence of walls and of enclosure can itself be repressive, as at Le Corbusier’s Capitol Complex at Chandigarh, where we find ourselves cast adrift. Places need to have discernible shape and structure. The fragile body- forever breaking out into sweat- needs shelter, seat, and yes, food. The eye likes to make sense of every place, and know what time it is ‘outside’. Most of all however, in a place like Kala academy, every one of us hopes for some contact with unknown others. What is the city, and every public place within it, if not a mechanism for putting strangers in touch with each other?

Figure 79 Backside view of campus

By sheltering an uninterrupted space, Kala academy reveals that space can be fruitfully left open in either direction, vertical or horizontal. Where the typical comforting courtyard (an example of vertical openness) gathers a space together towards an inveigled centre, the horizontal freedom of Kala Academy’s covered plaza prompts us to move away and out towards the gardens, the river and other sun-dappled spaces around. There is no single centre that the architecture sacralises on the ground, and no sense of any agent of the power to say ‘no’ waiting to jump out from behind some wall. Instead, there is a multiplicity of centres in the gridded spread of columns as well as the casual scatter of seat-clusters configured to be minor sculptural presences. These seats are an unusual kindness towards the tiring body, hanging around for the show to start, or restart. Or just plain hanging around with no particular productive end in mind.

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3.6.7 LIVING SPACES A matrix of spatial hospitability encourages people to bring a space like Kala academy alive.

It invites them to invest their imagination and time to do things within its space that the most creative institutional programmer may never catalyse. These small practices of conversation, argument, dream-selling, solo rehearsal, etc. are the cultural foundations upon which the formal artistic efforts being shaped in the academic spaces on the upper floors (or being presented professsionally behind the auditorium walls) will stand or fall. But being inevitably conducted under the radar of the official gaze, these practices- lubricated effectively by cheap, good tea and snacks- populate the fringes of institutional acceptability. They can swing from being

Figure 80 Elevational View of Kala Academy

‘simply irrelevant’ to ‘avoidable nuisances’ to ‘possibly subversive’. According to a new and prominently displayed notice, it is no longer legit to use the Kala academy canteen for any other purposes than ‘availing of snacks and refreshments’: no unauthorized meetings, no business to be discussed, no nothing, period.

3.6.8 FLOW OF SPACES It appears that in Kala Academy movement patterns through the building are rather fast paced near the entrance and slow down significantly as in the lobby area and further into the premises. It may be noticed that people largely pause along zones that transition from one space to another, at spots of orientation, at anchors such as trees or other architectural elements, apart from the obvious functional pauses that occur.

Figure 82 Inside lobby space

Figure 81 Flow of spaces

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Figure 84 Pause Spaces

Figure 83 Footfall/ Temporal Diagram

People largely sit where ever the opportunity presents itself when they sit for leisure but, when people sit to perform an activity, they are selective of the choice of space they use. The use of transitional spaces withing all the functional spaces links the user habit to take a moment, pause and feel the space. It offers visitor to reside in the spaces where echo of knowledge reverberates.

3.6.9 AREAS AND SPACES  Art gallery: carpet area- 165 sqm  Mini open air auditorium: seating capacity: 300  Library: area: 135 sqm, reading desk for 11 people only  Black box (space for production): carpet area- 185 sqm, seating capacity- 200  Open air auditorium: seating capacity: 2000, proscenium arch: 15m, 2 green rooms provided  Administration space: cabin of area 3.5 sqm each  Classrooms: 6 units of 30 sqm each Vocal class room:1.1sqm/student Instrumental class room:1.8 sqm/student  Cafeteria: 450sqm  Guest room: 53sqm

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Figure 85 Vertical Zoning

Figure 86 Floor Plans

3.6.10 OBSERVATIONS  The layout and the building zoning provided are Excellent has brought in a different overall treatment.  The flow of spaces has resulted in a good built-open relationship.  Good use of site features has successfully made the public spaces interesting by use of sculptures, paintings, seating etc.  The cafeteria is the most active space with good view to the river.  Vehicular and pedestrian ways properly defined. ervice blocks are separated with service entry through parking.

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3.7 CRITICAL ANALYSIS OF LITERATURE STUDIES Case Study BHARAT BHAVAN, BHOPAL

UTTARAYAN ART FOUNDATION, GUJARAT

SEJONG ART CENTER, SOUTH KOREA

KU.BE HOUSE OF CULTURE, DENMARK

Strength Weakness  Use of site topography to  Not wheel chair friendly. create activities at different  Only one vehicular levels accessible point throughout  Use of courtyards as makes commute hard. transitional spaces with exhibitions  Giving equal importance to visual and physical connectivity  Semi open transitional spaces  Well-connected pedestrian  Built forms places very far and vehicular pathways. from each other, increasing  Use of courtyards to create pedestrian route distance. interactive spaces  Zoning of spaces is done in  Shaded walkways within the isolation w.r.t to each other complex and its function  Use of stack ventilation, local materials etc.  Relating and responding to  Wastage of space at spots to the urban scenario and city achieve the form context  Larger the public realm,  Public friendly design with lesser interaction between zoning and connectivity public given major importance  Less interactive semi open  Spaces are placed in space in public realm walkable distances  Sense of direction created by form of the masses  Eyes on the street concept  Disabled friendly  Placement of volumes  No parking space allocated catering to different  Pedestrian pathway not well functions in same core defined, sometimes might be  Connectivity through confusing interactive spaces  All surfaces are functional with certain activities bringing interest in spaces

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3.8 COMPARATIVE ANALYSIS

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3.8 CONCLUSION/ INFERENCE  Designing a semi-public space, it must cater to ease of access to public, both pedestrians, and vehicular.  Design has an opportunity to play with transitional spaces, be it open or closed.  Site topography should to maximised to create interest, flow, and also clerk different functions within the same space without any physical boundaries.  Considering the climatic conditions, architectural character should be defined with local methodology, materials and cultural style.  Design should not be in isolation from site, city, and its context. It should blend in the city fabric.  Zoning of spaces should be done to provide maximum ease to public, and best use of functional and recreational spaces.  Socially interactive spaces should be promoted as experience talks more than the learning.  Importance to both visual and physical connectivity should be given.  Design of spaces should be socially inclusive and there should be no differences reflected in terms of background. It should be equally open to all user groups.

