Thesis Report submitted in partial fulfillment of the requirement for the degree of Bachelor of Architecture
Department of Architecture
National College of Arts, Lahore
DECEMBER 2024
ABSTRACT
The research aims at investigation of the nature of Indian subcontinent music and places it is celebrated and taught in. Through various methodologies, i.e. case studies of traditional music pedagogy models, interviews, and literature review I discovered that music is purely an amalgamation of nature It's inspired from times of the day, the seasons, rhyming of birds, the rhythm present in day and night, in sunset and sunrise etc. Everything in music is inspired by surroundings
In today’s commercialized landscape, music often devolves into a competition, overshadowing its true purpose: that lies in being able to create unity among people and bring them under one roof through its universal language of emotions understood by masses This study aims to address this disconnect by proposing integrated, holistic spaces where music is not merely a degree that needs to be obtained at the end of 4 year program but genuinely learned, taught, and celebrated in its purest form. The findings indicate a significant gap in existing institutions that focus on this approach, prioritizing the need for environments that foster collaboration between Gurus, emerging artists, and students
In addition, it is essential to include the public, in order for them to understand the true essence of music and provide them a platform for the feedback as well This approach promotes a sense of inclusion and accessibility, ensuring that everyone feels welcomed in that space.
Approval
The thesis of Syeda Faryal Rauf has been approved by the following:
(Ar. Faisal Sajjad)
Supervisor
(Name of Thesis Examiner-1)
Examiner/ Juror-1
(Name of Thesis Examiner-2)
Examiner/ Juror-2
Name Head of Department
Declaration
I hereby declare that this report is the result of my own investigations, except where otherwise stated I also declare that it has not been previously or concurrently submitted for any other degrees at NCA or other institutions
Thanks a bunch to my internal, Sir Faisal Sajjad, for providing me with so much knowledge, information and constant positivity throughout my project. Can’t thank Sir Qasim Ibrahim enough for being a blessing in disguise and helping me out. Also giving me a different perspective on music and architecture. A special thanks to my senior Nouman Khalid and Sir Salman Mehmood for providing unconditional support throughout my thesis and whenever I felt like I am not able to do anything.
And above all shoutout to my family who supported me throughout my journey of me knowing and not knowing things
Most importantly, I am grateful to Allah who helped me throughout and made it all possible.
1.1 Background
1.2 Problem Statement
1.3 Statement of intent
1.4 Users
1.5 Program
1.6 Spatial requirement
1.7 Site
CHAPTER 2: PROJECT RESEARCH
2.1 TRADITIONAL LEARNING MODULES/ Literature Review
2.2 Initial Case studies
2.3 Initial Analysis
2.4 Types and roles of artist residency
2.5 Music programs in Pakistan
2.6 Interview
2.7 Initial Research conclusion
CHAPTER
5.1 Theoretical framework
5.2 RESEARCH ASPECT-1
Dialogue spaces between artists and students/ artists interactive spaces
Music has been known to have originated via articulation of sounds of nature It is a form of expression that transcends language barriers and is universally understood by everybody. Sangeet is an amalgamation of two words: “Sam” meaning “along with” and “Geet” meaning lyrics/ poetry.Indian/subcontinent music is one of the oldest traditions in the world comprising classical music that shares meditative quality and folk music inspired by surroundings and internal connection
Both genres have faced decline due to a lack of appreciation and opportunities resulting from urbanization and modernization There is younger artists, who have talent but didn't get a chance to communicate their art.There has been some programs initiated by organizations for the emerging/talented musicians like APMC( All Pakistan Music Conference), that provide artists a platform to perform and get recognized but there should be some place where younger artists can get a chance to work with international artists and local artists to build connections, learn from them and bridge that generational gap that's also felt in their work
Furthermore, the transmission of classical music knowledge is dying out even among the reputed gharanas and the absence of teachers, and platforms where it can be taught; it seems inevitable that the tradition of classical music in Pakistan would disappear altogether within a few generations Music is more commercialized now In institutes, the focus is more towards obtaining a degree, losing the sight of deeper meaning of education and holistic development
Aim is to provide a genuine platform - a hub - for legendary Gurus, emerging artists and aspiring students, where Indian/subcontinent music can be celebrated, produced, get known of and taught under one roof through ustad- shagird concept.This initiative seeks to preserve the authentic form of our Music Music has power to unite individuals Hence, the aim is to bring this quality of music into the space and explore the connection between music and architecture.
