Vignesh Anil - Architectural Thesis

2022 Thesis Report

CENTRE FOR ART AND CULTURE, Gurugram Vignesh Anil

Project

Synopsis . . . . . . . . . . . . . . Search . . . . . . . . . . . . . . . Worldview - Culture . . . . . . Proposition . . . . . . . . . . . .

Scope & Profile . . . . . . . . . . User Groups & Distribution . . Functional Relationships . . . Detailed Area Program . . . .

Site Final Design

Location . . . . . . . . . . . . . . Connectivity . . . . . . . . . . . Movement . . . . . . . . . . . . . Context Info. . . . . . . . . . . .

Technology

Structural Systems . . . . . . . Passive Design . . . . . . . . . . Water Calculations . . . . . . . Light/Shading . . . . . . . . . . .

SWOT Analysis . . . . . . . . . Directives from Site . . . . . . . Directives from Zoning . . . . .

Introverted . . . . . . . . . . . . Sense of Arrival . . . . . . . . . Connectivity . . . . . . . . . . . Congregation . . . . . . . . . . Final Design Sketches . . . . .

DD1 & DD2 . . . . . . . . . . . . . DD3 & DD4 . . . . . . . . . . .

Strengths & Weaknesses . . .

Area Statement . . . . . . . . . . Context Plan . . . . . . . . . . . Site Plan . . . . . . . . . . . . . Floor Plans . . . . . . . . . . . .

17 19 22 24 Investigation Research Case Studies Directives Concept Design Dev.

Analytical Matrix . . . . . . . . . . . Jawahar Kala Kendra . . . . . . . Rabindra Bhavan . . . . . . . . . . Shou County Cultural Centre . . Matrix . . . . . . . . . . . . . . . . . .

49 50 52 54

Land Use . . . . . . . . . . . Photos . . . . . . . . . . . . Climate . . . . . . . . . . SWOT . . . . . . . . . . . . .

71 72 73 74

10 13 14 15 69 60 61 62 103 104 106 107

Materiality . . . . . . . . . . Toilet Calculations . . . . Energy Calculations . . . Accesibility . . . . . . . . .

Sections & Elevations . . . Basement . . . . . . . . . . . 3D Views . . . . . . . . . . . Jury Comments . . . . . . .

34 35 38 41 44 81 82 84 88 89 90 91 92 96 98 100

63 64 66 68 112 117 118 126

75 76 77 78

List of Figures

Figure 1 Synopsis Graphic (Source : Author) 10

Figure 2 Synopsis Graphic (Source : Author) 11

Figure 3 Heirarchy of Culture. (Source Author) 14

Figure 4 Defining Areas of Research. (Source Author) 17

Figure 5 Musical Range (Source : Architectural Acoustics, Patel 2010) 19

Figure 6 (a) Equal loudness curves acc. to ISO-226:2003 revision, (b) Threshold and auditory area for human hearing. (Source Architectural Acoustics, Patel 2010) 20

Figure 7 Reverberation Times. (Source : http://hyperphysics.phy-astr.gsu.edu/hbase/Acoustic/revtim.html) 21

Figure 8 (a) Reverb. time indicative design guide, (b) RT and volume guide. (Source Architectural Acoustics, Patel 2010) 21

Figure 9 Manifestations of Culture (Source https://casework.eu/lesson/how-culture-etermines-individuals/) 22

Figure 10 The Built and Public Space. (Source Author) 22

Figure 11 What makes a great place?. (Source https://www.pps.org/article/grplacefeat) 23

Figure 12 (a, b, c, d, e) Auditorium Layouts ( Source Time-saver Standards) 24

Figure 13 (a, b, c, d) Exhibition Layouts, Divisions (Source : Time-saver Standards) 25

Figure 14 Performing Arts Studio Layouts (Source : Time-saver Standards) 26

Figure 15 Visual Arts Studio Layouts (Source : Time-saver Standards) 26

Figure 16 (a, b, c) Library Layouts (Source Time-saver Standards) 26

Figure 17 (a, b, c, d) Conference Room Layouts ( Source : Time-saver Standards) 27

Figure 18 Overall relationships between functions - Buildings for orchestral and choral classical music, jazz and pop/rock music. (Source : Buildings for the Performing Arts, Appleton 2008) 28

Figure 19 Relationship between activities: performance organization. (a) Classical music. (b) Pop/rock music. (Source Buildings for the Performing Arts, Appleton 2008) 28

Figure 20 Relationship between performers’ spaces. (a) Pop/rock music, touring company (b) Jazz (c) Classical Music (d) Musicians’ spaces: orchestra pit. (Source : Buildings for the Performing Arts, Appleton 2008) 29

Figure 21 Overall relationships between functions - Buildings for opera, musicals, dance and drama, which receive touring companies only, or with a resident company whose production facilities are located elsewhere. (Source : Buildings for the Performing Arts, Appleton 2008) 30

Figure 22 Overall relationships between functions - Buildings for opera, musicals, dance and drama, with their own production facilities. (Source : Buildings for the Performing Arts, Appleton 2008) 30

Figure 23 Relationship between activities - performance organization: Opera, Musicals, Dance, Drama. (Source Buildings for the Performing Arts, Appleton 2008) 31

Figure 24 Open Stage Formats : Opera, Musicals, Dance. (Source Buildings for the Performing Arts, Appleton 2008) 31

Figure 25 Relationship between performers’ spaces : Opera, Musicals, Dance, Drama. (Source Buildings for the Performing Arts, Appleton 2008) 31

Figure 26 Multi-form: various productions within the same enclosure. (Source : Buildings for the Performing Arts, Appleton 2008) 32

Figure 27 Multi-use: e.g. combination of provision for performing arts with indoor sports facilities. (Source : Buildings for the Performing Arts, Appleton 2008) 32

Figure 28 Multi-form with single type of production: e.g. drama with more than one type of format within the same enclosure. (Source : Buildings for the Performing Arts, Appleton 2008) 32

Figure 29 Changing rooms with dressing rooms: (a) Plan of changing room with direct access to shower and WC. (b) Plan of changing room with piano and direct access to shower and WC. (c) Minimum space standard for making-up. (Source Buildings for the Performing Arts, Appleton 2008) 32

Figure 30 Relationship between public spaces. (Source : Buildings for the Performing Arts, Appleton 2008) 32

Figure 31 Rehearsal room/rehearsal studio: relationship between activities. (Source Buildings for the Performing Arts, Appleton 2008) 32

Figure 32 (a, b) Sources : archeyes.com, artsandculture.google.com, archdaily.com 34

Figure 33 (a, b) Jaipur City Layout (hiddenarchitecture.net), (c) Vastu Mandala (Source: issuu.com/nandika. sukoon/docs/jawahar_kala_kendra_tod_sem_5.pptx) (d) Jawahar Kala Kendra (Source: archeyes.com) 35

Figure 34 (a, c) Source archeyes.com, (b, d) Source issuu.com/nandika.sukoon/docs/jawahar_kala_kendra_tod_sem_5.pptx. 36

Figure 35 (a, b, c, d, e, f) Source : issuu.com/nandika.sukoon/docs/jawahar_kala_kendra_tod_sem_5.pptx. 37

Figure 36 Rabindra Bhavan (Source artsandculture.google.com) 38

Figure 37 Source https://issuu.com/ram-rahman/docs/habib_rahman_thesis_by_hiral_jadeja (Edited by Author) 38

Figure 38 Jaali and Walkway View (Source : architexturez.net) 39

Figure 39 Source https://issuu.com/ram-rahman/docs/habib_rahman_thesis_by_hiral_jadeja 39

Figure 40 Source https://issuu.com/ram-rahman/docs/habib_rahman_thesis_by_hiral_jadeja (Edited by Author) 39

Figure 41 (a, b, c) Source https://issuu.com/ram-rahman/docs/habib_rahman_thesis_by_hiral_jadeja (Edited by Author) 40

Figure 42 Source https://issuu.com/ram-rahman/docs/habib_rahman_thesis_by_hiral_jadeja 40

Figure 43 (a, b, c) Shou County Culture and Art Centre (Source : archdaily.com) 41

Figure 44 (a) Ground Floor Plan, (b) Roof Plan, (c, d, e, f, g, h) Interior Spaces Photographs (Source archdaily.com) 42

Figure 45 (a, b, c) Isometric Sections, (d, e, f, g) Enlarged Isometric Sections, (h, i) Sections (Source : archdaily.com) 43

Figure 46 (a, b, c) Site Plans (Sources : architexturez.net, hiddenarchitecture.net, archdaily.com) 44

Figure 47 Lessons Learnt from Research (Source Author) 46

Figure 48 Lessons Learnt from Case Studies (Source Author) 47

Figure 49 Cultural Institutions near to the Site (Source : Author) 49

Figure 50 Mapping User Access and Area Breakup (Source : Author) 51

Figure 51 Mapping Access to different Functions for each User Group (Source Author) 52