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CHAPTER 4- RESEARCH AND STUDIES 4.1 BACKGROUND STUDY OF THE FOLK Regional art in India apparently has a great potential in the international market because of its traditional aesthetic sensibility and authenticity.

The rural folk paintings of India bear distinctive colourful designs, which are treated with religious and mystical motifs.

In a harsh and barren land, Jaisalmer gets its vibrancy from colour. Brilliant reds, blues, yellows and oranges contrasted with startling greens, purples and pinks are worn by men and women.

Figure 87 Clay work of Jaisalmer

In Jaisalmer, crafts remain closely linked with the ecology of the desert. Creativity has touched even the simplest and most functional objects.

Two things strike you in Jaisalmer, the colour and richness of garments worn both by men and women and the amazing quality of stonework found on the faรงade of every house.

Figure 90 Embroidery Work

Figure 89 Traditional Dance

Figure 88 Local talents in Music

4.1.1 TEXTILE AND PRINTING Printing of cloth is done in two ways, either by the direct method or by the resist printing process. Ajrakh is a very special resist printing technique in Jaisalmer Rajasthan. Intricate patterns are created with indigo and red, sometimes on both sides of the cloth. This is the craft of the Khatri community. It is used on shoulder cloth for the men and also on bedspreads sold in the cities. There are a vast variety of embroidery traditions specific to the region.

Figure 91 Women working together on embroidery

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4.1.2 ARCHITECTURE AND STONE WORK The rich architecture of Jaisalmer reflects the old glory and grandeur of the royal city during the ancient past. An important tourist attraction of Rajasthan, Jaisalmer has several forts and palaces that have unique architectural features that bear relics to the rich architectural history and cultural heritage of the bygone era that has penetrated to the modern society.

Representing the glorious past, Jaisalmer has several beautiful architectural monuments that portray the rich artistic skill and creative Figure 92 Stone work of Jaisalmer Haveli imagination of the local craftsmen of the region.

The Rajmahal, Jaisalmer Fort, Chandraprabhu Temple, Parsvanath Jain Temple, Salim Singh-ki- Haveli and Nathmal-ki- Haveli reflect the unique architectural style that were adopted by the imperial Rajput rulers of the bygone era.

The forts, palaces and religious shrines of Jaisalmer are exquisitely ornamented with fine and delicate works. A marvellous creation of the ancient times, the beautiful monuments of Jaisalmer bears an Indian architectural style of constructing the edifices. The excellent lattice work on the pillars, walls and ceilings of the numerous forts, palaces and religious shrines of the city is a delight for the tourists who are thrilled with the flawless and fine work of the artisans of the traditional times.

4.1.3 MUSIC Rajasthan has a diverse collection of musician castes, including langas, sapera, bhopa, jogi and Manganiar.

The rhythmic and hearty folk songs of that represent the vibrancy of the people and culture here. Some strains of Hindustani classical music may have found their way into the folk music of region. But unlike classical Hindustani music that follows Figure 93 Rajasthani instruments strict system of rules, Rajasthani folk music enjoys freedom. Various forms may be identified among the folk music of region. A very popular form is the maand sung by both the lungas and manganiyars. The famous composition of kesariya balam falls in this category.

There are two traditional classes of musicians: the Langas, who stuck mostly exclusively to Muslim audiences and styles, and the Manganiars, who had a more liberal approach.

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4.1.4 CRAFT The crafts of Jaisalmer comprise of exquisite traditional jewelleries of silver, delicate and fine embroidery work, stone work, highly decorated leather products and printing work. An essential part of the Jaisalmer people, culture, festivals, the traditional craft works reflect the rich cultural heritage and traditional legacy of the ancient times.

Most of the local indigenous inhabitants of Jaisalmer are experts in the field of art and craft work. The beautiful art and craft products of the place have internationally acclaimed status that helps the state of Rajasthan to earn huge revenues and thus strengthen its economic base.

Most of the tourists who visit Jaisalmer make it a point to purchase the unique craft works as relics of the place for their near and dear ones.

The local craftsmen of Jaisalmer have mastered the art of embroidery. The excellent blend of attractive colours coupled with the exclusive design patterns on the Figure 94 Handloom Work traditional attires of the state of Rajasthan imparts a royal look to the dresses. Most of the tourists prefer to buy embroidered saris or other traditional dresses of Jaisalmer during their visit to the beautiful place.

4.1.5 DANCE Any social and cultural occasion of Jaisalmer is incomplete without the brilliant performance of the highly talented artists of the place.

Jaisalmer boasts of several indigenous folk-dance styles that enthrals and enchants the spectators by its rhythmic steps and vibrant movements. One of the prominent indigenous dance forms of the local indigenous inhabitants of Jaisalmer is the Kalbeliya dance style.

Figure 95 Dance form of the folk Performed primarily by the community of snake charmers of the place, the dancers move their body in a flexible manner with the accompaniment of traditional musical instruments of drums.

Some of the other prominent dance forms of Jaisalmer are: ď Ż Ghoomar Dance- the Ghoomar dance is primarily performed by the female folk of Jaisalmer on special festive occasions. ď Ż Kathputli Dance- Representing the unique cultural traditions of Jaisalmer, the Kathputli dance reflects the artistic imagination of the organizers of the show who creatively arrange a dance drama of puppets for the entertainment of the audience.

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4.1.6 HANDLOOM The rich culture of Jaisalmer is a remnant of a bygone era. The people still hold onto their traditions and culture. Jaisalmer’s crafts include intricate embroidery work, silver jewellery, leather products and stone work. Jaisalmer has range of handloom products which are manufactured and hand crafted by people of the town and nearby villages. These artifacts, products and other services attract the tourist and helps strengthen the local economy of the town.  Leather crafts: Rajasthan’s claim to fame in the leather industry is the exquisite ‘juttis’. These are traditional footwear made of leather and embroidered with bright patterns.