1.2 Problem Statement
The traditional Indian/subcontinent music heritage in Pakistan is at risk of disappearing due to urbanization, commercialization, and a decline in opportunities. Despite the existence of some platforms, there remains a significant lack of holistic and integrated spaces where Gurus, emerging artists, and aspiring students can collaborate, learn, and perform together This fragmentation results in diminished transmission of knowledge, reduced quality of classical music, and missed opportunities for younger artists to connect with international and local peers. Consequently, there is an urgent need for a dedicated hub for the preservation of authentic music traditions through immersive learning and performance environments
1.3 Statement of Intent
Aim is to design a space that celebrates traditional, inclusive, teaching and learning music protocols in a conducive environment, where spaces themselves become inspiration for musicians to perform.Music has the power to unite diverse groups of people, fostering both learning and celebration The vision is to make music-making and learning accessible by promoting interaction between interdisciplinary artists hence, encouraging creative exchanges
1.4 Users
Client: APMC members
Artists
● Vocalists
● Instrumentalists
● Poets
● Composers
● International Artists
Students
Public Management
● Gardeners
● Cooks
● Cleaners
● Admin
1.5 Program
● Dedicated learning and teaching spaces
● Music shows/ performances/ Open mic nights/ Mushairas
● Interactive/ collaborative spaces
● Living cum scholastic experiences
● Meditative exercises
1.6 Spatial Requirements
● Music studios and rehearsal halls
● Auditorium and amphitheater to cater performances and events
● Interactive courtyards, Baithaks and informal gathering spaces
● Residencies
● Secluded spaces that contain elements of nature/ yoga spaces
1.7 Site
Island of Kamran ki baradari, near Ravi River situated between Shahdara and Lahore
2.0 PROJECT RESEARCH
The History and Evolution of the Indian Traditional Learning System
The traditional Indian educational system is highly focused on intellectual as well as personal development.Education in ancient India was a sacred path towards intellectual, cultural, spiritual, and skilful development rather than only acquiring basic knowledge The Guru-Shishya Parampara, in which pupils resided and studied in "gurukuls" with their gurus, was the centre of this tradition. These gurukuls were major settings where life itself served as the teaching rather than only being classrooms In addition to receiving regular education, students also learnt daily life skills through interactions with their guru and by watching how they lived. These gurukuls, which were based in remote forests or rural areas with minimal necessities, promoted a strong connection between education and the natural crude world Education was able to go beyond basic academics and held values, customs, natural talents and culture because of the guru and student's mutual respect and dedication However, as time went on, the integrity of this system began to deteriorate because of Foreign invasions and British colonialism disrupted the flow, and a Westernised educational approach replaced it. As the focus shifted to rote academics, the values of talents, identity, and personality development that had been central to earlier institutions were sidelined
The Nature of Talim in Indian Classical Music
The concept of Talim in India went beyond basic memorisation of Music study material. It is an extremely soulful and meaningful process because it’s not just about memorizing basic musical
notes or techniques It’s this amazing amalgamation of music lessons and these casual moments that are shared between the guru and the pupil in their daily lives. What seems interesting is how talim perfectly aligns with the cycle of life in general, these lessons are taught at different times of the day, often tied to the natural flow of ragas. For instance , the morning raga Todi has this soothing vibe while Rag Pooriya in the evening feels so reflective and It’s not just about learning music or playing an instrument, it’s about experiencing it on a much deeper level that goes beyond.
This unique style and approach was seen in some of the most legendary teachers that are known to Indian classical music history like Sawai Gandharva, who was the guru of Bhimsen Joshi. He would dedicate hours and hours to the teachings, he would put a lot of effort and even sometimes starting as early as dawn To him It wasn’t just about making students technically skilled in their music, it was entirely about helping them build a deep connection with the art itself, that ultimately helped them gain more exposure and skill. He taught not only discipline and technique but also how to truly respect and feel the music
Gurukuls as Social Schools
The gurukul schooling system of India wasn’t just about academics, it was like a small version of society where students grew not only intellectually but also morally and socially. From basic studies to everyday life and social skills were taught to them The bond between the guru and their pupil was beyond just studying for exams It included every part of their daily lives making the whole experience so much more meaningful. One thing that really stands out about this system is the focus on "seva" which literally in hindi means selfless act of service: like doing household chores or running errands. It wasn’t about doing chores just because you had to, but about learning humility, discipline, and how to be a part of a community and how to unitedly live together as one whole unit Tasks like cooking, cleaning, or helping around the gurukul weren’t seen as small or mediocre.