Figure 52 Mapping Linkages between each Function (Source Author) 53

Figure 53 Measuring Relationships between Adjacent Functions (Source Author) 56

Figure 54 Lessons Learnt from Project Analysis (Source Author) 57

Figure 55 (a) Gurugram Master Plan, (b) Locating the SIte, (c) Map of Haryana (Source tcpharyana.gov.in) 59

Figure 56 Locating Bus Stops and Metro Stations near Site (Source : Author) 60

Figure 57 Traffic Mapping (Source Google Mpas) 60

Figure 58 Contours within and Movement around the Site (Source Author) 61

Figure 59 (a, b) Figure Ground Diagrams (Source Author) 62

Figure 60 Major Road Connections leading to the Site (Source Author) 62

Figure 61 Land-Use around the Site (Source : Author) 63

Figure 62 Notable Public Facilities near the Site (Source : Author) 63

Figure 63 (a, h) View of the Main Access Road from the Site, (d) Substation, (f) Petrol Pump adjacent to Site, (b) Westend Heights as seen from the Site, (e) Road abutting the back end of the Site, (c, g) Views from the Site (Source Shivani Badola, Rajita Jain) 64

Figure 64 (a, b, c) Views of the Site, (d) Wazirabad Bundh, (e) Paras Hospital, (f) One Horizon Centre, (g) DLF Camellias, (h) Residential Apartments near the Site (Source Rajat Varma, Rajita Jain) 65

Figure 65 Wind Rose Diagram & Sun Path Diagram overlaid on the Site (Source meteoblue.com) 66

Figure 66 (a, b, c, d) Weather Data Graphs for Gurugram over a year (Source : meteoblue.com) 67

Figure 67 Site 3D Isometric (Source : Author) 68

Figure 68 Lessons Learnt from Site Analysis (Source : Author) 69

Figure 69 (a, b, c) Waffle Slab 3D, Plan and Section Diagrams. (Source : dimensions.com) 71

Figure 70 Waffle grid in-situ cast reinforced concrete floor. (Source : primarystructure.net) 71

List of Figures List of Tables

Figure 71 (a, b, c, d) Designing spaces for Passive Strategeis using Wind. (Source : nzeb.in) 72

Figure 72 (a, b) Shading Devices & Techniques. (Source : nzeb.in) 74

Figure 73 Sunny Days in Gurugram each Month. (Source meteoblue.com) 74

Figure 74 Average Daily Sun Hours per Month. (Source en.climate-data.org) 74

Figure 75 (a, b, c, d, e, f, g) Material Palette (Source dir.indiamart.com) 75

Figure 76 (a, b, c) Wheelchair Dimensions, Accessibility Circle & Toilet for the Differently-abled. (Source : dimensions.com) 78

Figure 77 Wheelchair positions. Designated areas within the seating blocks in an auditorium providing a space for persons to sit in wheelchairs to see and hear performances. Such areas may be permanent, occupied only by wheelchair users, or able to take loose seats or fixed seats. (a) Plan of an area within a seating block showing minimum dimensions for a wheel chair and access. (b) Plan of a box at the rear of the auditorium for wheel chair users, accompanied by friends who can use the loose chairs. (Source Buildings for the Performing Arts, Appleton 2008) 78

Figure 78 (a, b, c) Ramp slopes, turning radius & support. (Source : dimensions.com) 78

Figure 79 Lessons Learnt from Technology Studies. (Source Author) 79

Figure 80 Design Directive according to surrounding Greens (Source Author) 82

Figure 81 Design Directive according to Wind Direction & Sun Path. (Source Author) 83

Figure 82 Design Directive according to surrounding Roads & Traffic Nodes. (Source Author) 84

Figure 83 Design Directive according to Activity Mapping leading to Zoning. (Source : Author) 85

Figure 84 Concept Sketch depicting a Building with an Inward Looking quality. (Source Author) 88

Figure 85 Concept Sketch depicting an Inviting Entrance Plaza to a Complex. (Source Author) 89

Figure 86 Concept Sketch depicting Bridges, creating collonades within a Building. (Source : Author) 90

Figure 87 Concept Sketch depicting an OAT recessed into the ground as a gathering space. (Source Author) 91

Figure 88 Final Design Manifestation of OAT Congregation Space Concept. (Source Author) 92

Figure 89 Final Design Manifestation of Inviting Entrance Concept. (Source Author) 92

Figure 90 Final Design Manifestation of Bridge & Collonade Concept. (Source : Author) 93

Figure 91 Final Design Manifestation of Introverted Building Concept. (Source Author) 93

Figure 92 Initial Zoning. (Source : Author) 96

Figure 93 Initial Vertical Stacking. (Source Author) 96

Figure 94 Movement Systems for DD2. (Source : Author) 96

Figure 95 (a, b) Layouts for DD1 & (c, d) DD2. (Source : Author) 96

Figure 96 (a, b, c) Functions Highlighted for DD1 3D (Source : Author) 97

Figure 97 3D view of DD2. (Source : Author) 97

Figure 98 3D view of DD1. (Source : Author) 97

Figure 99 (a, b, c, d) Developing Form for DD3. (Source Author) 98

Figure 100 (a, b, c) 3D for DD3 with Faculty Crits. (Source : Author) 98

Figure 101 Site Plan for DD3 with Faculty Crits. (Source : Author) 98

Figure 102 (a, f) Site Plans for DD4 with Faculty Crits. (Source Author) 99

Figure 103 (b, g) 3D for DD4, (e) Pre-Final Scheme 3D (Source : Author) 99

Figure 104 (c) Pre-Final Scheme, (d) DD4 Section across Auditorium. (Source Author) 99

Figure 105 DD1 3D Model. (Source : Author) 100

Figure 106 DD2 3D Model. (Source Author) 100

Figure 107 DD3 3D Model. (Source : Author) 101

Figure 108 DD4 3D Model. (Source : Author) 101

Table 1 Typical Noise Levels (Source Architectural Acoustics, Patel 2010) 20

Table 2 Reverberation Times based on Auditorium Types & Capacities. (Source : Buildings for the Performing Arts, Appleton 2008) 21

Table 3 Dimensions for Fig. 14(a) (Source : Time-saver Standards) 27

Table 4 Case Study Analytical Parameters. (Source : Author) 34

Table 5 Case Study Comparitive Matrix (Part 1). (Source Author) 44

Table 6 Case Study Comparitive Matrix (Part 2). (Source Author) 45

Table 7 Identifying User Groups & Initial Area Distribution. (Source Author) 50

Table 8 Analyzing Space Usage & Distribution according to User Groups. (Source Author) 51

Table 9 Area Program (Part 1). (Source : Author) 54

Table 10 Area Program (Part 2). (Source : Author) 54

Table 11 Area Program (Part 3). (Source : Author) 55

Table 12 Area Program (Part 4). (Source Author) 55

Table 13 Water Consumption according to Function. (Source Author) 73

Table 14 WC, Urinals & Sink Needs for each Function. (Source : Author) 76

Table 15 WC, Urinals & Sink Needs Schools & Institutions. (Source National Building Code) 76

Table 16 WC, Urinals & Sink Needs for Galleries, Libraries & Museums. (Source : National Building Code) 76

Table 17 WC, Urinals & Sink Needs for Theatres & Convention Halls. (Source National Building Code) 76

Table 18 Light Reqd. per Day according to Building Type. (Source : firstgreen.co) 77

Table 19 SWOT Analysis from Learnings. (Source Author) 81

Investigation

This chapter provides an introduction to the thesis and explains the driver behind the search, the need for the project, the proposition and the project profile.

Fig.1: Synopsis Graphic (Source : Author)

Fig.2: Synopsis Graphic (Source : Author)

Search

DRIVER :

Envisioning a place that acts as a Haven for those who tend to lose themselves in the art, to still feel perfectly at home, where the walls absorb culture and just as quickly be dripping with wisdom to impart. A sanctum where thoughts run free, ideas are grown and everyone has the voice to speak and follow their minds from any corner and still be heard at the other end.

Such a place should not be concealed from the outside world, rather it should act as a beacon for those in need. After the closing of the only cultural centre in Gurugram, the city’s artists and art enthusiasts are left without a place of their own to nurture and showcase their skills. The Millenium City is slowly forgetting the role of Art and Culture with the rapid hustle and growth of commerce around it. This project is a heartfelt attempt to address this fading role of art in everyday urban life, and to promote and provide a stage for its evolving cultu ral identity.

OBJECTIVE :

The main intent of the project will be to showcase the necessity of Culture and thereby spread an awareness for the role it plays in the evolution of a city and it’s residents. The Interventions made through design will focus on creating an Inviting Space for the General Public, to be able to witness the act s on display in their rightful essence.

The project will be driven by the motivation to create a Centre of Art and Culture, which is carefully designed to meet the needs of the Artist, and yet, not be closed off to anyone from the casual enthusiast to an unknowing touris t.