These shoes have a very distinct pattern and are hand-stitched by shoemakers. The embroidery is intricate and has an exotic look. Apart from that, you will find beautiful leather satchels, pouches, phone cases, card cases and compacts while shopping in Jaisalmer’s local markets. These come in different sizes, colours and designs.

Figure 96 Leather market in the streets

Figure 97 Puppets

 Fabrics and embroidery: While shopping in Jaisalmer, you will definitely come across shops selling traditional batik print, block printed, or tie and dye fabrics. Jaisalmer is known for creating beautiful garments by using these techniques. These techniques have been around for a long time and have been passed down from one generation to another. Jaisalmer is famous for the batik print, which is a continuous print in beautiful earthy tones or other bright shades. Dupattas, kurtis, sarees and skirts here feature this print generously.  Handwoven

carpets: Handwoven carpets are pretty famous in Jaisalmer.

The more expensive carpets, and the ones that take the longest to create, are woollen carpets that are hand woven and made from camel hair. The skill which goes into making these carpets and the softness of the wool, one wants to take one of these back home for sure.

The carpets use traditional Rajasthani motifs, which sometimes include geometrical shapes or animal motifs like that of a peacock.

Figure 98 Curtain work

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4.1.7 LOCAL MARKET AND STREET OF JAISALMER The lanes are narrow and the buildings tall. They share walls in a way that each building is open only and the front and the back. Maybe this layout is designed to keep the sun out and provide shade for residents.

Strolling cows & goats have as much of a right to be there as the cycles and scooters. In fact these animals have a special place in the lives of the residents. When the morning meal is cooked, an additional portion of all the dishes is cooked for the animals. These animals do not belong the family but are expected to stroll past the house.

A plateful of the various dishes is offered to the animal before the family eats. This is a ritual followed every single day and is also seen in the small towns of Gujarat and this practice has led to an evolution in the layout of the house exteriors: a concrete container is constructed just outside the house in which the cow’s meal is served!

Figure 99 Commercial Streets of Jaisalmer

Figure 100 Residential Street of Jaisalmer

The layout of the house usually also has an open veranda facing the street on which people sit and share the news of the day doing ‘time pass’ and creating community bonds.

The architecture of Jaisalmer is famous for the intricate art but this article is about the tiny lanes.

Figure 101 Layout of street in town

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4.2 STUDY FOR PASSIVE COOLING TECHNIQUES: TERI RETREAT, GURGAON 4.2.1 INTRODCUTION: About TERI the Energy and Resource Institute or TERI was formerly called as Tata Energy Research Institute. It was established in 1974 with aim to research in the fields of energy, environment and sustainable development. Presently, the TERI headquarters are located at Indian Habitat Centre, Lodhi Road, New Delhi. The origins of TERI lie in the town of Mithapur in Gujarat, where a TATA engineer Darbari Seth got concerned about the heavy energy Figure 102 Site of TERI RETREAT spent on desalination. He proposed an idea of setting a research institute that tackles depletion of natural resources and provides a clean smart way of handling the energy needs.

Pathbreaking training building for leading R & D institute in energy, including labs, workshops, training facilities and hostel, staff housing, and community facilities with nearautonomous state-of-the-art energy, water and recycling systems, including photovoltaics, gasifiers, root zone systems, earth air tunnel, absorption air-conditioning, eco-friendly infrastructure development, trying to achieve a sense of the 'campus of the future'.

4.2.2 ORIENTATION: The TERI retreat building, Gurgaon has been selected to show how Orientation also plays an important role in “solar architecture�. The TERI retreat building was oriented along the east-west axis so as to have maximum exposure along north and south which is the most recommended orientation in solar passive architecture.

South orientation receives maximum solar radiation during winters which is preferable as composite climate receives severe winters. The orientation ensured winter sun (while keeping the summer sun out) and adequate daylight in the building (source: Energy-efficient buildings in India, Mili Majumdar, TERI & MNRE, 2001)

Figure 103 Air towers

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4.2.3 BUILDING FORM: The form of the PEDA office complex in Chandigarh is a climate responsive building, with an innovative concept of architectural design. The building site is located on a major road intersection and lies on the edge of a residential area with other proposed office buildings on the other edge. The building form is a threeFigure 104 Driveway dimensional form developed in response to solar geometry, i.e minimizing solar heat gain in the hot dry period and maximizing solar heat gain in the cold period, the scale and form of the building on the two main roads of the intersection bears the character and scale of a office building, the building responds to the residential context on the south/south-east edges by gradually scaling down in mass and volume (source: Energyefficient buildings in India, Mili Majumdar, TERI & MNRE, 2001) 2.4.4 SHADING: The RETREAT building of TERI, in Gurgaon depicts the best case for solar passive design.

The building has been designed with adequate shading devices and fenestration has been designed to cut off summer sun and let in winter sun. The external walls are also shaded adequately with red stone jail and deciduous trees. Creepers and trees along the walls add to the insulation and help evaporative cooling (source: Energy efficient buildings in India, Mili Majumdar, TERI & MNRE, 2001) 4.2.5 DAYLIGHT INTEGRATION: The ITC, Green Centre in Gurgaon adopts effective daylight integration.

At ITC green centre, in day time, unlike other office buildings, artificial light is not consumed at all.

The design of the building ensures natural light penetration deep into the interior spaces. The glazing for the building has been designed to maximize the effect of natural light, largely eliminating the need for artificial ones yet cutting down the heat gain in the interiors.