The ancient Indian education system served as a balance between the intellectual, spiritual and personal character development The thought of combining learning with moral and creative growth feels so relevant today. It is often wondered how important it is to stay connected, not just socially or with our studies, but with our mentors, our roots, and even ourselves
Purpose of following case studies was to have an idea of activity, program requirements,system of running and study life routine of students upon present models of existing gurukuls:
2.2 Case Studies
● Provides education under guru-shishya tradition under a 4 year course with no set rigid curriculum
● 5 gurus along with 13 non teaching staff
● Can accommodate 36 students
● Connected with nature, based on concept of serene and conducive environment for classical music
● Collaborative spaces between (faculty members and gurus) + collaborative spaces between (guru and shishya)
● Doesnt provide degree courses, students at gurukul are taught individually under Guru shishya parampara
● Offers 4 years full time course plus 15 day, 2 months 4 months who want to deepen their understanding of the music
● Hostel capacity 30 students
● Gurukul has a vast audio, video and books library for the studies and research of Dhrupad music
● Musicians and other artists are invited regularly for seminars, lectures, in-house concerts
● Organizes festivals too (kalpana art festival), fund-raising concerts etc
● Students immerse themselves into seva (cleaning, gardening, kitchen duties)
● In relax time, go in village to have masala chai or take a nap
A typical day in the Gurukul starts with the kharaj (lower notes) practice at 5 AM This is followed by individual practice. The students offer (voluntary cleaning duties/Seva) from 10 to 11 AM everyday Individual classes start from 11 AM with Gurujis up to lunchtime Apart from individual lessons, regular group practice sessions are also conducted by senior students Students are expected to practice the individual lessons received from the Guruji's everyday as well as participate in all group practices and other activities
Nrityagram Dance Village Artist Residency- India
Mission:To nurture dance professionals through gurukul system, perform on global stage and enrich community outreach
● Temple, yoga center, odissi gurukul, dining hall Cottages, kula, performance spaces and open air theater (200 capacity)
● Odissi Gurkul: Residential learning courses for dance include: Residential full time-1 yr Basic training- 3yrs Advanced- 3 yrs
● Dance unlimited program has students from 4-40 enrolled in different courses
● Offers accommodations, rehearsal spaces, communal areas
● Kula: Residence for artists: meant for the creation and development of new work 8 twin bedrooms with attached bath- can host 16 artists, common living and kitchen
● Cottages: Cottages provide resting spaces for guests: houses great maestros of dance and music who come and perform
● Dining hall: Consists of community kitchen and a space where community dines together
● Yoga center: Open structure. Also used for in-house performances under an open sky
2.3 Initial research Analysis
VIRTUES
Guru-Shishya parampara
Living for learning
Kalayen
Calmness, Spiritual upliftment
Discipline
Self-control
Physical development
Empathy, self-dependence
CONNECTION ACTIVITY/PROGRAM
To strengthen the relationship between guru and shishya
Learning all the time
Skill development
Contemplation
Respect to nature
Sports activities
Teamwork, working for self and others
Location and landscape
Interactive spaces for guru and shishya (not only during the study hours but throughout the day)
Residential cum scholastic space
Spaces for training and special classrooms
Meditative spaces
Spaces for yoga/ physical activities/ Seva
Common working spaces, connection between built and unbuilt
Natural surroundings and nature elements
The following case studies were done to analyse the nature of artists residencies and program requirements and activities for them:
2.4 Roles and types of Artist Residencies
● Secluded: The role of a secluded art residency is to provide artists with a peaceful, distraction-free environment that fosters creativity and allows them to focus on their work.
McCahon’s Artist Residency, New Zealand
The McCahon House Artist Residency program blends collaboration and seclusion to foster artistic growth.
The McCahon House Artist Residency is thoughtfully integrated with its natural surroundings, with every space designed to extend into the trees, respecting the existing flora. This concept ensures that the living and working areas blend with the environment, fostering a deep connection between the artists and nature, which enhances their creative process
The McCahon House Artist Residency focuses on community and collaboration, supported by the McCahon House Trust The selection process aims to bring together artists who can share ideas and experiences. This creates a supportive environment with various events that encourage interaction, balancing solitude and community to boost creativity
● Studio based residency: A studio-based residency provides artists with dedicated creative space and access to resources, allowing them to focus on producing new work. It fosters collaboration and networking among artists, enhancing professional development through workshops and mentorship.
Serendipity Arts Residency, Goa
● 3 month long/ annual
● Presenting finished projects, celebration of creative exploration with residents displaying their works in progress
● Provide residents with space and resources to develop their practice, work on a new project and interact with broader art community
● In 3 months, residents will participate in peer-peer conversation, critique sessions, artists talks, presentations, performances, masterclasses, workshops, gallery and studio visits
● Intake: 6 artists in residence
B-side, an initiative by Serendipity Arts, focuses on independent and contemporary music practices. The program fosters conversations around music production, DJ-ing, research, performances, educational modules, and collaborative sonic explorations This intensive residency offers participants a solid foundation in music production, including recording, mixing, and creative composition. Open to applicants aged 18 and above, the residency selects 8 participants to develop their skills and musical approach
2.5 Music Programs in Pakistan
Sanjan Nagar Institute by Raza Kazim, Lahore
● Raza Kazim set up this non-profit organization in 1995 to work in the fields of Philosophy, Music and Photography
● The institute currently has a team of fifty (now growing) full-time members.
● It is dedicated to promoting and preserving traditional Pakistani music while also exploring contemporary music trends.
● It offers research upon sounds that we have lost, and develop instruments accordingly
● It has a holistic approach towards education and is not bound by any typical academic structure.