Additionally, the proposal aims to incorporate a school for the performing arts to educate and nurture an inquisitive learner about the beauty and purpose of art and culture in our society. To aid with the financial requirements of running the complex, commercial facilities will also be designed to ensure a steady footfall.

SITE DETAILS :

Location : St. Thomas Marg, DLF Phase 5, Sector 53, Gurugram, H aryana

Total Site Area : 24,794 sq.m

Development Controls : FAR - 1.5, G.C - 35%, Max. Ht. - n.a, Setbacks - 15m (Front), 9 m (Sides/Rear)

NEED :

Gurugram is quickly transforming into a digital hub and as a reulst, drawing in thousands of visitors from the densely populated Delhi NCR region for various purposes, a crucial one of which is entertainment.

In the midst of this fast-paced city life, a vast majority of the population are losing touch with their cultural roots and forgetting the place that culture holds in society.

To raise awareness for this lack of importance towards culture in the new digital age, this project has been proposed in the heart of this up and coming digital centre close to the capital city, with the hope to impart cultural wisdom as part of a daily routine of the urban setting.

Furthermore, a large portion of the artists from the NCR region reside in Gurugram and parts of Faridabad. Thus, by proposing a cultural centre within one of Gurugram’s prime localities will provide an easily accessible platform for not just the existing artists, but additionally helps to promote emerging artists who aim to study and hone their preferred craft.

Finally, as the need for the growth of a cultural complex and public spaces in a corporate city is often ignored, there arises a necessity to establish and emphaiseze a link between the city and the cultural centre. With this attempt, an opportunity is also granted to create a new landmark to be associated with the city of Gurugram.

PROJECT DETAILS :

Client : Gurugram Municipal Corporation (MCG) Use : Public/Semi-Public

Program :

Dedicated to Art - Auditorium, Open-air Theatre, Art Gallery, Visual Arts/Sculpture Studios, Performing Arts Studios, Workshops.

Public Amenities - Museum, Library, Food Court, Administrative Block, Exhibition Hall, Meeting/Conference Rooms, Retail Shops.

RELIGION RACE LANGUAGE STATUS

GROUP OF PEOPLE

Defining Culture

A culture is a way of a life of a group of people, the behaviors, beliefs, values and symbols that they accept, generally without thinking too much about them, and that are passed along by communication and imitation from one generation to the next. Every person is born into a certain culture which means in a complex system with values, attitudes and acting habits.

Accordingly, the individual develops patterns of thinking, feeling and acting that are determined by the cultural environment. This process of “mental programming” (Hofstede, 2001) has a lot of sources in the social world: family, school, work place, relationships and everywhere where humans live and meet each other.

All human beings share basic needs that are not cultureally determined (e.g. nutrition, movement, the wish for social exchange) and basic emotions such as fear, joy, grief and anger. This is what we call “Human Nature”. But the way in which all those basic needs are expressed depends from the cultural background we live in and is developed in a learning process.

CULTURE

Society - Time & Place

Way of Life BEHAVIOURS, BELIEFS, VALUES & SYMBOLS

CULTURAL ACTIVITIES

COMMUNICATION - Passed Down Over Generations

Fig.3: Heirarchy of Culture. (Source : Author)

Cultural differences manifest themselves in different ways and differing levels of depth. Symbols represent the most superficial and values the deepest manifestations of culture, with heroes and rituals in between.

Symbols are words, gestures, pictures, or objects that carry a particular meaning which is only recognized by those who share a particular culture. New symbols easily develop, old ones disappear. Symbols from one particular group are regularly copied by others. This is why symbols represent the outermost layer of a culture.

Heroes are persons, past or present, real or fictitious, who possess characteristics that are highly prized in a culture. They also serve as models for behavior.

Rituals are collective activities, sometimes superfluous in reaching desired objectives, but are considered as socially essential. They are therefore carried out most of the times for their own sake (ways of greetings, paying respect to others, religious and social ceremonies, etc.).

The core of a culture is formed by values. They are broad tendencies for preferences of certain state of affairs to others (good-evil, right-wrong, natural-unnatural). Many values remain unconscious to those who hold them. Therefore they often cannot be discussed, nor they can be directly observed by others. Values can only be inferred from the way people act under different ci rcumstances.

Symbols, heroes, and rituals are the tangible or visual aspects of the practices of a culture. The true cultural meaning of the practices is intangible; this is revealed only when the practices are interpreted by the insiders.

CH 2 Research

This chapter describes the main areas of research, how they were identified, what they add to the design & also displays findings from the l ibrary study.

Fig.4: Defining Areas of Research. (Source : Author)

THE ROLE OF A CULTURAL CENTRE FROM TODAY’S PERSPECTIVE :

Create an urban space to celebrate cultural festivals. Preserving culture and creating opportunities for people to lea rn about it using exhibitions/performances. Encourage more people to engage with and pursue art, dance, fil m, music and other creative fields. Facilitate cultural activities and also provide public amenitie s.

INDIAN CULTURE : Traditions And Customs Of India

The need for an urban space/centre arises from the fact that Delhi’s population over the turn of the last decade or two has turned cosmopolitan and the resident households usually find their affinity towards people belonging to the same groups, be it linguistic, social or cultural, that usually forms within localities. An urban centre will considerably help to foster new affinities through the convergence of interests. Such confluence will breed a new generation not particularly identifiable with any region, language or lineage; thus fostering harmony in people.

At the city level, there are a few main arts and crafts centres in Delhi which provide a platform to various artist to perform like the National Gallery of Modern Art, the Lalit Kala Academy and the Sanskriti Kendra at Anandgram, where some artists live and work. The main auditoriu ms hosting musical and dance performances are : Ficci Auditorium, Chamber Theatre at Triveni Kala Sangam, etc. But East Delhi lacks in providing the same kind of platform for local artists of varied backg rounds.

Community spaces help to not only promote the artist but also p lay an important role in the growth of a city and its inhabitants. They become the foundation on which t hose who reside in the area come together and communicate with the ones who visit. They offer opportuniti es for all to embrace the history and culture of the area and to bring the community together with this common bond.

SPACIAL AND PHYSICAL REQUIREMENTS OF A CULTURAL CENTRE

1. The project should be an urban axis and a vital link between ex isting communities and future urban development.

2. The ground floor can be used as a cultural and recreational pla za, accessible from every direction.

3. The building design can be done in such way that different publ ic activities can take place in shared public spaces located in the plaza. Museum and Library; the two main functions provide spaces independent from each other w hile sharing the lobby which can be used as a special exhibition space.

4. Sustainable design with natural ventilation systems and constru ction processes can be done.

5. The building should be expanded to include a public courtyard.

6. The plaza can be lifted to provide for parking beneath, and be accessed by a drop off at the street level.

7. The pedestrian paths should be defined and well designed.

8. The inner courtyard can be used as an outdoor venue for local t heatre and festival events.

9. The concept of the design should be to utilize the city’s philo sophy of combining nature and innovative technology.

10. Creating a strong relationship between the exterior and interio r public spaces.

Identifying Areas

Beginning with understanding what needs to be questioned in order to find the right areas that are to be researched and subsequentle addressed in the project, the following list of key inquiries were first written down -

1. Understanding Culture and the role of a Cultural Centre in a City.

2. Analyzing the characteristics of a ‘truly’ Public Space and addressing the need to create such spaces.

3. To study and analyze the planning of various interrelated activities within a multi-functional Complex and how they function in harmony as a single entity in spite of the function al differences.

4. To study the ideal auditorium, exhibition space, library, restaurant etc. and research on the various spaces inside an Art and Cultural Centre, how they function and what are their requirements through different case studies.

5. Creating spaces that respond to nature and lastly, designing an energy efficient building.

Broken down for ease, the areas of research identified are :

• Understanding a public space/building.

• Making of public spaces.

• Typology study of auditoriums.

• Typology study of different exhibition spaces.

• How to incorporate energy efficient features.

PROMOTING ART AND CULTURE

Concerning the promotion of the Arts and of Artistic culture, t he following categories are enumerated as the objects of promotion :

• Arts : Literature, music, dance, photography, and theatre among other fine arts

• Media Art : Cinema, animation, comics and other computer-generated arts

• Traditional Performing Arts : Various festival-oriented arts, jatra, street plays, circus etc

• Entertainment : Plays, comedy shows, concerts and such

• Life Culture And Others : Different cultural and religious festivals

Targets of promotional enrichment and improvement:

1. Education and training to retain enough artists and creative wo rkers.

2. Institutions for the development and research of culture and ar t. 3. Opportunities for more people to enjoy, partake in culture and the creation of art. 4. Involving cultural and artistic activities in grass-roots progr ammes. 5. Utilization of information & communication technology.