Figure 105 Solar sheets and jali work

4.2.6 WATER BODIES: The fountain in the Transportation Corporation of India Ltd, (TCIL) building, Gurgaon is a recirculating system in which a large body of water flows over extensive surfaces to maximize

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evaporation. Water evaporation has a cooling effect on the surrounding areas. The tall solid concrete columns of broad diameters over which the water trickles down the height of the courtyard, and the thin sheet that overflows the sides of the pool at ground level create a large heat sink and a body of air close to wet bulb temperature. The white marble sides of the tank reflect the courtyard light into the basement work areas. This showcases demonstration of a natural element in true harness and as an appropriate modifier of micro-climate (source: Energy-efficient buildings in India, Mili Majumdar, TERI & MNRE, 2001.

Figure 107 Center of excellence

Figure 106 Exterior View

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Figure 108 Buidling Plan

Figure 109 Section

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Figure 110 Passive cooling design elements

4.2.7 ADVANCED PASSIVE COOLING STRATEGIES: This section briefly presents case studies that have adopted passive cooling strategies.

Solar chimney: A central evaporative cooler located above the staircase well in Residence for Madhu and Anirudh in panchkula, helps in providing good natural ventilation. It helps in escaping the warm air and entering the cool air into the building from openings near the ground. This air circulated is augmented by a solar chimney which extracts air from the front room. Louvres in the doors ensure air circulation even if the doors are closed (source: Energy-efficient buildings in India, Mili Majumdar, TERI & MNRE, 2001.

Courtyards and verandas: The American Institute of Indian studies, in Gurgaon is one of the best examples of providing spaces with different thermal characteristics through verandahs and courtyards. As one moves in from the lobby, the building opens up to two sunken courtyards with vegetation and water.

The sunken courtyards provide an element of surprise to visitor and bring adequate daylight and ventilation into all areas of the building. The architect has attempted to restore to the courtyard its original function of being an internal climate modifier. The breezy central verandah is ideally suited for the monsoon period. The first court is ornamental with a water pool and fountain while the send one has plants and sitting areas. The diagonal placement of two courtyards, with the second one being open-ended, has immensely increased the air circulation within the building (source: Energy-efficient buildings in India, Mili Majumdar, TERI & MNRE, 2001X`

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Cooling Tunnel: Earth air tunnel or earth air heat exchanger is a pre-cooling or pre-heating system which consists of a pipe or network of pipes buried at reasonable depth below the ground surface. It either cools the air by rejecting heat to the ground or heats the air absorbing heat from the ground. It utilizes the fact that the deep earth temperature remains almost same as the annual average mean air temperature of the location.

Grey water cleaning Facility:

Figure 111 Earth Air Tunnel System

The separate treatment of grey water falls under the concept of source separation, which is one principle commonly applied in ecological sanitation approaches. The main advantage of keeping grey water separate from toilet wastewater is that the pathogen load is greatly reduced, and the grey water is therefore easier to treat and reuse.

When grey water is mixed with toilet wastewater, it is called sewage or black water and should be treated in sewage treatment plants or an onsite sewage facility, which is often a septic system.

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4.3 STUDY FOR STRATEGIES FOR A LARGE-SCALE NET ZERO DEVELOPMENT: IIT, JODHPUR 4.3.1 INTRODUCTION The campus design demonstrates innovative design thinking to arrive at a blueprint for community scale net zero design. The master plan for the Indian Institute of Technology (IIT) campus at Jodhpur, a hot-anddry city in India, is an example of how Net Zero Energy development is scalable beyond single buildings or homes. An 860-acre desert settlement under construction, the Figure 113 Master Plan development campus is designed to become almost fully self-sustaining with net zero water, energy and waste by the final stage of the project around 2025. It is hoped that the IIT-Jodhpur campus will provide a blueprint for campuses and cities worldwide, especially those in extreme climatic conditions. In this webinar, the architect Sanjay Prakash explains the approach and strategies behind the large-scale Net Zero development.

4.3.2 DEVELOPMENT PLAN

Figure 112 Master Plan of IIT, Jodhpur

The campus master plan is to be constructed in various development phases. Landscape phasing will be completed in parallel with the infrastructure and building construction. Since many projects will be completed simultaneously on the campus, the campus site and landscape phasing will include protecting the soils and vegetation, as well as work in concert with building construction, to reduce congestion during partial occupancy.

The beauty of the master plan is that while it grows it retains its iconic and unique identity. The construction of the master plan is to be carried in four phases between the 2013 and 2025.

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Figure 114 view of public plaza on campus with various Jali feature

4.3.3 NET POSITIVE CAMPUS The campus attains energy efficiency using passive, active and innovative design measures at both the building and master plan levels to provide even higher grades of efficiency, reduced energy footprint and improved occupant comfort to achieve a net positive energy campus.

The approach to achieving a high-performance design is attained through reduced energy demands of the building, meeting loads with high performance equipment and offsetting the energy consumption by using renewable energy.

The architects aim to embrace the traditional concepts of Jodhpur and combine them with the current cuttingedge energy reduction technologies. Importance has been given to reduce the energy demands of the campus and then meeting them with very highperformance equipment. Onsite renewable energy technologies are the final step in offsetting this energy consumption to achieve a net zero energy campus.

The hostel and residential zone of the campus is designed to maintain occupant comfort without the means of any active conditioning strategies. Air movement is induced through thermal labyrinths, which are located below the building, to provide cooler air to the hostels using passive cooling strategies. The education, administration and supportive zone of the campus is a fully conditioned zone which employs all of the passive design strategies, along with active HVAC measures to meet the higher cooling demand.

These buildings will have high performance HVAC Figure 115 Climate Analysis controls of temperature resets, outdoor air flow

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monitoring, and heat recovery among other strategies, to have a considerably lower footprint than a conventional building.

Figure 116 Sustainable features in design

4.3.4 ARCHITECTURAL STRATEGIES The academic zone: The academic zone buildings are designed and sized to provide a variety of spaces according to the program including classrooms and labs of varying sizes and proportions, faculty offices, meeting rooms and lounges. The interconnected stairs are extra wide to promote chance meetings and are located at the corners to maximize flexibility and efficiency. All three- storey high buildings contain a basement. Central courtyards for all building zones are one meter below street grade to allow light to penetrate into the basement level. The building’s basements are designed for lab use where daylight is not required, storage, mechanical rooms and labyrinth. Rooms are no greater than ten meters from a window to maximize daylight.