All Pakistan Music Conference
APMC is a volunteer organization whose mission revolves around promoting and preserving classical and folk music, supporting musicians and enriching cultural experiences for audiences across Pakistan through concerts, conferences, festivals
Performances:
● Annual (4-5 days)
1st day- Competition of school and college students
2nd day- Children of Gharanas perform
3rd day- Ghazal night/ kathak dance performances
4th day- Classical music performances
● Every month hosted in Alhamra Arts council
Conclusion: Besides Alhamra, and 2/3 other institutes, Pakistan majorly lacks the cultural hubs and doing very less for Music. Hence, it has become necessary to have more institutes where our music culture is celebrated and learned.
2.6 Interview with Classical Musician and practicing student
Objective: Interview was conducted in order to understand the nature of music and its connection with space from the perspective of a classical musician.To understand what activities inspire a musician to create music. To know problems of current teaching methods and in what form of spaces do musicians like to practice their vocals.
For detailed interviews, refer to the annexure.
Conclusion:
Through interviews, I analyzed that both interviewees highlighted the need for music space that is deeply connected to nature/sounds of nature, culturally resonant and flexible enough to accommodate both private and public performances. Design should reflect the spiritual and historical roots of subcontinent music while providing modern facilities that enhance sound quality.
I analyzed how music can not be learned in 4 walls of a classroom and requires inspiration and exposure from multiple disciplines and activities Its about how space changes its character from formal to informal to formal.
2.7 Initial Research Conclusion
1. To make a collaborative residency consisting of studios and living spaces for artists, gurus and students for the conducive and interactive learning environment in respective zones.
2. Dialogue spaces for interdisciplinary artists, gurus and students so that they get inspiration from each other and their relationship nurtures within the living environment
3. To maximize the merge of nature into design to enhance the students and artists creativity and to understand the role of nature in music
4. Public engagement spaces to better connect with audience and reflect their work
5. To create an environment (meditative + informal gatherings), where students and artists can relax in free time
3.0 PROGRAM DEVELOPMENT
GURUKUL (70-students, 7-Gurus)
Program Aim Activity
Guru-Shishya parampara
Interactive spaces for guru and shishya (other than the study hours) to strengthen their bond
Intellectual talks
Inhouse performances
Cooking and Eating
Informal discussions
Living module
Kalayen
Spiritual upliftment
Residential cum Scholastic space to provide holistic learning
To provide a skill development area where classrooms and studios are specifically designed for training and practice
To foster spiritual growth and holistic development
Physical activities To instill, Discipline,Selfcontrol and Physical development
Collaboration To create common spaces for inspiration and connections
Living activities
Gardening
Seva
Individual practice
Informal talks
Observing nature
Vocal practice
Instrument playing practice
Theory learning
Group practices
Meditation
Free movement/ dance
Self- reflection
Grasping nature
Sports
Teamwork
Peer-peer conversation
Dialogue exchange
Spatial requirement
Nature walk/ gardens
Interactive courtyards
Performing baithak
Collective dining
Community kitchen
Pathways
Living modules (living, bedroom, bath,lawn, store)
Kitchen gardens/ Flower gardens
Riyaz terraces and Rooms
Instrumental classrooms
Vocal Studios
Theory classroom
Rehearsal studios
Courtyards
Storage Toilets
Meditative spaces
Dance hall
Yoga space
Badminton court
Qualitative aspects of space
Open space
Pathways around trees
Sounds of nature
Rhythm of nature
Personalized
Play of light and shadow
Sounds of nature
Closed space
Inspiring
Sense of freedom
Views
Open space
Connection with water elements
Sounds of nature
Indoor- outdoor connection
Meditative
Collective Rehearsal spaces
Courtyards
Connection between built and unbuilt
Program Aim
PUBLIC ENGAGEMENT (950-1000 users)
Eateries To facilitate informal conversations, collaborations, and the exchange of ideas over shared meals and drinks.
