| Architectural Thesis Blackbook, Malwa Haat/Bazaar, Indore|

Malwa Haat/Bazaar, Indore

College of Architecture Bharati Vidyapeeth Deemed to be University Batch: 2019-2020

Report Submitted By:

Guided By:

Glory Chhajed PRN No: 1500003378 B.Arch X Semester

Ar. Sachi Jain

“Architecture should speak of its Time and Place, but yearn for Timelessness.” – Frank Gehry

Certificate We certify that the Architectural Project Report entitled “Malwa Haat/Bazaar,

Indore�, that is being submitted by Glory Chhajed & 1500003378, in the X semester of B.Arch Bachelors programme, College of Architecture, Bharati Vidyapeeth Deemed to be University, Pune is a record of bonafide work, to the best of our knowledge.

Ar. Sachi Jain

Dr. B.H. Sutar

Thesis Guide

Principal

Declaration I Glory Chhajed hereby declare that the Architectural Design Project titled “Malwa Haat/Bazaar, Indore� submitted in partial fulfillment of the requirement for the award of degree in Bachelor of Architecture is my original Design / Research work and that the information taken from secondary sources is given due citation and references.

Glory Chhajed

Acknowledgement The successful completion of my thesis title “Malwa Haat/Bazaar, Indore� has been one of the most challenging academic assignment faced by me which could not have been accomplished without the support, patience and guidance of the following people: I have to begin by thanking my thesis guide, Ar. Sachi Jain, as matter of official courtesy but because of her confidence on me shined through the sessions of severe critique. Your comments acted as a guiding light throughout this endeavour. Your inputs helped me shape the project better but always allowed in to be my thesis.

I am also greatful our Principal of Bharati Vidhyapeeth College of

Architecture, Pune, Dr. B.H. Sutar and thesis co-ordinator, Prof. Dr.

Seema Thippeswamy and Prof. Ar. Prachi Mistry for their timely and insightful guidance.

This project found a new dimension by the ideas and concepts suggested by my internship senior Ar. Dhara Mehta over informal discussions.

I cannot thank my parents and brother enough, whose support, love and encouragement kept me going, even when I thought it impossible.

Many people have given their experience, ideas and invaluable time to enable me to complete this thesis. I am really thankful to my fellow mates for making my thesis so live and understandable to me and making me aware of many things which would help me in future.

I would like to conclude by saying this project has helped me interact with practising architects and professional from allied fields and has lent a new perspective to the filed of architecture itself!

-Glory. C

Contents Topic

Page No.

1.

Introduction/ Synopsis

1-8

(a)

What is Haat?.………………………………………………......

1

(b)

What is Bazaar?.………………………………………………..

2

(c)

What is Shopping Mall.…………………………………………

3

(d)

Introduction to “Malwa Haat/Bazaar”………………………….

4-5

(e)

Aim……………………………………………………………….

6

(f)

Objectives……………………………………………………….

6

(g)

Need……………………………………………………………..

7

(h)

Scope…………………………………………………………….

7

(i)

Methodology…………………………………………………….

8

2.

Site Analysis

9-40

(a)

Malwa Region – Location and Geography………………...…

9

(b)

Climate…………………………………………………………..

9

(c)

Rivers…………………………………………………………….

10

(d)

Political Boundaries…………………………………………….

10

(e)

Demography………………………………………………….…

11

(f)

Vegetation………………………………………………….……

11

(g)

Agriculture……………………………………………………....

11

(h)

Art and Craft…………………………………………….………

12

(i)

Architectural Style………………………………………………

16

(j)

Indore – Location……………………………………………….

19

(k)

Gradual changes from a village Indareshwar to a

Sr. No: (i). (ii).

List of Images List of Charts

Commercial Indore City………………………………………..

19

(l)

Climate…………………………………………………………...

20

(m)

Economy…………………………………………………………

20

(n)

Culture……………………………………………………………

21

(o)

Art…………………….…………………………………………..

22

Contents Sr. No:

Topic

Page No.

(p)

Architectural Character…………………………………………

23

(q)

Market Places in Indore………………………………………..

25

(r)

Site – Reliance Ground, Indore………………………………..

31

(s)

Site Surrounding Study……………………………………..….

32

(t)

Site Analysis……………………………………………………..

34

(u)

Site Vegetation………………………………………………….

35

(v)

Site Photos………………………………………………………

35

(w)

Site Dimensions………………………………………….…….

36

(x)

Area Calculation………………………………………………..

36

(y)

Site Section……………………………………………………..

37

(z)

Site Justification………………………………………………..

38

(aa)

Architectural Challenges of the project………………………

38

(ab)

Landuse Map………………………………..………………….