The buildings are designed to allow for natural ventilation. Jaalis have been traditionally used for light and air. Locally made precast concrete jaali screens will be used on the East-West facades of the academic building. Adjustable smart louvers are provided to screen the south

Figure 117 view of public garden

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faรงade of the academic building. All south facades facing the courtyard have a two-meter overhang to allow for additional shading.

The hostel zone: The hostel buildings are designed with a double loaded corridor, with North-South facing rooms. The double loaded corridors also allow maintaining air circulation and service efficiency. The common spaces on various floors allow for interaction among students. The services are positioned amongst the East-West axis.

Figure 118 Central Interactive space

The Residential Zone: The housing is designed as a row housing typology where two units on each level share a common staircase and the other two share a common wall and a air shaft. Each building

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allows for a maximum of six units on each side of the courtyard. Each unit has a individual wind catcher that circulates cool air from the labyrinth beneath, during the day and extract hot air out at night. The windows are also staggered to provide for maximum shading and unit natural cooling. Double glazed windows are used for all three blocks for both natural ventilation and views towards landscaped courtyard, plazas and parks.

4.3.5 LANDSCAPING The landscape and architectural components of the campus are based on capturing, storing and using every drop of water from the monsoon. An integrated approach of the very latest innovative systems creates sustainable open spaces that in harmony with the setting, seasonal interest and microclimate. The strategy aims high optimization of de-desertification to produce high agricultural production and support a diversity of plant, livestock and wildlife.

As the landscape evolves, and the hydrological regime improves, the campus may be able to support species, not normally found in desert climates.

Figure 119 Sectional View of passive cooling

Within the academic sector and residential “villages” of the campus, there are narrow shaded pedestrian streets for electric buses and bicycles. Specific courtyards and gathering spaces are designed to be served as outdoor classrooms. A variety of shaded building courtyards pocket “oasis-like” gardens and demonstration bio-filtration areas for the students. The academic sectors, the hostels, the faculty and staff housing “villages” utilize recycled grey and black water. Specific courtyards and gathering spaces are designed to be served as outdoor classrooms. Locally sourced materials, appropriate for desert climate such as Jodhpur sandstone, granite and limestone are proposed for street paving. Hardscape materials are to be incorporated into custom landscape features, and different furnishings aim to distinguish different campus zones.

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The ecosystem restoration and performance of the landscape will be monitored using different systems. Storm water quality and quantity will be monitored using a data acquisition system by individually containing the drains, identifying a collection point and tipping area.

On a macro scale, the same system can be used to study water use across the different landscape typologies.

Figure 120 Sectional view of landscape design

4.4 STUDY OF KINETIC FAร ADE: RMIT'S DESIGN SCHOOL 4.4.1 INTRODUCTION: The faรงade comprises a specifically detailed doubleglazed inner skin on each face of the building and an automated operable second skin shading device. The second skin shading device surrounds the entire building, from the ground floor to the roof plant level.

Figure 121 FRONT FACADE OF RMIT'S SCHOOL

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4.4.2 MATERIAL AND CONSTRUCTION: It is made up of nominally 600 mm diameter sandblasted glass disks, which are fixed to either a horizontal or vertical aluminium axel. Each axel is fixed to the outer face of a galvanised steel cylinder of a slightly greater diameter and nominally 130 mm in depth. 21 glass discs and steel cylinders are fixed together in panels of nominally 1.8 m by 4.2 m, which are supported on a secondary galvanised steel frame set out about 700 mm from the curtain wall face of the building. These are accessed by an external service walkway on each level.

Each typical panel is made up of 12 operable glass discs and 9 discs which are fixed. At the ground and plant room levels all glass disks will be fixed. There are 86 panels on each level and therefore 774 panels for the nine levels of the building.

Figure 122 ELEVATIONAL VIEW

4.4.3 WORKING Perimeter air intakes and fine mist sprinklers incorporated into the double-glazed inner skin provide passive cooling to the UFAD system. The water used in this ‘Coolgardie safe’ system is harvested from the roof. Fresh naturally cooled air provides a less expensive, lower energy consumption and more desirable thermal comfort alternative to a wholly conditioned work environment.

Figure 123 SKIN DETAIL: ROTATABLE DISCS

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4.4.4 SENSORY SYSTEM The shades are controlled by sensors that monitor light levels, as well as temperature and humidity, throughout the interior landscapes. When light levels increase beyond acceptable thresholds, motors automatically unfurl triangular pieces of tightly Figure 125 VIEW OF SKIN FROM COIRRIDOR woven canvas rolled up and concealed within the buildings’ structural components. The shades unroll from one arch, pulled in an almost continuous loop configuration by a cable that spools on a rod concealed in the opposite arch. As they are pulled across the double-glazed envelope, the shades visually interlock but allow some light transmission even when fully extended.

4.4.5 OBSERVATIONS  Use of combined techniques of screening/jali and evaporative cooling to maximise the efficiency of the skin.  Shades are controlled by sensors that monitor light levels, as well as temperature and humidity, throughout the interior landscapes  The two layers together control the amount of intake of heat. Air and light throughout the indoor spaces.  High maintenance needed for cleaning and servicing as so many controlling factors including sensors are integrated.

Figure 124 DISCS USED ON SKIN

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4.5 STUDY OF MARKET SPACE: DELHI HAAT 4.5.1 BACKGROUND:  Architects: Archohm  LOCATION: Janakpuri, Delhi  Area: 16000 m²  Year: 2014 4.5.2 INTRODUCTION ‘Haat Beat’ was the starting point to this design competition entry in 2005. Delhi Tourism and Transportation Development Corporation had invited entries for a Dilli Haat in Janakpuri - a massive site with a large residential audience, in a part of Delhi that had very few places to go out to. DTTDC has promoted music all across Delhi with its concerts and other initiatives. The idea was to give them a home for playful music and give these homes a place to play with music. This was the underlying layer that bonded the overall program of formal and informal shops to sell crafts and celebrate culture; toinject a new life into this part of Delhi and be its rhythmic ‘heart beat’.