Fundamentals

Fig.5: Musical Range (Source : Architectural Acoustics, Patel 2010)

A B

Fig.6: (a) Equal loudness curves acc. to ISO-226:2003 revision, (b) Threshold and auditory area for human hearing. (Source : Architectural Acoustics, Patel 2010)

Tab.1: Typical Noise Levels (Source : Architectural Acoustics, Patel 2010)

Absorption

A B

Fig.7: (a) Reverb. time indicative design guide, (b) RT and volume guide. (Source : Architectural Acoustics, Patel 2010)

Fig.8: Reverberation Times. (Source : http://hyperphysics.phy-astr.gsu.edu/hbase/ Acoustic/revtim.html)

Tab.2: Reverberation Times based on Auditorium Types & Capacities. (Source : Buildings for the Performing Arts, Appleton 2008)

Culture & Public Realm

There are different ways to visualise the concept of culture. One of the most popular models is the “ Onion Model of Culture ” by Geert Hofstede.

It shows how culture has a number of layers, which are defined as :

SYMBOLS : The outer layer, furthest from the core of the onion, represents cultural symbols (images, words, gestures, objects) such as flags, architecture, language or traditional clothing; symbols are what most people think of as “typical” for a certain culture;

HEROES : These are persons that represent characteristics highly appreciated in a culture; the persons can be living, dead, real or fictional, even comic-strip characters; they serve as role models for many members of the culture;

RITUALS : Rituals are conventionalized acting patterns that are used in specific situations (e.g. conversation routines, welcome rituals, meal traditions, religious practices); they are not really necessary, but are regarded as essential for social interaction;

PRACTICES : They represent the way in which symbols, heroes and rituals are implemented in everyday life; Symbols, heroes, rituals and practices are “visible”; they can be observed and identified by outsiders;

VALUES : In the centre of the onion are the underlying values and cultural assumptions that influence all of the other layers. These beliefs, norms and attitudes are not directly observable; they just can be recognised by deeper analysis and thorough understanding of each of the layers and their interaction.

Fig.9: Manifestations of Culture (Source : https://casework.eu/lesson/how-culture-etermines-individuals/)

A public space is a social space such as a town square that is open and accessible to all, regardless of gender, race, ethnicity, age or socio-economic level.

Throughout history, public space has formed the backdrop to public life, be it for commercial transactions, social exchange, entertainment, protest and even contemplation. Such spaces are filled with energy, and derive a sense of lively enjoyment.

The streets, squares, parks and public buildings of towns and cities give people an opportunity to exchange ideas. Such spaces are essential and act as a counterpart to the more settled, private places and routines of work and domestic life, providing a platform for movement, communication and common spaces for recreation.

SPACIAL RELATIONSHIP :

Fig.10: The Built and Public Space. (Source : Author)

When public spaces are in the middle and the built fringe around :

• Curiosity pulls people into public spaces, thus activating the fringe.

• Pleasant built-unbuilt visual experience is formed at the entry points.

• The unbuilt is now a defined entity on its own, not just negative space.

Placemaking

SOCIABILITY

This is a difficult quality for a place to achieve, but once attained it becomes an unmistakable feature. When people see friends, meet and greet their neighbours, and feel comfortable interacting with strangers, they tend to feel a stronger sense of place or attachment to their community-and to the place that fosters these types of social activities.

Factors to consider while making a space sociable:

• It should feel like a good place where people would choose to meet their friends.

• People should use the space regularly and by choice.

• There must be a mix of age groups and ethnic groups.

ACCESS & LINKAGES

A successful public space is easy to get to and also get through; it is visible both from a distance and up close. The edges of a space are important as well. Accessible spaces have a high parking turnover and, ideally, are convenient to public transit.

Factors to consider while making places accessible:

• They should be visually connected.

• The paths and roads though the space take people where they actually want to go.

• It is convenient to access from public transit.

Fig.11: What makes a great place?. (Source : https://www.pps.org/article/grplacefeat)

USES & ACTIVITIES

Activities are the basic building blocks of a place. Having something to do gives people a reason to come to a place and to return in the future. When there is nothing to do, a space becomes empty and that generally means that something is wrong.

Factors to consider while providing activities and functions in a space:

• Different age groups of people should be able to make use of the space.

• There must be a good choice of things to do.

• All the different parts of the space must be in use at any point in time.

COMFORT & IMAGE

Whether a space is comfortable and presents itself well (has a good image) is key to its success. Comfort includes perceptions about safety, cleanliness, and the availability of places to sit - the importance of giving people the choice to sit where they want is generally underestimated.

Factors to consider while making places comfortable:

• It should generate a good first Impression.

• People must have a healthy option of places to sit.

• The places must be clean.

• If people are taking pictures in and around the place, then the task has been achieved.

Auditoriums

Visibility in an assembly space is a function of seat location, as started earlier, building Codes, comfort guidelines, floor design and the overall form of an assembly space will play a part in seating arrangements. This information combined with a basic understanding of sightline analysis and related planning guidelines can result in achieving an acceptable, if not optimum, level of viewing for spectators. Perhaps film projection requires the most critical sightline analysis, since poor seat location will result in distorted images. For this activity the seating parameters are established by the screen or image size. An angle of 30° up to 45° measured perpendicular to the far and near edges of the screen can establish a side to side seating limit, while the screen or image height may deter-mine the maximum distance. The minimum dimension or closest recommended seat will also be set by the screen height. (It should be noted that these figures are approximate and apply principally to flat screen projection.)

Design Considerations :

1. Layout per applicable building and life safety codes, regulations, and ordinances.

2. Allow sufficient distance between aisles for desired quantity and size of chairs plus end space,

3. Space rows to allow for proper seat to back clear space.

4. Determine radius or straight rows and locate by the chair size line,

5. Allow 1” minimum clearance from either side or rear of chair to any adjacent side wall, end walls, etc.

6. Provide adequate sightlines for either sloping or stepped (riser) floor configurations.

7. Seating area should be free of obstructions.

8. To allow for sufficient aisle illumination: Aisle lights are generally located in the end panel standards at least every other row. Locate aisle light junction box 6” from the standard.

9. Provide adequate floor or riser materials for sound anchorage.

Fig.12: (a, b, c, d, e) Auditorium Layouts ( Source Time-saver Standards)

Museums & Galleries

Museums and art galleries tend to have several of the same concerns, and as building types they tend to share many of same features. In general, the main concerns of museums and art galleries are collecting, documenting, preserving, researching, interpreting and exhibiting some form of material evidence. For this purpose, many people with varied skills are required. There are, however, important distinctions not only between museums and art galleries, but also between the different types of museum and art gallery. There are institutions such as heritage centres, exploratoria and some cultural institutes which are considered to be types of museums. To show works of art and objects of cultural and scientific interest, the institution should provide protection against damage, theft, damp, aridity, sunlight and dust, and also show the works in the best light ( in both senses of the term ). This is normally achieved by dividing the collection into (a) objects for study , and (b) objects for display . Exhibits should be displayed in a way which allows the public to view them without effort. This calls for a variety of carefully selected, spacious arrangements, in rooms of a suitable shape and, especially in museums, in an interesting and logical sequence. As far as possible, each group of pictures in an art gallery should have a separate room and each picture a wall to itself, which means small rooms. This option also provides more wall space in relation to floor area than large rooms, which are nevertheless necessary for big pictures.

• The normal human angle of vision starts 27° up from eye level. For a standing viewer, this means that well-lit pictures should be hung 10 m away with the top not more than 4.90 m above eye level and the bottom about 70 cm below.

• The best hanging position for smaller pictures is with the point of emphasis (the level of the horizon in the picture) at eye level.

• It is necessary to allow 3-5 m2 hanging surface per picture, 6- 10 m2 ground surface per sculpture, and 1 m2 cabinet space per 400 coins.

• A favorable viewing space is between 30° & 60° up, measured from a point in the middle of the floor. This means a sill height of 2.13 m for pictures and a viewing r ange of 3.00-3.65 m for sculptures.

Calculations for museum and art gallery lighting are highly theoretical; the quality of light is decisive. Recently there has been a steady increase in the use of artificial lighting instead of daylight, which constantly changes even if north light is used. In art galleries there is generally no continuous circular route, just separate wings. Both museums and art galleries need side rooms for packing, dispatch, administration, a slide section, conservation workshops and lectu re theatres.

Fig.14: Performing Arts Studio Layouts (Source : Time-saver Standards)

Fig.15: Visual Arts Studio Layouts (Source : Time-saver Standards)

Studios & Libraries

Fig.16: (a, b, c) Library Layouts (Source Time-saver Standards)

Conference Rooms

Tab.3: Dimensions for Fig. 14(a) (Source : Time-saver Standards)

Consideration must be given to clearances and circulation around the larger conference table, as indicated in Fig. 15(a). A minimum of 48 in, or 121.9 cm, is suggested from the edge of the table to the wall or nearest obstruction, this dimension under ordinary circumstance allows for a circulation zone beyond the sitting zone of 30 to 36 in, or 76.2 to 91.4 cm, based upon a maximum body breadth measurement of the larger person, The greater dimension is recommended to allow for the chair in a pulled-out position.