39

(ac)

SWOT Analysis…………………………………………………

40

3.

Live Case Study

41-76

I.

Dilli Haat, Janakpuri

41-58

(a)

Location …………………………………………………………

42

(b)

History……………………………………………………………

42

(c)

Concept………………………………………………………….

42

(d)

Planning……………………………………...……………….…

43

(e)

Hierarchy in Planning …………………………………….……

43

(f)

Site Plan……………………………………….........................

44

(g)

Sections………………………………………………………….

45

(h)

The Proposal…………………………………………………….

46

(i)

Design Elements in Dilli Haat, Janakpuri…………………….

46

(j)

Parking……………….…………………………………………..

52

(k)

Movement……………………………..…………………………

52

(l)

Services……………………………………………………….…

53

(m)

Signage’s………………………………………………………..

53

Contents Topic

Page No.

(i)

Lightning………………………………..……………………….

53

(j)

Open Spaces.…………………………………………………..

54

(k)

Materials…………………….................................................

55

(l)

Area Statement…………………………………………………

56

(m)

Conclusion………………………………………………………

57

II.

Dilli Haat, Pitampura

59-76

(a)

Location……………………………………………..….…….…

60

(b)

Site Conditions…………………………………………..….…..

60

(c)

Concept……………………………………………………….....

60

(d)

Planning…………………………..……………………….…….

61

(e)

Hierarchy in Planning……………………………………...…...

61

(f)

Site Plan……………………………………………..…………..

62

(g)

The Proposal………………….………………………………...

63

(h)

Design Elements in Dilli Haat, Pitampura…………………….

63

(i)

Parking…………….……………………………………………..

69

(j)

Movement………………………………………………………..

69

(k)

Services………………………………………………………….

70

(l)

Signage’s………………………...………………………………

71

(m)

Lightning…………………………………………...………….…

71

(n)

Open Spaces………………………………………………..…..

71

(o)

Materials……………………………………………..…………..

73

(p)

Area Statement…………………………………………..……..

74

(q)

Conclusion…….…………………………………………….…..

75

4.

Book Case Study

77-109

I.

Awadh Shilpgram, Lucknow

77-87

(a)

Location……………………………………………..….……..…

78

(b)

Concept……………………………………………………….....

78

(c)

Planning…………………………..………………………….….

79

(d)

The Proposal…………………………………………………….

79

Sr. No:

Contents Sr. No:

Topic

Page No.

(e)

Site Plan……………………………………………..…………..

80

(f)

Floor Plans………………………………………..……………..

81

(g)

Design Elements in Awadh Shilpgram…………………….….

83

(h)

Movement………………………………………………………..

85

(i)

Built- Unbuilt……………………………………………….…….

85

(j)

Green Area…………………...…………………………………

85

(k)

Parking…………………………………………...…………...…

85

(l)

Area Statement…………………………………………..……..

86

(m)

Conclusion…….…………………………………………….…..

86

II.

CBD Urban haat, Navi Mumbai

87-94

(a)

Location……………………………………………..….……..…

88

(b)

Planning…………………………..………………………….….

88

(c)

The Proposal…………………………………………………….

89

(d)

Site Plan………………………………………………………...

79

(e)

Design Elements in CBD Urban haat …………………….….

79

(f)

Movement………………………………………………………..

93

(g)

Open Spaces………………………………………………...….

93

(h)

Built- Unbuilt……………………………………………………..

93

(i)

Area Statement…………………………………………..……..

94

(j)

Conclusion…….……………………………………………..….

94

III.

Khamir Crafts Resource Centre, Bhuj

95-109

(a)

Location……………………………………………..….……..…

96

(b)

Concept…………………..……………………………….……..

96

(c)

Planning…………………………..………………………….….

96

(d)

The Proposal…………………………………………………….

97

(e)

Site Plan……………………...………………………………….

98

(f)

Ground Floor Plan………………………………………………

99

(g)

Design Elements in Khamir Crafts Resource Centre……….

100

(h)

Structural System……………………………………………….

101

(d)

Roof………………………………………………………………

105

Contents Topic

Page No.

(e)

Materials…………………………………………………………

106

(f)

Movement………………………………………………………..

107

(g)

Open Spaces………………………………………………...….

107

(h)

Built- Unbuilt……………………………………………………..

107

(i)

Area Statement…………………………………………..……..

108

(j)

Conclusion…….…………………………….…………………..

109

5.

Comparison

110-115

6.

Pre –Design

116-135

(a)

Universal Access.………….………………………………..….

116

(b)

Happy Street……………………………………………..….…..

117

(c)

Administration………………………………………..….………

119

(d)

Food Court……………………………………………..………..