To create an atmosphere where people can relax, socialize, and recharge
Events To facilitate platform for artists to perform and present their work and build connections
To promote culture exchange and sense of belonging
Collaboration To create a dialogue space between public and artists so that they get inspiration and feedback from each other
Activity
Eating Socialsing
Visual connection with artists works
Open-mic events
Environment Spatial requirement
Inviting
Communal
Interactive
Cafe
Food street
May Khana
Toilets
Pathways
Qualitative aspects of space
Visually connected with performance areas
Close to nature elements and kitchen gardens
Performances
Post-show talkbacks
Mushaira
Festivals
Workshops and lectures
Music promenade
Workshops
Exhibition of artists work
Intimate
Inclusive
Engaging
Inspiring
Celebrative
Amphitheater
Auditorium
Baithaks
Open Garden
Toilets
Pathways
Inclusive
Flexible
Inspiring
Interactive Courtyards
Open- studios
Pathways
Play of light and shadows
Good acoustics
Scenic backdrop for performance spaces
Pathways around trees
Focal points
Open space
Indoor- Outdoor connection
Views into the trees for inspiration
Semi open- open spaces
ARTIST RESIDENCY (10 artists-in-residence)
Program Aim Activity
Living module To provide space for artists to connect and draw inspiration from nature and their peers
Collaboration To facilitate a space for collaborative work and group practice
Living activity
Collective discussions
Personalized work
Interdisciplinary practice and rehearsal sessions
Critique sessions
Peer-peer conversations
Relaxing
Collaborative
Personalized
Creative expression through music
Creative expression through poetry
To provide focused and private working and learning space to artists
To provide focused and private working and learning space to artists
Composing To provide focused space to create music
Communal space
To facilitate informal dialogue space between artists-in-residence and students
Practice, create, produce and record music
Inspiring Energetic
Sense of freedom
Serene
Bedroom Bath
Working space Living Store Courtyards
Rehearsal rooms
Rehearsal stages
OpenCourtyards
Toilets
Intimate
Meditative
Focused
To produce new poetry and piece of writings inspired by surroundings
Collaborate Produce music
peer-peer conversation
Artists talks Nature walk
Serene Quite
Inspiring
Collaborative
Inspiring
Intimate Engaging
Inspiring
Recording studio Vocal studio
Practice studio
Closed space
Modules well connected with each other and environment
Views
Indoor-outdoor connection
Storage Closed space Light & shadow
Writing studio
Open-air courtyards
Storage
Studio
Connected to nature's rhythm
Connected to sounds of nature
Views
courtyard/terrace connection
Closed space
Views
Gardens
Communitykitchen
Collectivedining Pathways
Pathways around trees
Sounds of natures
Rhythm of nature
AREA BASED CALCULATION
GURUKUL (70-students, 7 Gurus)
Classrooms
PUBLIC (1000 users)
ARTIST
RESIDENCY for 10 Artists (Composers, Writers, Poets, Vocalists, Instrumentalists)
LIVING MODULE
ARTISTS STUDIOS
ADMIN
SPACE AREA
Reception
Faculty development coordinator
Director’s office
Manager office
IT office
CCTV
Wellness Coordinator
Conference Room
Clerk's Office
15’ x 15’ (225 sqft)
15’ x 20’ (300 sqft)
15’ x 20’ (300 sqft)
15’ x 20’ (300 sqft)
14’ x 16’ (225 sqft)
15’ x 17’ (255 sqft)
12’ x 12’ (144 sqft)
25’ x 15’ (375 sqft)
12’x 15’ (180 sqft)
Staff toilet 85 sqft
Approximate Built Area: 2 acres
4.0 Final Project Statement
A Sangeet nagar comprising an artist residency consisting of living modules and personalized studio spaces for artists. A gurukul containing both the living and scholastic space for students and gurus. Landscaped elements incorporating elements of nature, open air theater, auditorium and interactive street/promenade for folk music.
5.0 DESIGN RESEARCH
1. THEORETICAL FRAMEWORK
CRITICAL REGIONALISM:
The stylings of critical regionalism seek to provide an architecture rooted in the modern tradition, but tied to geographical and cultural context.
By culturally relevant, it means:
● Understanding local context: Architects should study the history, culture and social dynamics of the area where the building will be located This understanding helps to create designs that resonate with communities identity and heritage
● Incorporating local materials, reflecting cultural practices, Adapting traditional architectural styles, Engaging with community etc
“ Critical regionalism depends on maintaining a level of self consciousness It may find its governing inspiration in such things as the range and quality of local light, or in tectonics derived from a particular structural mode, or in topography of a given site.Critical regionalism seeks to compliment our narrative visual experience by readdressing the tactile range of human perception The tactile and tectonic jointly have the capacity to transcend the mere appearance of technical in much the same way as the place form has the potential to withstand the restless onslaught of global modernization”
– Towards Critical Regionalism by Kenneth Frampton
ORGANIC ARCHITECTURE:
The objective of organic architecture is simple: honor nature Frank Lloyd Wright was the first one to develop a detailed philosophy of it He focused his reaction towards deep connection with nature, passion for the bond early civilizations had with nature, and the notion that buildings should flow with the environment Access to natural light, cooling through geological features and utilizing the surrounding environment structure Purpose of organic architecture is to achieve harmony and balance between buildings, terrain and humans To create a unified ecosystem, organic designs kind of camouflage in surroundings. One in which no structure or human footprint dominates the pre-existing land. Key features of organicity:
● The building elements should blend with ornamentation of structure
● The structure should appear as if it was created by nature itself
● The color of nature should inspire the main coloring of buildings to focus on natural aesthetics
ASPECT 1: ARCHITECTURE SPACE HIERARCHY-CONTINUITY FLOW
A Dialogue spaces between artists and students/artists interactive spaces
Case Study 1
Bharat Bhavan by CHARLES
CORREA
Location: Program:
Case Study objective:
Bhopal India Multi arts complex and Museum
● To understand the role of visual connection created by subtle level differences
● To understand architecture space hierarchy/ connecting spaces between private and public spaces through sectional analysis and contour change
● To understand the role of light play in open spaces and underground programs
● To understand the role of connecting courtyards symboli
Research Question:
● How do subtle level differences aid visual connectivity and influence movement within the space?