The actual dimensions of the conference table are a function of the number of people to be seated, The square table illustrated in Fig. 15(a) provides for eight people, with each side ranging from 54 to 60 in, or 137 2 to 152.4 cm. The larger dimension is more appropriate to accommodate people of larger body size and to allow for a more generous work zone for each person. This translates Into 30 in, or 76.2 cm, per person, which constitutes a comfortable perimeter allocation.

Fig.18: Overall relationships between functions - Buildings for orchestral and choral classical music, jazz and pop/ rock music. (Source : Buildings for the Performing Arts, Appleton 2008)

Studios & Libraries Musical Facilities

A B

Fig.19: Relationship between activities: performance organization. (a) Classical music. (b) Pop/rock music. (Source : Buildings for the Performing Arts, Appleton 2008)

Conference Rooms Spatial Organization

C B D

Fig.20: Relationship between performers’ spaces. (a) Pop/rock music, touring company (b) Jazz (c) Classical Music (d) Musicians’ spaces: orchestra pit. (Source : Buildings for the Performing Arts, Appleton 2008)

Fig.21: Overall relationships between functions - Buildings for opera, musicals, dance and drama, which receive touring companies only, or with a resident company whose production facilities are located elsewhere. (Source : Buildings for the Performing Arts, Appleton 2008)

Dance, Drama Facilities

Fig.22: Overall relationships between functions - Buildings for opera, musicals, dance and drama, with their own production facilities. (Source : Buildings for the Performing Arts, Appleton 2008)

Spatial Organization

Fig.23: Relationship between activities - performance organization: Opera, Musicals, Dance, Drama. (Source : Buildings for the Performing Arts, Appleton 2008)

Fig.24: Open Stage Formats : Opera, Musicals, Dance. (Source : Buildings for the Performing Arts, Appleton 2008)

Fig.25: Relationship between performers’ spaces : Opera, Musicals, Dance, Drama. (Source : Buildings for the Performing Arts, Appleton 2008)

Fig.26: Multi-form: various productions within the same enclosure. (Source : Buildings for the Performing Arts, Appleton 2008)

Fig.27: Multi-use: e.g. combination of provision for performing arts with indoor sports facilities. (Source : Buildings for the Performing Arts, Appleton 2008)

Fig.28: Multi-form with single type of production: e.g. drama with more than one type of format within the same enclosure. (Source : Buildings for the Performing Arts, Appleton 2008)

Fig.29: Changing rooms with dressing rooms: (a) Plan of changing room with direct access to shower and WC. (b) Plan of changing room with piano and direct access to shower and WC. (c) Minimum space standard for making-up. (Source : Buildings for the Performing Arts, Appleton 2008)

Common Facilities

Fig.30: Relationship between public spaces. (Source : Buildings for the Performing Arts, Appleton 2008)

Fig.31: Rehearsal room/rehearsal studio: relationship between activities. (Source : Buildings for the Performing Arts, Appleton 2008)

Case Studies

This chapter deals with studying how other notable examples of similar projects have been designed, and learning the lessons that they impart.

B

Fig.32: (a, b) Sources : archeyes.com, artsandculture.google.com, archdaily.com Tab.4: Case Study Analytical Parameters. (Source : Author)

Fig.33: (a, b) Jaipur City Layout (hiddenarchitecture.net), (c) Vastu Mandala (Source: issuu.com/nandika. sukoon/docs/jawahar_kala_kendra_tod_sem_5.pptx) , (d) Jawahar Kala Kendra (Source: archeyes.com)

Fig.34: (a, c) Source : archeyes.com, (b, d) Source : issuu.com/ nandika.sukoon/docs/jawahar_kala_kendra_tod_sem_5.pptx.

Fig.35: (a, b, c, d, e, f) Source : issuu.com/nandika.sukoon/docs/jawahar_kala_kendra_tod_sem_5.pptx.

Fig.36: Source : https://issuu.com/ram-rahman/docs/ habib_rahman_thesis_by_hiral_jadeja (Edited by Author)

Fig.37: Rabindra Bhavan (Source : artsandculture.google.com)

Fig.38: Jaali and Walkway View (Source : architexturez.net)

Fig.39: Source https://issuu.com/ram-rahman/docs/habib_rahman_thesis_by_hiral_jadeja

Fig.40: Source : https://issuu.com/ram-rahman/docs/habib_rahman_thesis_by_hiral_jadeja (Edited by Author)

Fig.41: (a, b, c) Source : https://issuu.com/ram-rahman/docs/habib_rahman_thesis_by_hiral_jadeja (Edited by Author)

Fig.42: Source : https://issuu.com/ram-rahman/docs/habib_rahman_thesis_by_hiral_jadeja

B

F G H Fig.44: (a) Ground Floor Plan, (b) Roof Plan, (c, d, e, f, g, h) Interior Spaces Photographs (Source archdaily.com)

A D H I

B C

E F G

Fig.45: (a, b, c) Isometric Sections, (d, e, f, g) Enlarged Isometric Sections, (h, i) Sections (Source : archdaily.com)

Fig.46: (a, b, c) Site Plans (Sources : architexturez.net, hiddenarchitecture.net, archdaily.com)

A B C

Tab.5: Case Study Comparitive Matrix (Part 1).

Research Learnings

Easy Wayfinding

I basically started out by asking the question “what is the role of art and culture in society?” and how the pursuit of any creative endeavour should have the same value and contribution to a community as science and commerce

As we deal with the built environment I wanted to see this correlation in terms of the development of a city where there are numerous new buildings coming up for commercial activities but in contrast, very few dedicated towards activities that seek to enhance the cityscape through creating spaces that aim to address local art and culture.

The three areas of research broadly dealt with, firstly trying to understand how to make public realm coexist with the intent to build around the artist while also being a functional & inviting space to the public. The second area was about trying to understand the requirements of each art form and translating it through the architectural vocabulary and the final area was about learning how to use efficient and innovative techniques and its impact on the construction and management of such a project.

Efficient Use of Space Promoting Inclusivity

Breakout Areas for Gathering

Security through Active Spaces

Fig.47: Lessons Learnt from Research (Source : Author)

Case Study Learnings

Creating

From the first case study I learnt about how the same compact volume can be used in an extremely malleable ways and how to take abstract concepts from the city as a whole and translate it through very subtle elements in the design, which can be reflected in very apparent and also some subtle ways. And finally about how creating multiple paths of movement can be non-restrictive and contained in a way so as to not confuse the user, making the experience of going to the building more or less tailored to each person.

From second case study I learnt about how to create a harmonious blend of both traditional and modern architectural elements and how to use pure geometry in creating a form that takes hints from the site while dividing the functions in a very coherent manner.

The final case study demonstrated about how to create a building that looks inwards and tries to create activities centred around several microcosms in an area with rapid development and no real distinct architectural vocabulary around it.

CH 3 Project

This chapter displays a detailed reading of the program and all the components involved in visualizing a sense of the size and scale of the project.

Scope & Profile

Project Definition :

The project is being proposed by the Municipal Corproation of Gurugram (MCG) on land allocated by the Haryana Shahari Vikas Pradhikaran (HSVP), formerly the Haryana Urban Development Authority (HUDA).

The project seeks to address the gap left behind by the closing of the Epicentre in Sector 44, which was the sole cultural centre in the city of Gurugram. A plot of land marked for Residential use in the Master Plan was repurposed in Sector 53 by the HSVP to be used for the construction of a new cultural centre.

The centre would cater to performances and would thus require well-crafted auditoriums for dance, theatre and musical acts. It will also provide a centre to promote the learning of the performing and visual arts, with accomodation for students and visiting artists. It would also house a convention centre and galleries to host exhibitions.

The project is meant to act as a new home to the local artists of Gurugram and foster and nurture the city’s cultural identity.

Major Components of Area Program :

1. Learning Centre i. Performing Arts ii. Visual Arts iii. Gallery 2. Exhibition Centre 3. Convention Centre 4. Accodomation

5. Performance Centre i. Thrust Auditorium ii. Proscenium Auditorium iii. Blackbox Theatre 6. Common spaces i. Food Court ii. Library iii. Bazaar

Fig.49: Cultural Institutions near to the Site (Source Author)

User Groups & Area Distribution

Tab.7: Identifying User Groups & Initial Area Distribution. (Source : Author)

Tab.8: Analyzing Space Usage & Distribution according to User Groups. (Source : Author) Fig.50: Mapping User Access and Area Breakup (Source : Author)

Fig.51: Mapping Access to different Functions for each User Group (Source : Author)

Functional Relationship

Fig.52: Mapping Linkages between each Function (Source : Author)

In my area program I had three broad groups of activities; one as the performance centre which houses the O.AT, Proscenium Auditorium, Thrust Auditorium and the Blackbox Theatre. A public centre with a Food Court, an Exhibition & Convention Centre. And finally, the Learning Centre where all the studios for both Performing Arts and Visual Arts, their support

facilities like the Library, Lecture Halls as well as Accommodation for students and guests. I then tried to analyse the relationship between each function and their proximities to each other as well as the ground. And lastly the relationship between how different user groups would access the functions and also their inter relationships.