121

(e)

Art Gallery……………………………………………….…...….

123

(f)

Amphitheatre………………………………………………..…..

125

(g)

Bazaar…………………………………………..……………….

128

(h)

Parking…….…………………………….…………..…………..

131

(i)

Toilet…………………………………………………………..….

133

7.

Design Programme

136-149

(a)

Placemaking…………………………………………………….

137

(b)

Design Statement……………………………………………….

142

(c)

Users…..………………………..……………………………….

143

(d)

Design Brief………………………………………………......…

144

(e)

Design Brief Analysis………………………………………......

148

8.

Design Sheets

9.

Bibliography

Sr. No:

List of Images 

Introduction

Image 1.1. Overview of a Haat Scenario…….1

Image 1.6. Stalls under one Roof……………..2

Image 1.2. Temporary Sheds in Haat………..1

Image 1.7. Atrium of Mall………………………3

Image 1.3. Overview of a Haat Scenario…….1

Image 1.8. Enclosed Environment in the Mall.3

Image 1.4. Bazaar Alley……………………….2

Image 1.9. Artificial Nature…………………….3

Image 1.5. Stalls under one Roof…………….2



Site Analysis

Image 2.1. Malwa Plateau……......................9

Image 2.25. Durrie Weaving………………....13

Image 2.2. Women's with hand fans in harsh summers…………………………………….….9

Image 2.26. Bamboo Stools………………....13

Image 2.3. Heavy rainfall during Monsoon…9 Image 2.4. Misty Weather during winters…..9 Image 2.5. Shipra River…………………..…10 Image 2.6. Betma River……………………..10 Image 2.7. Polluted Khan River…………….10

Image 2.27. Paper Mache Sculptures………14 Image 2.28. Mandana Painting……….…......14 Image 2.29. Dokhra Lamps………………..…14 Image 2.30. Nandna Painting………………..14 Image 2.31. Art Ichols…………………..….…15 Image 2.32. Pithora Paintings………………..15

Image 2.8. Political Map of Madhya Pradesh……………………………………….10

Image 2.33. Jute Paper Stand……………….15

Image 2.9. Bhil Ladies……………………....11

Image 2.34. Battered Walls…………………..16

Image 2.10. Adivasi Woman………………..11

Image 2.35. Pointed arches with spear head fringes…………………………………………..16

Image 2.11. Meena Clan…………………....11 Image 2.12. Dry Deciduous Teak Forest….11

Image 2.36. Boat keel domes………………..16

Image 2.13. Dense Tropical Forest………..11

Image 2.37. Combination of arches with pillar and beam……………………………………....16

Image 2.14. Tribal family in Jowar Cultivation…………………………………….11

Image 2.38. Artistic combination of arches with pillar and beam………………………………...16

Image 2.15. Opium Cultivation……………..11

Image 2.39. The artisans in Malwa possessed secret formula for creating Turquoise blue colour……………………………………….…..16

Image 2.16. Wheat Husk Collection……….11 Image 2.17. Volcanic Black Soil..................12 Image 2.18. Textile Industry……………..…12 Image 2.19. Lavani Dance Form…………..12 Image 2.20. Dal-Baati –Malvi Cuisine……....12 Image 2.21. Tribal Dance Form……………...12 Image 2.22. Batik Painting……………………13 Image 2.23. Bead Jewellery………………….13 Image 2.24. Bagh Saree……………………...13

Image 2.40. Buildings are raised on high plinths, accessed by long and stately flight of steps……………………………………………16 Image 2.41. Kamal Maula Masjid (Dhar)…...17 Image 2.42. Lat Masjid (Dhar)…………….…17 Image 2.43. Malik Mughis Masjid (Mandu)…17 Image 2.44. Jami Masjid (Mandu)……….…..17 Image 2.45. Ashrafi Mahal…………………...17 Image 2.46. Hushang Shah’s Tomb………...17

Image 2.47. Hinola Mahal…………………….18

Image 2.56. 2010…………….………………..19

Image 2.48. Jahaaz Mahal…………………...18

Image 2.57. Average Temperature in Indore…………………………………………..20

Image 2.49. Nil Kanth Palace………………..18 Image 2.50. Rupmati’s Pavilion……………...18 Image 2.51. Baz Bhadur’s Palace………...…18 Image 2.52. 1800……………………………...19 Image 2.53. 1900………………………….…..19 Image 2.54. 1950……………………………...19

Image 2.58. Humidity in Indore………………20 Image 2.59. Average Rainy days in Indore…20 Image 2.60. Average Precipitation in Indore.20 Image 2.61. Average monthly sun hours in Indore…………………………………………...20