● How does sectional analysis reveal the hierarchy between private and public spaces, and what strategies facilitate their transitions?
● How does light influence the experience of underground programs, and is integrated into the overall design?
● How are courtyards acting as a dialogue platform and connecting space?
Case study conclusions:
● The rhythm is created in pathway circulation by giving transition spaces between programs to create sense of pause and movement through space
● Series of terraces and courtyards overlooking each other are used to create visual interaction and dialogue spaces
● Relationships between built and void spaces are creating dialogue and shade opportunities in open spaces.
● Pathway circulation is controlled such that there is opportunity for privacy of artists and public movement.
● Program hierarchy is created by level differences following natural contours of the site.
● Nature of courtyards/ Open spaces
Case Study 2
Location:
Program:
Salk Institute by LOUIS KAHN California, USA Life sciences Research institute
Case Study Objective:
● To understand the role of push and pull factors in design
● To understand the role of reflecting water surfaces and its impact on space
● To understand the importance of materiality
sions: boratory ed with pace g push l water ecting rtine and r and al ghout nsory experience for users
ASPECT 2: POETICS OF SPACE
A Design language of built spaces
Case Study 1
Location: Program: Therme Vals by PETER ZUMTHOR Switzerland Spa/Bath center
Case Study Objective:
● To understand the role of controlled views in space
● To understand the role of changing volumes on senses and space
● To understand the use of light and shade in space and its effect on senses
ce relationship ment and the natural elements
● How do the architectural elements within Therme Vals manipulate sightlines to create a narrative or journey for visitors?
● How do transitions between spatial volumes in Therme Vals affect sensory experience?
● How do the materials interact with light and shadows?
● How does the juxtaposition of enclosed and open spaces in Therme Vals create a dialogue between privacy and communal experience?
Case Study conclusions:
● Direct physical and visual access with nature
● True essence of materiality is emphasized by its interaction with light and shadow, creating a sensory atmosphere.
● Indoor spaces strategically extruded towards elements of nature
● Varying volumes have been used to alter acoustics of space throughout.
● Structure half buried in the ground to integrate it with the surrounding landscape
Case Study 2
Location: Program:
Casa Barragan by LUIS BARRAGAN Mexico
Case Study Objective:
Residence and working studio
Objective of the case study is to further understand the role of light and shadow and materiality in space To understand the use of scale and varying volumes in space
Case Study Conclusions:
● Intentional play of light and shadow to control the focus of space on materiality and its feel in certain spaces
● Continuity between the interior and exterior spaces- dialogue with nature
● Scale variations in room sizes and play with ceiling heights to evoke sensory experience.
● Controlled views by framing windows in a certain direction and size
ASPECT 3: MUSIC PROMENADE
A Nature of street performances and food street as central element of attraction
A city as old and as large as Lahore is bound to have a strong bond with food, especially traditional cuisine. Just like old architectural structures and bazaars, the food streets of Lahore are full of gastronomic history tied to the province of Punjab Folk music is all about the region's culture and surroundings Just as folk music reflects cultural identity, so does food Many folk songs celebrate regional dishes and culinary practices, creating a narrative that reinforces community bonds The act of sharing food while enjoying music encourages a sense of belonging
This street will encourage multiple types of local performances while fully involving the public in it. The nature of this street shall be:
● Interactive. A space that aids in interaction / a space that fosters new bonds
● Inclusive It’s important for public to feel involved and included
Case Study
Case Study Conclusion:
● To make the street interactive and inclusive, introducing food stalls, dhabas and various local street artists into the program along with incorporating elements of nature will enhance the sensory experience and relation of space with folk music
6.1
Site selection criteria:
● Site should be located in a vicinity that provides a tranquil setting and meditative environment.
● Site should have elements of nature i e trees and water bodies etc nearby
● Site should have potential for the public gathering and catchment areas.
● Site should be well connected with both modern/newer parts of the city as well as walled city, serving as a central point that bridges the two
● Site should be linked with local transport facilities.
● Site should have some link with instrument making shops nearby
6.2 Possible sites in Lahore and connectivity of program and time distances
Proposed Site: Zone 1– Kamran ki baradari Island
MACRO ANALYSIS
1. Accessibility
2 Transportation
The Metro Bus and Orange Line projects have significantly benefited the public by enhancing accessibility The site can be reached from every stop, with connections that culminate at Shahdara. Visitors from various regions of Lahore can conveniently utilize public transport to acc
3 Navigating the Ebb and Flow of a River & Island's Transformation within 20 years
MESO ANALYSIS
Site Demarcation
1. Interview
Objective: The purpose of conducting the interview was to gain insights into the needs of the local community. I aimed to understand the demographics of the visitors to the island and to ascertain how many people visit the site each day.