Gurugram Cultural Centre

Tab.9: Area Program (Part 1). (Source : Author)

Tab.10: Area Program (Part 2). (Source : Author)

Tab.11: Area Program (Part 3). (Source : Author)

Tab.12: Area Program (Part 4). (Source : Author)

Adjacency Relationship

Fig.53: Measuring Relationships between Adjacent Functions (Source : Author)

Conclusions

Breakup of Public/Private

The project is meant for the city at large and is therefore meant to act as a public building, and capable of accomodating various groups of users all at the same time.

Need for Open, Green Spaces

Morphable, Linked Spaces

Understading the nature of the proposed spaces and how each user group would be interacting with them is essential to the success of the project as a whole. As less than 40% of the area is meant for Private functions, the majority of the users need to be able to move around without obstructions and not be overwhelmed or feel restricted about finding their way around the building.

Finally, creating an unwritten sense of division and flow of the different functions across the various levels, helps the user and the staff to locate where they need to go and form a familiarity with the building in a very short time. Care must also be taken to not make this process too toned down as creating interest in movement from one space to the other, can be a key factor that retains visitors to keep coming back to the project at a later time.

Fig.54: Lessons Learnt from Project Analysis (Source : Author)

CH 4 Site

This chapter describes the site location, context, physical fea tures, activity and movement patterns around the site and its implications on d esign.

SERIAL CLASSIFICATION

NO.

Fig.55: (a) Gurugram Master Plan, (b) Locating the SIte, (c) Map of Haryana (Source : tcpharyana.gov.in)

GREEN BELT ON BOTH SIDES

(ii) ORBITAL RAIL CORRIDOR 50 METERS WIDE (iii) V-1 ROAD EXISTING WIDTH

(iv) V-1 (a) ROAD 150 METERS WIDE ROAD WITH 60 METERS WIDE GREEN BELT ON BOTH SIDES

(v) V-1 (b) ROAD EXISTING GURGAON-MEHRAULI ROAD WITH 100 METERS WIDE GREEN BELT ON BOTH SIDES.

(vi) V-2 ROAD 60 METERS WIDE ROAD

(i) KUNDLI-MANESAR-PALWAL EXPRESSWAY 100 METERS WIDE ROAD WITH 100 METERS WIDE GREEN BELT ON BOTH SIDES (ii) ORBITAL RAIL CORRIDOR 50 METERS WIDE (iii) V-1 ROAD EXISTING WIDTH (iv) V-1 (a) ROAD 150 METERS WIDE ROAD WITH 60 METERS WIDE GREEN BELT ON BOTH SIDES (v) V-1 (b) ROAD EXISTING GURGAON-MEHRAULI ROAD WITH 100 METERS WIDE GREEN BELT ON BOTH SIDES.

(vi) V-2 ROAD 60 METERS WIDE ROAD

(vii) V-2 (a) ROAD 150 METERS WIDE ROAD WITH 30 METERS WIDE GREEN BELT ON BOTH SIDES.

(vii) V-2 (a) ROAD 150 METERS WIDE ROAD WITH 30 METERS WIDE GREEN BELT ON BOTH SIDES.

(viii) V-2 (b) ROAD 75 METERS WIDE ROAD WITH 30 METERS WIDE GREEN BELT ON BOTH SIDES.

(ix) V-2 (c) ROAD 75 METERS WIDE ROAD WITH 60 METERS WIDE UTILITY CORRIDOR ON ONE SIDE.

(viii) V-2 (b) ROAD 75 METERS WIDE ROAD WITH 30 METERS WIDE GREEN BELT ON BOTH SIDES.

(x) V-2 (d) ROAD 75 METERS WIDE ROAD

(ix) V-2 (c) ROAD 75 METERS WIDE ROAD WITH 60 METERS WIDE UTILITY CORRIDOR ON ONE SIDE. (x) V-2 (d) ROAD 75 METERS WIDE ROAD

(xi) V-2 (e) ROAD 90 METERS WIDE ROAD WITH 30 METERS WIDE GREEN BELT ON BOTH SIDES.

(xii) V-3 ROAD 30 METERS WIDE ROAD

(xi) V-2 (e) ROAD 90 METERS WIDE ROAD WITH 30 METERS WIDE GREEN BELT ON BOTH SIDES.

(xii) V-3 ROAD 30 METERS WIDE ROAD

(xiii) V-3 (a) ROAD 60 METERS WIDE ROAD WITH 50 METERS WIDE GREEN BELT ON BOTH SIDES.

(xiii) V-3 (a) ROAD 60 METERS WIDE ROAD WITH 50 METERS WIDE GREEN BELT ON BOTH SIDES.

(xiv) V-3 (b) ROAD 60 METERS WIDE ROAD WITH 50 METERS WIDE GREEN BELT ON OUTER SIDE.

(xv) V-3 (c) ROAD 30 METERS WIDE ROAD WITH 30 METERS WIDE GREEN BELT ON BOTH SIDES.

(xvi) V-4 ROAD 24 METERS WIDE ROAD

(xv) V-3 (c) ROAD 30 METERS WIDE ROAD WITH 30 METERS WIDE GREEN BELT ON BOTH SIDES.

(xvi) V-4 ROAD 24 METERS WIDE ROAD

This copy is a digitised copy of the original Development Plan notified in the Gazette.Though precaution has make it error free, however minor errors in the same cannot be completely ruled out. Users are accordingly cross-check the scanned copies of the notified Development plans hosted on the website for all practical purposes. Director Town and Country Planning, Haryana and or its employees will not be liable under any condition for any action/damages direct or indirect arising from the use of this The user is requested to convey any discrepancy observed in the data to Sh. Dharm Rana, GIS Developer (IT), mail id- dev.drit.tcp@gmail.com, mob. no. 98728-77583.

HARYANA BOUNDARY

V2(e)

https://openstreetmap.org/copyright https://openstreetmap.org Copyright OpenStreetMap and contributors, under an open license

Gurgaon (Officially known as Gurugram) is a city in the In dian state of Haryana and is part of the National Capital Re gion of India. It is located to the southwest of New Delhi and to the south of Chandigarh, the state capital. As of 2011, Gurga on had a population of 876,824.

Witnessing rapid urbanization, Gurgaon has become a leading financial and industrial hub with the third highest per capita income in India. The land came to be known as Gurugram which over time became Gurgaon.

Gurgaon is situated in the southeastern part of the state, and the northern part of the country. The city is located near the Delhi border with New Delhi to its northeast. The city has a total area of 738.8 square kilometers.

LAND RESERVATION FOR MAJOR ROADS

Connectivity

2 metro stations and 9 bus stops within 1.2 km provides good connectivity through Gurugram and with Delhi. IGI airport, New Delhi is also at close proximity to the site (15 kms).

Traffic Analysis -

Morning - 8 AM

Noon - 12 PM

Evening - 7 PM

Fig.56: Locating Bus Stops and Metro Stations near Site (Source : Author) Fig.57: Traffic Mapping (Source : Google Mpas)

Movement

Vehicular Movement Pedestrian Movement

The site is accessed via St. Thomas Marg, which is primarily connetced through the Golf Course Road.

The context has a high density of high-rise residential towers like Westend Heights followed by commercial structures such as office buildings and retail complexes like One Horizon Centre and South Court Mall.

However, the predominant land-use of the entire neighborhood is residential.

The nature of the activities and surroundings, such as the DLF golf course and the presence of two international schools amidst huge apartment complexes indicate a high-end user group occupying the close vicinity of the site.

The internal site movement can be done in a way that the frontage of the site can be fully utilised to activate the edge.

Fig.58: Contours within and Movement around the Site (Source : Author)

Fig.59: (a, b) Figure Ground Diagrams (Source : Author)

Fig.60: Major Road Connections leading to the Site (Source : Author)

Land Use & Dev. Controls

Fig.61: Land-Use around the Site (Source : Author)

Fig.62: Notable Public Facilities near the Site (Source : Author)

Sun Path & Wind Rose

Fig.65: Wind Rose Diagram & Sun Path Diagram overlaid on the Site (Source : meteoblue.com)

Site 3D & SWOT

Conclusions

Residential Neighbourhood

There is a big lack of cultural institutions in the Gurugram area. A city requires its own cultural hub for for its artists to call their home and the longer that such a gap exists, the city keeps running the risk of developing around a cultural void, and creating an apparent lack of identity.

The site was actually repurposed from residential land-use by the HSVP right next to a strip of open green zone, which is also being proposed as a site for more public-semi public facilities, with the Wazirabad bundh eco-revitalisation project in between.