Figure 126 SITE IMAGE OF DILLI HAAT

4.5.3 DESIGN PHILOSOPHY Figure 127 TENSILE ROOFING OF MARKET SPACE

As a design philosophy, with two Dilli Haats already in the city, one questioned the design elements at multiple levels.

Fundamentally, all Dilli Haats need to have a common ground of bringing artisans to interface with city dwellers. All these haats need their own identity to attract people not only from their own neighbourhood, but from the city at large. One also had to look at evolving the language and imagery of these haats with time. They could not be imitated extensions of the previous haats or

Figure 128 PUBLIC SPACES WITH SEMI SHADED SPACE

imitations of villages in the city. They had to be progressive, in tune with today’s times and

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respecting the craft and cultural centricity of the project. The design solution therefore, is a conversation between the past and the present, acknowledgement of the traditional and its adaptation in contemporary times, in concept and in construction.

4.5.3 SITE DEVELOPMENT The site was a large six-acre northwest facing contiguous piece that turns southeast towards the end. The plot is bound by the main bus terminus on one side, the Tihar jail (a national prison) greens on the other side and a large commercial road in the front. The complex is planned with two entrances; a primary face with vehicular and pedestrian zones and a secondary rear entry for pedestrians into the craft-only zone.

Figure 129 ARCHED SHADED WALKWAY SCREEN

4.5.3 FUNCTIONALITY Conception of the program is as large a design intervention as its physical manifestation. The final functionality found an indoor, well-equipped, 800- capacity auditorium for formal concerts and an informal similar capacity open-air amphitheatre that works simultaneously with independent spaces and support services. A multipurpose, multi-scaled exposition hall for exhibitions and seminars is proposed. A set of four baskets houses a music museum, a music store and music workshop space along with tourism offices and cafes. A large, air-conditioned food court extends into shaded courtyards and expansive greens for the basic need of spill overs.

Formal, informal and open shop spaces are created to bring in the required sensitive adaptations of malls, markets and bazaars into this haat. An independent fine dining with an extended banquet facility is created to reinforce the business plan of this complex cultural complex.

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Figure 131 MASTER PLAN OF DILLI HAAT

Figure 130 SITE SECTION OF DILLI HAAT

Taking cognizance of all the requirements, so as to make the haat - a functionally viable program, it was decided to give a music theme to the center. The lack of any center dedicated to music isevident, while doing the research and soon, the theme of ‘haat beat’ gathered momentum. A state-of-the-art auditorium that canhold large music concerts, an amphitheatre, a music centerfor sales and exhibition of musical instruments along with inviting exuberant gatherings of budding musicians and music lovers.

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Figure 132 SECTIONS

4.5.4 SPACES AROUND THE HAAT Outdoor shops with roofing canopies and craft shops to hold artisans’ workshops are integral to the Dilli haat theme. Air-conditioned shops areadded to make it a more viable shopping experience. There is also a children’s play area tucked into a small green patch. The food court with basement parking facilities ties it all together to sustain it as an enterprise. Like a wellcrafted movie, the strength of this project is that the plot is strong and the basic idea is immersed well in every aspect extensively. The site plan is knit together efficiently. Free-flowing open spaces bind various activities on two levels. The main pedestrian and vehicular entries are from a busy street. There is a separate service entry and a couple of special entry points. A large open space takes the visitor through a frisking area to another pocket that leads to the huge central plaza formed by meandering Air conditioned shops and the exposition halls. One can also take the open pedestrian ramp to reach the terrace lined by canopy shops. From the frisking area, there are direct access points to the café, surface and basement parking and banquet greens. The central

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Figure 133 VIEW OF MARKET SPACE

plaza culminates to the auditorium and the craft shops cluster. The most popular activity that is the craft shop clusters located at the rear end to enable the visitor to walk through the entire haat.

Another frisking area is located near these clusters since there is a strong possibility of craft shops to become the predominant function. The four 8 m high towers are interspersed along the site.

Designed to look like huge bamboo baskets, they are two storied buildings with a roof top canopy designed for outdoor activities. Closer to the entry, one basket houses the information centre, while the other forms a cafĂŠ. Wander more into the interiors of the site and the baskets house a music centre and a museum. The music centre not only avails sale of all genres of rare classics, musical instruments, but provides ample outdoor space and a small amphitheatre to take care of interactive functions.

4.5.5 THE VAULTS The exposition halls are three linear vaults of ascending widths in plan, forming one large space that can be divided into three as required.

Colorful flowering creepers that soften the scale and help temperature control further cover the steel sheeting on top. The food court will house 48 stalls from different places and celebrate the taste of India. The two storied air conditioned space is well supported with individual service courts for every stall, in turn opening into a larger service yard connected with separate access.The

Figure 134 THE THREE VAULTS

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front wall of the food court, visible from the main access road holds the huge signage keeping those interested updated on the happening inside is sure to change the skyline of the street forever.

4.5.6 THE SHOPS The air-conditioned shops bring a sigh of relief to Delhiites, sold out on arty- crafty goods, and summer being the hub of the shopping calendar.

Also, covered on top by canopied shops they make a bustling activity space lit up by shop signage and street sculptures. 100 craft shops circular in plan, are arranged in clusters of 5-6 each forming a bazaar. These are built in the most conventional natural stone masonry, covered with the most technologically advance tensile canopies. The clusters are connected with small green patches and Figure 136 ROOFING DESIGN paved allies completing the village scene. The rear boundary wall is lined with informal platform shops overlooking this village. Breaking free of the conventional look and feel of its other two counterparts with their brick vocabulary, Dilli Haat, Janakpuri takes a fresh look at the material palette as demanded by the multifaceted program that it houses. The material spectrum is an eclectic mix of modern and traditional. Using the timeless red Agra stone, kota stone, slate and the local Delhi quartz stone masonry on facades and landscapes sets a neat and natural typology to this predominantly green complex.