● Transition of spaces with subtle tree growth patterns
● Shade and sitting spaces in courtyards
4. Soil type
Based on the types of trees and shrubs, island’s soil is likely to be alluvial, with a mix of loamy and silty soils The loamy component offers good structural integrity, making it suitable for load-bearing, while the silty element ensures compaction and a solid base.The proximity to the River Ravi and the presence of species like willows indicate good moisture retention and fertile conditions, and the presence of Sufaida suggests an added benefit of improving soil structure through its high water absorption capacity, making it particularly useful in maintaining well-drained soil conditions Overall, the soil is likely to be fertile, moist, and well-drained, creating favorable conditions for both landscape integration and architectural development
5. Existing vegetation pattern and buildable
Sequential vegetation pattern on site
7. To identify the possible built area
7.0 ANNEXURE
Objective: Interview was conducted in order to understand the nature of music and its connection with space from the perspective of a classical musician.To understand what activities inspire a musician to create music. To know problems of current teaching methods and in what form of spaces do musicians like to practice their vocals.
Q1: What weakness do you find in the present curriculum and wish that “these” activities should have been in the institute?
Currently, there is a lack of tranquility in music In the process of learning and teaching, there is no sense of peace or fulfillment Listening to older music used to bring a sense of calm, and one could truly engage with it. In today’s learning environment, artists are not being nurtured into becoming true artists; what lies within them is not being brought to the surface. The approach of the old masters was different. They taught what was already present within the student. For instance, a student was often sent to run errands as part of their training, which instilled a sense of culture and etiquette before they were taught to sing. This is the essence of true learning. Nowadays, we do everything for the sake of obtaining a degree, losing sight of the deeper purpose of education
Q2: How do you prefer performing space to be like? indoor? Outdoor? Close to nature? What kind of acoustics? What kind of ambiance?( traditional, contemporary, classical?)
If performing indoors, being a classical vocalist, I want the atmosphere of the actual form of classical music for how historically it was sung at darbars. With arcades in the background and Jhorakas where people are sitting and listening, and in front of them, there are items for food and wine glasses/ Jaam Khana that were used in ancient times So this darbari form compels me to sing
However, if I perform outdoors, I like performing in the feel of nature For example, if I am sitting and the day is beginning, I will sing a raag that matches the time of morning And I would prefer to sing in a central circle surrounded by lush green space I would feel the breeze passing by and, while experiencing it, I would improvise my raag in harmony with its flow
Q3: What role does natural surroundings play in your practice? Which elements (gardens, parks, water features, under trees,greenery, views?) would you like to see in your space of learning?
I don't know about anything else but I love solitude Sitting along the river, and feeling the flow of the river, which insists you to be alone, the sound, the rhythm of the river I find that rhythm and match it with my classical music
Q4: Do you prefer intimate concerts, or bigger level concerts? And through which activities would you like to interact with your audience?
Both I like merging my classical music genre with other genres like drums and modern instruments and its beats to connect and engage with the audience better
Q5: What types of spaces and activities are needed to inspire creativity in classical music other than syllabus?
I have been doing music since childhood, and besides my professional training, from which I gain inspiration is my spirituality So I like sitting in darbars Darbars, where there is music, like Molana Rumi mizar, Lal Shahbaz Qalander etc My creativity doubles there For how that music is created and what new I can do in it and interact with nature
Q6: How do you want to interact and learn from interdisciplinary artists (poets, instrumentalists, kathak dancers, composers, vocalists)? What common activities do you want to do with them?
I like to observe, maulana rumi raks, whirling dervishes,and in that pendulum and around it, what can be created. Observing Dhamal at Lal Shahbaz Qalander, its connection with spirituality All of it, I like to compose in my classical music form in my own style
Q7: In a residency setting, how would you want to practice your riyaz?
I like doing riyaz in a room rather than in an open space, because in the room I can concentrate more, and I will only be doing what's inside me so when I will spend time with myself my learning process will get faster
● Practicing Student: Samia Gohar
(Practicing classical music since 8 years)
Q1: How do you prefer performing space to be like? indoor? Outdoor? Close to nature? What kind of acoustics? What kind of ambiance?( traditional, contemporary, classical)?
If I look at it from a technical music perspective, I prefer performing indoors because there are many issues with sound in outdoor performances Outdoor acoustics can be tricky Outdoor environments can cause sound to travel differently, which may lead to issues with feedback or sound clarity It’s often necessary to adjust your sound setup accordinglyAcoustic properties indoors are often more manageable Venues can be designed or adjusted to optimize sound, with less risk of sound being lost to the open air or distorted by environmental factors.Many indoor venues have acoustic treatments like sound panels or diffusers that help manage sound quality and reduce unwanted echoes or reverberations.Overall, indoor performances can provide a more predictable and comfortable environment, enabling both the artist and the audience to focus on the music and the experience without the added variables of outdoor settings.And I prefer soft, ambient lighting which creates a serene and contemplative mood, reflecting the cultural and historical significance
Q2: What role does natural surroundings play in your practice? Which elements (gardens, parks, water features, under trees,greenery, views?) would you like to see in your space of learning?