From the SWOT analysis, the strengths were revealed to be the orientation of the site and its accessibility from all sides as well as the within the city in a macro level. The weakness being a lack of distinct contextual response. Vast open spaces and there not being any limitations on height provides opportunities for crafting interest with towering and contrastingly empty spaces. The fact that it is presently around a predominantly residential community poses a threat of maintaining urban activity come sun down.

Providing a Platform for Innovation Fig.68: Lessons Learnt from Site Analysis (Source : Author)

Channelling Wind through Built Mass

Opportunity to Create a Landmark

Fostering a Sense of Community

Technology

This chapter discusses the technological drivers guiding the de sign and calculations on various components for values to be used in the project.

Waffle Slab

Waffle slab is a structural component which is plain on the top and contains a grid like system on its bottom surface. The top slab is normally thin and the bottom grid lines are generally ribs which are laid perpendicular to each other with equal depth.

Waffle slab has two directional reinforcements. All the ribs are directed from column heads or beams. The depth of ribs maintained is same as the depth of column head or beam. Because of the ribs and double reinforcement, it is more stable and recommended for larger span slabs or foundations.

CHARACTERISTICS :

• The reinforcements in a waffle slab is provided in the form of mesh or individual bars. Separate excavation for beams is not required in case of waffle slabs.

• The thickness of waffle slab recommended is 85 to 100 mm while the overall depth of slab is limited to 300 to 600 mm

• The width of beams or ribs provided in waffle slabs are generally 110 to 200 mm . Spacing of ribs recommended is 600 to 1500 mm .

• Reinforced waffle slabs can be constructed for the span up to 16 meters while beyond that length pre-fab. waffle slab is preferred.

CONSTRUCTION PROCEDURE :

The construction of waffle slabs can be done by three ways : In-situ, Precast & Pre-fabricated . In-situ waffle slabs are constructed by pouring concrete in the site or field with proper arrangements. In case of precast waffle slab, slab panels are cast elsewhere and then later joined together with proper reinforcements and then filled with concrete. The third case, pre-fabricated waffle slab is the costliest method. In this case, reinforcement is provided in the slab panels while casting with some tension. Hence, they do not need internal reinforcements in the site. To construct a waffle slab in-situ conditions, formwork should be necessary to support the slab, with the use of special tools .

Fig.70: Waffle grid in-situ cast reinforced concrete floor. (Source : primarystructure.net)

Fig.69: (a, b, c) Waffle Slab 3D, Plan and Section Diagrams. (Source : dimensions.com)

DESIGNING ACCORDING TO WIND (BUILDING LEVEL) :

Cross ventilation is dependent on the size and position of openings. Inlets should be in the windward direction and aided with suitably placed outlets that allow egress of wind from the spaces.

1. For good natural ventilation, building openings should be in opposite pressure zones (since natural ventilation relies on pressure to move fresh air through buildings).

2. The building can be oriented at an angle between 0° to 30° with respect to the prevailing wind direction (wind rose diagram)/ most preferably orienting the longer facade of the building towards the predominant wind direction.

3. Maximum air movement is achieved by keeping the sill height at 85% of the critical height .

4. Greatest flow per unit area of the opening is achieved by keeping the inlet and the outlet of nearly the same size and at nearly same levels .

5. Windows should be staggered rather than aligned. If the space has only one façade exposed to the exterior, it is preferred to provide at least 2 windows on that façade.

6. Total area of openings should be a minimum of 30% of floor area . Window-Wall-Ratio (WWR) should not be more than 60%.

7. Along with orientation to breeze, designing windows to collect direct breeze is also important. Use casement windows to catch and deflect wind from varying angles.

DON’T DO

Passive Design

DESIGNING ACCORDING TO WIND (SITE LEVEL) :

In regions with a tropical climate like in India, the longer facades of a building should preferably be oriented along the North-South axis.

• Buildings should be oriented with their longer axis (NorthSouth) aligned perpendicular to the prevailing winds to facilitate maximum air-flow and cross ventilation through the building. (Buildings can be oriented at an angle between 0° to 30° with respect to the prevailing wind direction.)

• In buildings that feature a courtyard (in climates where cooling is desired), orienting the courtyard 45° from the prevailing wind direction maximizes wind flow into the courtyard and enhances cross ventilation in the building.

Horizontal placement of openings and internal partitions can alter the direction and spread of air stream. Ideally, openings must be placed on opposite walls, and diagonally but not directly opposite to each other.

When placed on walls perpendicular to each other, the inlets and outlets should be at the farthest corners of the walls.

• In hot & dry climates, the surface to volume (S/V) ratio of the building should be as low as possible to minimize heat gain ( compact plans have greater thermal efficiency , e.g. a square plan is more thermally efficient than a rectangular one).

Recommendations for Composite Climate :

1. A square plan with a courtyard would be very effective.

2. A rectangular form with the longer side along the North-South axis is the preferred orientation.

3. East and West facades should be protected by buffer spaces, shaded walls, etc.

The 2m high living zone is the space most commonly used by occupants. Air movement should be directed to this space.

Inlet openings placed at high levels deviate air flow away from the living zone irrespective of outlet position.

Fig.71: (a, b, c, d) Designing spaces for Passive Strategeis using Wind. (Source : nzeb.in)

Taller forms in the direction of prevailing winds can alter the wind movement pattern for low lying buildings behind them.

Staggered layouts help in accentuating the wind movement.

N-S

Sashes Louvres Canopies

Orient longer facades along the

axis to provide glare free light in summers from the North and winter sun penetration from the South.

Water Calculations

CONSUMPTION

As per NBC Part 9 Section-1 Table 1, Daily Water Requirements ( no. of users x per capita consumption in lpd) :

SIZE OF OVERHEAD TANK REQUIRED :

NBC recommends size equivalent to 50% of daily usage that is, 50% of 104 KL = 52 KL = 52 cu. m

Number of cores = 4 Average size of each over head tank (OHT) = 13 cu. m

FUNCTION MAX. CAPACITY CONSUMPTION PER DAY REQ. (L)

Admin. (Institutional) 90 45 4,050

Learning Centre (Institutional) 350 45 15,750 Food Court (Mercantile) 570 35 19,950 Library (Assembly) 245 15 3,675 Exhibition Centre (Assembly) 410 15 6,150 Auditoriums (Assembly) 1370 15 20,550 Convention Centre (Assembly) 1120 15 16,800

Hostel (Residential) 125 135 16,875 TOTAL WATER REQUIREMENT FOR ONE DAY (L) 103,800 Tab.13: Water Consumption according to Function. (Source : Author)

RAINWATER COLLECTED IN A YEAR :

Annual rainfall in Gurugram = 648 mm

Water collected from roof = [11871 sq.m x run-off coeff. (0.85) ] x 0.65 = 6,558 kL

Water collected from landscape = [5984 sq.m x run-off coeff. (0 .35)] x 0.65 = 1,361 kL

Water collected from roads = [2957 sq.m x run-off coeff. (0.6)] x 0.65 = 1,153 kL

Assumed water collected from roads outside the site = [5087 sq. m x run-off coeff. (0.6)] x 0.65 = 1,983 kL

Water collected from pavers = [6273 sq.m x run-off coeff. (0.6) ] x 0.65 = 2,446 kL

Total water collected = 13,501 kL

Size of harvesting tank required = 13,501 cu.m

SIZE OF STP REQUIRED :

Assuming only 85% of water goes to the sewer, the rest gets wasted or evaporated. The amount of water which goes to the sewer = 103,800 x 0.85 = 88,230 litres/day

Lets assume diversity to be 80%. So, the water going to the STP is = 88,230 x 0.8 = 70,584 lpd or 70.584 klpd

Size of STP required = 71 cu.m

Amount of water that can be reused = 70.584x0.9= 63.769klpd

AMOUNT OF WATER SAVED :

Amount of rainwater that can be re-used = 13,501 x 0.9= 12,150 kL annually or 34 kL per day

Total amount of re-used water per day = 34+64 = 98 kLpd Amount of fresh water required per day = 104-98 = 6 kLpd Water Savings = (98/104) x 100 = 92%

WATER REQUIRED FOR FIREFIGHTING :

As per NBC Part 4 Table-7, the minimum requirements for firefighting installations are suggested as -

For educational - 50,000 + 5,000

For assembly buildings - 100,000 + 5,000

For museums - 0 + 20,000

For mercantile - 0 + 20,000

Total underground storage reqd. = 150,000 litres or 150 cu.m Overhead storage reqd. = 50 cu.m = 2.45 cu.m per tank

Total water stored for firefighting = 200,000 L or 200 cu.m

Fig.72: Sunny Days in Gurugram each Month. (Source : meteoblue.com)

Fig.74: (a, b) Shading Devices & Techniques. (Source : nzeb.in)

Light,Shading

Fig.73: Average Daily Sun Hours per Month. (Source : en.climate-data.org)

Palette

Tab.14: WC, Urinals & Sink Needs for each Function. (Source : Author)

Toilet Load

Tab.15: WC, Urinals & Sink Needs for Galleries, Libraries & Museums. (Source : National Building Code)

Tab.16: WC, Urinals & Sink Needs for Theatres & Convention Halls. (Source : National Building Code)

Tab.17: WC, Urinals & Sink Needs Schools & Institutions. (Source National Building Code)

Energy & Safety

B A B

C

Accesibility

A

Fig.77: Wheelchair positions. Designated areas within the seating blocks in an auditorium providing a space for persons to sit in wheelchairs to see and hear performances. Such areas may be permanent, occupied only by wheelchair users, or able to take loose seats or fixed seats. (a) Plan of an area within a seating block showing minimum dimensions for a wheel chair and access. (b) Plan of a box at the rear of the auditorium for wheel chair users, accompanied by friends who can use the loose chairs. (Source : Buildings for the Performing Arts, Appleton 2008)

A B C

Technology Inferences

Providing Shaded Areas

I wanted the materiality to reflect a celebration of locally available materials and craftsmanship with exposed brickwork and the use of terracotta for elements of my facade such as louvres along with the use of brick jaalis.