Figure 135 OPEN AIR THEATRER

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CHAPTER-5 SITE SELECTION AND ANALYSIS 5.1 SELECTION OF THE CITY Rajasthan is known for its rich heritage and culture.

Thus, in India, Rajasthan is most suitable state to propose a cultural centre and regional art academy.

Rajasthan is among top tourist attractions in India, with its dense historical background in art, craft, dance, music, etc.

Figure 137 LOCATION MAP FOR JAISALMER

 More the population, the city will be more crowded and urbanised giving less opportunity to create impact that design tends to achieve.  City with rich cultural context has more to offer to the built spaces. But at the same time, cities with already existing cultural oriented space will supress the economy and tourism for the proposal.  Cultural relevance of city to the design proposal is most relatable in Jaipur and Jaisalmer. But Jaipur being already developed, Jaisalmer suits better for site location.

CONSIDERING ABOVE LISTED FACTORS, SUITABLE CITY FOR THE DESIGN PROPOSAL IS JAISALMER.

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5.2 INTRODUCTION TO CITY

Figure 138 TOURIST CIRCUIT MAPPING OF RAJASTHAN

Jaisalmer, nicknamed "The Golden city", is a city in the Indian state of Rajasthan, located 575 kilometres (357 mi) west of the state capital Jaipur. The town stands on a ridge of yellowish sandstone, and is crowned by the ancient Jaisalmer Fort. This fort contains a royal palace and several ornate Jain temples. Many of the houses and temples of both the fort, and of the town below, are built of finely sculptured sandstone. The town lies in the heart of the Thar Desert (the Great Indian Desert) and has a population, including the residents of the fort, of about 78,000.

It is the largest district of Rajasthan and 3rd largest district by territorial region in the country, hugged on the west & south-west by the Pakistani border. The length of the international border attached to Jaisalmer District is 471 km (293 mi). It is located 790 kilometres away from the national capital Delhi.

5.3 PROFILE    

Longitude: 75°55'E Latitude 26°55'N Altitude: 241.7m above mean sea level Population: 78,000 The average rainfall is only 16.4 cms as against the state average of 57.51 cms

5.4 ARCHITECTURE AND PLANNING  In its overall shape, Jaisalmer is an irregular polygon with a double line of fortification.  It is a city within a city. The inner city is more protected with a stronger wall and is set on top of a hill about 100 meters higher than the surrounding area. The city is triangular in shape due

Figure 139 CITY GOOGLE IMAGE

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to the shape of the hill on which it is built.  The Royal Palace with the Royal Square forms the nucleus of Jaisalmer.  The market square with its bazaar structures in the lower city and the Royal Square with the temples hold the upper city together. Streets act as linkages, activity and interaction spaces.  Narrow winding streets with densely built construction on both sides.  All Major streets were oriented in the East-West direction at right angles to the direction of dust storms.  The height of the building compared to the width of streets is large to create shaded cool environment for the pedestrians and other social activities on the streets.

Figure 140 DEVELOPMENT PLAN OF GOLDENT CITY

5.5 HISTORICAL DEVELOPMENT The city devolved from the fort protecting the residential development, from the sandstorm in phase 1 and 2, further as the railway lines came in, development of industrial area took place in phase 3. South of the city was left untouched to promote open land for ecological development as it serves as migration area for flamingos.

Figure 141HISTORICAL IMAGERY OF SITE AND SURROUNDINGS

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5.6 PROXIMITY

Figure 142 PROXIMITY MAP WRT SITE

Jaisalmer, "The Golden city", is a city in the Indian state of Rajasthan, located 575 kilometres (357 mi) west of the state capital Jaipur. The town stands on a ridge of yellowish sandstone, and is crowned by the ancient Jaisalmer Fort. It is the largest district of Rajasthan, hugged on the west & south-west by the Pakistani border. The length of the international border attached to Jaisalmer District is 471 kms.

Nearest Railway station is 3.30 Kilometres from the site and Airport being 15.00 kilometres.

Bus stand is 2 minutes’ walk away from the site.

Figure 143VIEW OF GOLDEN TOWN OF JAISAMLER

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5.7 MAJOR ROAD NETWORKS AND OUTSKIRT LINKS

5.8 TOURIST FOOT FALL The tourism score favours clear, rainless days with perceived temperatures between 18°C and 27°C. Based on this score, the best times of year to visit Jaisalmer for general outdoor tourist activities are from late February to mid-March and from mid-October to early December, with a peak score in the second week of November.

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Figure 144 TOURIST DATA MAPPING

5.9 CLIMATE ANALYSIS

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5.10 AREA LEVEL ANALYSIS

Figure 145 INWARD EFFECT OF TOURISM ON SITE

5.10 MAJOR TOURIST ATTRACTIONS ▪ ▪ ▪

Jaisalmer Fort or Sonar Qila (Golden Fort) as it is locally called. The massive Jaisalmer fort is a popular landmark of the city with a huge complex, gigantic ramparts and settlements, shops being established inside the premises of the fort.

Visit the beautiful Jain Mandir followed by the magnificent Patwon ki Haveli – a fivestory elegantly carved unique piece of architectural marvel. One of a kind museums which features intricate carvings, unique furniture and stunning artworks.

Witness one of the most notable architectural specimens of Rajasthan and an important one among the Jaisalmer tourist places, Nathmalji ki Haveli. This extraordinary piece of art and a fine example of artistic symmetry will redefine aesthetics for you!

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▪ ▪

▪

Take an in-depth insight into the history and culture of this city, with a visit to the Jaisalmer Museum. Walk back to the time and witness what’s left back as its traces to be an immortal part of the history.

Experience the sun, sand and dunes at the Sam Sand Dunes of Jaisalmer. Get a real taste of Golden city of India, as you enjoy a joyful camel ride, a traditional puppet show, a beautiful folk dance and witness a breath-taking sunset over the dunes that etch an everlasting memory in our hearts and mind.