Well I usually practice early in the morning sometimes as early as sunrise in my lawn but I imagine myself in the mountains.In reality I am surrounded by trees and while practicing I can hear the birds chirping Being in nature reduces stress and improves concentration The peace and quiet of natural surroundings help me to relax, focus, and engage more fully with my practice. And when it rains I connect my phone with a bluetooth speaker and play tanpura on it and start my practise The sound of rain creates an atmospheric ambiance and calmness
Q3: What types of spaces and activities are needed to inspire creativity in classical music other than music?
My inspiration for creating music usually comes from my music friends. Apart from class, we would sit outside anywhere, even if we were sitting at a chai dhaba If someone started singing, I would begin playing drums on the table with my hands as a source of percussion. So, outside the learning environment, where all the musician friends gather, we make new music, practice music, and create music togetherMusician friends contribute significantly to the creative process, providing support, inspiration, and collaboration that can lead to new and exciting musical projects and experiences
Q4: What set of activities and events in an institute do you think could enhance public participation, public awareness and public support for this art?
I feel like we should arrange more music festivals like open mic nights which engage people and people participate in these kinds of activities like open mic night. Open mic nights provide an opportunity for individuals, regardless of their experience level, to perform in front of an audience. They aim to encourage creativity, provide performance experience, and build confidence.New and emerging artists can gain visibility and build a following by sharing their work with a live audience Also music workshops are also a powerful tool for enhancing public participation, awareness, and support for music arts within an institution, and strategic and effective way to enhance public participation, increase awareness, and build support for music arts within an institution
Q5: How do you want to interact and learn from interdisciplinary artists (poets, instrumentalists, dancers, composers, vocalists)? What common activities do you want to do with them?
I really want to work with a kathak dancer. A kathak dancer can offer a unique and enriching opportunity to deepen my understanding of music, especially rhythm and movement Kathak is a classical Indian dance form that emphasizes rhythm (tala), intricate footwork (tatkar), and expressive storytelling, all of which have a significant relationship with music. Kathak and classical music have a deep relationship I can learn how music and dance synchronize to create a cohesive performance I wanna know how musical phrases and dance movements compliment each other. I will get to know about the history and cultural significance of kathak, and explore how traditional music and dance forms have evolved
Q6: In a residency setting, how would you want to keep up your private space from collaborative spaces? What features would you like to see in your personal space?
In a residency setting, balancing private space with collaborative spaces is crucial for maintaining productivity, creativity, and personal well-being While doing riyaz I ensure that private and collaborative spaces are physically separated within the residency environment. I prefer to do my practice when no one’s around because I don't want any distraction around me I’ve decorated the space with personal items, artwork, and inspirational quotes that motivate and create a comfortable environment. Also I turn on the lamp with a warm light which creates a cozy environment
Q7: Do you prefer intimate concerts, or bigger level concerts? And through which activities would you like to interact with your audience?
Well I prefer bigger level concerts because regularly performing in larger venues helps you develop and refine your stage presence, audience interaction skills, and ability to manage the complexities of large-scale performances. Also performing at large-scale concerts or festivals can be a major milestone in your career, reflecting your success and growing influence in the industry And if I talk about the technical issues, bigger concerts usually come with professional sound engineers, lighting designers, and stage managers who ensure that the technical aspects of your performance are executed flawlesslyDuring the performance interacting with the
audience is also very important I usually allow the audience to request or vote for songs to be performed as encores, to create a more interactive and engaging end to the concert.I tell them stories about the creation of specific songs or the significance of certain performances
Q8: What kind of interactive activities would you like to have in your institute that teach you music from anything other than syllabus?
Studying the history of different music genres and periods gives me a deeper understanding of musical evolution and stylistic elements Learning about famous composers and their lives can provide context and inspiration for your own music. Apart from this when I am painting or looking at a painting, my mind constantly runs through how this scenario could be perceived and what kind of music I could create based on it For example, there's a painting The Taking of Christ by Michelangelo. When I saw that painting, it reminded me of its historical significance. After composing music, inspired by that painting, I was amazed at how art can evoke such powerful emotions and inspire us to create something equally impactful.
8.0 BIBLIOGRAPHY
Books
Brookes, John Gardens of Paradise: The History and Design of the Great Islamic Gardens New York: New Amsterdam, 1987
Moore, Charles Willard, William J Mitchell, and William Turnbull The Poetics of Gardens Cambridge, Massachusetts: MIT Press, 1988
Rehman, Abdul Earth Paradise - The Garden in the Times of the Great Muslim Empires, 94-96 Lahore: Habib ur Rehman Research Foundation, 2001
Tillotson, G H R Mughal India, 128-130 San Francisco: Chronicle Books, 1990
Wescoat, Jr , James L and Joachim Wolschke-Bulmahn, eds Mughal Gardens: Sources, Places, Representations, Prospects Washington, D C : Dumbarton Oaks Research Library and Collection, 1996.
Published Thesis
https://open.library.ubc.ca/media/stream/pdf/24/1.0073063/5 https://www scirp org/pdf/jss 2023112715242776 pdf