Using Heat insulant Materials

Follow

Another major element that I wanted to introduce was mushroom columns to create large expansive semi-open collonades, which give an appearance to the building as if they’re sprouting from and merge with the ground, which I observed in a few projects in the Gurgaon area and wanted to emphasise the continuation of a similar language to shine a light on other good architecture done in the same context as a continuation point for more buildings to follow and build upon as a new vocabulary.

Due attention was also given to emphasizing the usage of passive techniques in design and construction in order to create a comfortable space as well as reduce costs for the day-to-day running of the centre. And finally, making sure all areas were designed to be fully accessible through ramps/lifts.

Directives

This chapter looks at the determinants that will influence the design.

Tab.19: SWOT Analysis from Learnings. (Source Author)

Fig.80: Design Directive according to surrounding Greens (Source : Author)

Greens & Public Spaces

Sun & Wind Movement

Fig.81: Design Directive according to Wind Direction & Sun Path. (Source : Author)

The sun path movement and the predominant wind direction in the site influenced the orientation of my blocks and how the wind movement can be channelised. The presence of the bundh right next to one site edge and a green belt & open community land right in front of the site meant I also had to introduce a green element that should appear to connect my side to the existing green zones.

Fig.82: Design Directive according to surrounding Roads & Traffic Nodes. (Source : Author)

Nodes & Movement/Entry

For movement, the presence of junctions right at the corners of my front edge and the fact that the main access is also from the 24m-wide sector road along the same edge of my site, meant I could easily have my vehicle moment happen across the one edge and reserve service moment to the back end of the site as it has a road abutting all sides.

Noise & Activity Mapping

Fig.83: Design Directive according to Activity Mapping leading to Zoning. (Source : Author)

Finally, activity and noise mapping around the site help me zone out where I could have my functions with the learning centre occupying the quieter end of the site and the auditoriums being insulated to sound, occupying the more noisy edge right next to the petrol pump and the exhibition and convention facilities being closest to the main edge of the site for easy access and all public facilities focused around the centre.

Concept

This chapter portrays the ideas for form and function that the design will attempt to incorporate into the final scheme.

Vision Sketches

These first few sketches, with their key words, attempt to capture the quality and essence of the type of spaces that I want parts of my design to absorb. These were made in order to align the form development towards a more percievable point rather than arriving somewhere just through happenstance.

My vision and concept was to create spaces that would have a grand & inviting sense of arrival sprawled by greens from which I could then disperse of my uses to their necessary functions. and to have a performance and gathering space recessed into the ground which can be enjoyed as an informal area for congregation.

Fig.84:

Concept Sketch depicting a Building with an Inward Looking quality. (Source : Author)

Fig.85: Concept Sketch depicting an Inviting Entrance Plaza to a Complex.

(Source : Author)

I also want to express a great sense of connectivity within the whole building so I have used bridges and verandahs running all along the inside of the building which also emphasises the concept that I got from one of my case studies, which is that the building should be looking inwards and have an introspective quality , which will then be unaffected by any random and uncertain future developments that will happen around the site.

The next couple of pages after the following concept diagram show how these concepts have been translated into built spaces within the final design scheme, with the line illustrations of the corresponding area taken from the 3D model.

Fig.86: Concept Sketch depicting Bridges, creating collonades within a Building. (Source : Author)

Fig.87: Concept Sketch depicting an OAT recessed into the ground as a gathering space. (Source : Author)

Fig.88: Final Design Manifestation of OAT Congregation Space Concept. (Source : Author)

Fig.89: Final Design Manifestation of Inviting Entrance Concept. (Source : Author)

Fig.91: Final Design Manifestation of Introverted Building Concept. (Source : Author)

Fig.90: Final Design Manifestation of Bridge & Collonade Concept. (Source : Author)

Design Dev.

This chapter looks at the stages and evolution of massing and d esign

Fig.92: Initial Zoning. (Source : Author)

Fig.93: Movement Systems for DD2. (Source : Author)

Fig.94: Initial Vertical Stacking. (Source Author)

My first design iteration basically helped me understand the volumetrics of my area program and how these functions can be arranged with a good relationship of how people flow from one to the other but it failed to take to hints from my site in the zoning and also not respond really well to the front edge.

So I tried to improve that in the second iteration where then I had issues of ground coverage and how some blocks linked with each other structurally. for the third iteration I tried to do something with creating interest through increased recessing levels and I made a

huge central oat but that ended up creating a divide in the centre of the site separating the building into two and the interior spaces created by the chamfered edges were not really functional.

So my fourth iteration before my final design i tried to create better open-built relationship & make the building read as one cohesive structure. taking hints from all previous iterations I still had to improve how the auditoriums handled their prefunctions as well as creating a better sense of entry.

C D

Fig.95: (a, b) Layouts for DD1 & (c, d) DD2. (Source : Author)

The first iteration provided a good fundamental understanding of the volumetrics of the project and an initial study of the inter relationships between the various functions and their proximities.

Trying to resolve the issue of the built form not responding to the main access road, resulted in a very contrasting iteration. The placement of functions were also changed to take cues from the site.

Attempting to create interest in the site by having a huge central sunked OAT created problems of dispersing crowds upon entry and divided the project into two halves in terms of site planning.

Fig.97: 3D view of DD1. (Source Author)

Taking all the lessons from previous iterations, the penultimate version addresses most of the issues but still had room for improving the entrance and creating a sprawling green court.

Fig.96: (a, b, c) Functions Highlighted for DD1 3D (Source : Author)

Fig.98: 3D view of DD2. (Source : Author)

Fig.99: (a, b, c, d) Developing Form for DD3. (Source Author)

Fig.100: Site Plan for DD3 with Faculty Crits. (Source : Author)

Directing emphasis towards arriving on, and developing a scheme which could accomodate public gatherings and provide a sense of community was vital towards achieving what was set out to do with the Proposition. Therefore, every stage of Design Development began with first attempting to find a new solution to creating a communal space, with attention to the facilities for art & culture to feel as a natural component.

B C

Fig.101: (a, b, c) 3D for DD3 with Faculty Crits. (Source : Author)

Fig.102: (a, f) Site Plans for DD4 with Faculty Crits. (Source : Author)

Fig.104: (c) Pre-Final Scheme, (d) DD4 Section across Auditorium. (Source : Author)

F

E G

Fig.105: DD1 3D Model. (Source : Author)

Fig.106: DD2 3D Model. (Source : Author)

Fig.107: DD3 3D Model. (Source : Author)

Fig.108: DD4 3D Model. (Source : Author)

CH 9 Outcome

This chapter contains the final drawings and accompanying 3D-views of the finished scheme as shown in the external jury to explain the design.

Axonometric View

Jury Comments

The Jury appreciated the overall effort put into the design and applauded the attempt, in addition to remarking that the drawings could have been more informative as they tended to rely on the 3D views to show a more complete picture. In terms of design, the juror pointed out that the drop-off areas needed to be covered inorder to allow visitors to be protected from weather conditions.

Bibliography

Appleton, I. (2008) Buildings for the Performing Arts : A design and development guide. Second Edition. Oxford: Architectural Press.

Callender, J. and De Chiara, J. (1983) Time-Saver Standards for Building Type. Second Edition. New York: McGraw-Hill

Daniels, I. (2020) What are Exhibitions for? An Anthropological Approach. London: Bloomsbury Publishing Plc.

De Chiara, J., Panero, J. and Zelnik, M. (1992) Time-Saver Standards for Interior Design and Space Planning. New York: McGraw-Hill

Patel, R. (2020) Architectural Acoustics : A Guide to Integrated Thinking. London: RIBA Publishing.