These spectacular experiences are followed by a delicious Rajasthani meal and a unique chance to be one with the desert by staying in tents amidst the sand dunes of Jaisalmer.

5.11 ZONING AND CITY ORIENTATION

5.12 CITADEL AND THE STREET PLANNING Grown out of a modulation at the domestic scale, dictated by the limitation of stone construction, the town presents a picture of unique order. Yet, it is not regimented. The smallest house is generally a two-bay house with one of the bays having the courtyard. It is the number of bays that increase as the houses become larger. The houses built on the periphery of the upper as well as the lower city show some differences in character.

There are major streets oriented almost E-W and minor streets at right angles to these. The famous decorative house-fronts are located mainly on the E-W street which are relatively wider, the height

P a g e | 97 of the buildings being one to two times the width of the street. The N-S streets, on the other hand, are only about one fourth height of the buildings on sides.

Figure 147 PLAN OF UPPER CITY/ FORT

Being one of the six hill forts, Jaisalmer Fort is the epitome of architectural brilliance. The fort symbolizes the strength of the Rajputs in the bygone era. It is entirely carved with grand yellow stones that shimmer during sunset. Hence, the historic landmark is popularly known as the ‘Sonar Quila’. The 250-feet towering fort is the Jewel of the Thar Desert. It is enclosed by an imposing wall of 30 feet height and completed with a 60 feet tall main gate made from Indian rosewood. There are 4 entrance doors, with no visual connections. (Ganesha Pole, Hawa Pole, Suraj Pole and Aksya Pole). There is a total of 99 bastions.

Figure 146 STREET ELEVATION

The streets are compact and radial in nature and the height of the buildings vary, which diverts the direction of wind. The streets of Jaisalmer spend most of the day in shade because of tall buildings on either side, the air that passes through the facade from the street is much cooler than the air exposed to thesun. The cool air enters through the havelis front facade, circulates through the rooms and then escapes through one of the courtyards taking out the hot air along with it.

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CHAPTER-6 DESIGN DEVELOPMENT 6.1 CONCEPTUAL SKETCHES

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6.2 CONCEPT AND FORM DEVELOPMENT

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6.3 AREA STATEMENT SITE AREA: 23,933.91 SQM/ 5.9 ACRE GROUND COVERAGE: 40% MAXIMUM: 9573.56 SQM/ 2.36 ACRES (FAR: 2.0) BUILT UP AREA: 24180.00 SQM (1.01 FAR) Designed space: 11,520 SQM S.NO. 1.

2.

3.

4.

5.

6.

7.

SPACES PRODUCTION CENTER/ Workshop LEARNING CENTER PERFORMANCE CENTER MUSEUM/ LIBRARY Residential Zone Market Admin TOTAL

AREA 3960 3820 3130 1810 3920 1500 500 18600.00 +30%= 24180.00

PRODUCTION CENTER: A) Block Printing SPACE Dyeing space Pigment production Block Manufacturing unit Printing space Drying space Export/ stock room Control Unit Toilets Change rooms/ services

REMARK Storage, boiler, drying etc.

Chemical room, storage, mixing room Wood work Fabric on base, block print Semi open space Packing, stocking, exporting Office/ manager

Occupants 10 10

AREA 70 70

10 40 10

80 250 150 50

4 -

50 60 60 840 sqm

Occupants 25 50

AREA 60 100 300

10 15

60 60

10 4

30 50

B) Embroidery/ Handicrafts/ Puppets SPACE Storage for raw materials Design printing Handwork unit Cleaning, washing zone Wood/ Stone work zone for handicrafts Export/ stock room Control Unit

REMARK Digitalised, and hand done All typologies so bigger space Fabric, Wooden, Metal Hand carving and machinery work Packing, stocking, exporting Office/ manager

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Toilets Change rooms/ services

TOTAL

60 60 780 sqm

Occupants 10

AREA 50 70

30

150

10 8

50 30

5 TOTAL

50 60 460 sqm

C) Musical Instruments SPACE Storage for raw materials Preparation Room Handwork unit/ Assembling Testing zone Export/ stock room Control Unit Toilets

REMARK Cleaning and treating for assembly (15 typologies of instruments) Quality check/ Studio Packing, stocking, exporting Office/ manager

LEARNING CENTER A) Dance: SPACE Studio Lobby/ reception Activity room Green Room/ Change room Storage Toilets

AREA PER PERSON 2.4 1.2

CAPACITY AREA 20X5=100 240 70 100 120 60

TOTAL

60 70 620 sqm

B) Music: SPACE Studio Lobby/ reception Recording studio Activity room Storage Toilets

AREA PER PERSON 2.4 1.2

CAPACITY AREA 20X5=100 240 70 100 150 120 60 70 TOTAL 710 sqm

MARKET SPACE SPACE Shops Kids zone ATM Restaurant First Aid space

AREA PER Unit 8

UNITS 40

6 1 16

3 2

AREA 320 50 18 200 32

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Informal street Market Marketing Centre Toilets

100 40

1 4 TOTAL

200 100 160 1080 sqm

HERITAGE MUSEUM AND GALLERY SPACE Museum/ Gallery Space Study/ Research Archives Restoration and Repair Office Storage Toilets

AREA PER PERSON 1.8

CAPACITY AREA 700 1260 100 60 80 100 150 60 TOTAL 1810 sqm

PERFORMANCE CENTER SPACE Auditorium- 1 Services

AREA PER PERSON 1.4

CAPACITY 800 25% of total TOTAL

AREA 1680 420 2100 sqm

AREA PER PERSON 2.5 1.6

CAPACITY AREA 20X5 250 100 160 50 20 60 TOTAL 540 sqm

WORKSHOP SPACE SPACE Studio AV rooms Office Storage Toilets

LIBRARY SPACE Reception and Lobby Office Digital Space Reading Areas Reprographics Maintenance Storage Toilets

AREA PER PERSON (SQM/PERSON)

2.6

CAPACITY AREA

200

TOTAL

50 50 150 520 30 50 80 60 990 sqm

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CHAPTER-7 FINAL DESIGN

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