Image 2.55. 2000…………………………..….19

Image 2.62. Crowed jail road-Electronic market…………………………………….…….20

Image 2.63. Poha-Jalebi counter…………....21

Image 2.89. Cloth Market- Street View……..27

Image 2.64. Chappan Dukhan Food Stalls…21

Image 2.90. Cloth Market- Shop Interior…...27

Image 2.65. Night Market in Sarafa………....21

Image 2.91. Typical Shop …………………...27

Image 2.66. Anand Chaudas Jhaki………….21

Image 2.92. Main Road…………………..…..27

Image 2.67. Rangpanchmi…………….……..21

Image 2.93. Schematic Planning……..……..27

Image 2.68. Night Garba…………….……….21

Image 2.94. Typical Shop …………………...27

Image 2.69. Hand Block Printing……..……..22

Image 2.95. Sarafa Bazaar- Day Time….…..28

Image 2.70. Tie and Dye………………..……22

Image 2.96. Sarafa Bazaar- Night Time…….28

Image 2.71. Batik Painting……………..…….22

Image 2.97. Schematic Planning………….…28

Image 2.72. Jute Artefacts……………………22

Image 2.98. Type 1. Twin Shop sharing common temporary verandah………………..28

Image 2.73. Zari Work………………….…….22 Image 2.74. Leather Toys……………….…...23

Image 2.99. Type 2. One building with number of compartments…………………………..…..28

Image 2.75. Rajwada…………………………23

Image 2.100. Chappan Dukhan Main Road..28

Image 2.76. Lal Bagh Palace…………….…..23

Image 2.101. Schematic Planning…………..28

Image 2.77. Chhatris……………………….…23

Image 2.102. Typical Shop…………………..28

Image 2.78. Mahatma Gandhi Hall……….…24

Image 2.103. Bartan Bazaar………………....29

Image 2.79. Kanch Mandir……………….…..24

Image 2.104. Schematic Planning………..…29

Image 2.80. Central Museum………………..24

Image 2.105. Typical Shop…………………..29

Image 2.81. Markets of Indore in main city core……………………………………………..25

Image 2.106. Main Road…………………..…29

Image 2.82. Lohar Patti……………………….26 Image 2.83. Schematic Planning…………….26 Image 2.84. Typical Shop…………………….26 Image 2.85. Sitlamata Bazar………………...26 Image 2.86. Schematic Planning………..…..26 Image 2.87. Typical Shop…………………….26 Image 2.88. Schematic Planning………….…27

Image 2.107. Schematic Planning………..…29 Image 2.108. Typical Shop…………………..29 Image 2.109. Bartan Bazaar………………...29 Image 2.110. Schematic Planning……….….30 Image 2.111. Typical Shop…………………..30 Image 2.112. Main Road………………….….30 Image 2.113. Main Road………….……...…..30

Image 2.114. Typical Shop…………………..30 Image 2.115. Proposed Site……………….…31 Image 2.116. Built-Unbuilt.............................32

Image 2.143. Proposed site viewing toward La omini……………………………….……….…..37 Image 2.144. Towards AB Road…………….37

Image 2.117. Unbuilt ACTL Bus Parking…...32

Image 2.145. Site Section parallel to Sayaji Club Road………….…………………………..37

Image 2.118. Land-Use…….………………...32

Image 2.146. Sayaji Club Road………….…..37

Image 2.119. Commercial cum residential Area………………………………………….….32

Image 2.147. La-Omini………………..….…..37

Image 2.120. Open Spaces………………….32

Image 2.148. Proposed site viewing toward Commercial Zone……………………………..37

Image 2.121. Corner Pockets for Urban Life.32

Image 2.149. Bus Parking………….…….…..37

Image 2.122. Building Height……….………..33

Image 2.150. AB Road………………………..37

Image 2.123. G+3 Building facing MR10 Road…………………………………………....33

Image 2.151. Site Section parallel to MR10 Road………….………………………………...37

Image 2.124. Road Hierarchy………………..33

Image 2.152. Connection of traditional markets and proposed site………………………..…....38

Image 2.125. Junction between Collector Road and Sub-Arterial Road………………………..33 Image 2.126. Public Transpor ……………….33 Image 2.127. BRTS Junction………….……..33 Image 2.128. Site Analysis……………….…..34 Image 2.129. Ficus benjamina…………..…..35 Image 2.130. Plumria Alba………….………..35 Image 2.131. Acacia tree………….………....35 Image 2.132. Wild Thorny tree…………..…..35

Image 2.153. Landuse Map-Indore………....39 Image 2.154. Proposed Site Landuse MapIndore……………………………………..….…39 Image 2.155. Landuse Map Legend………...39 Image 2.156. 1. Megdhoot Garden………….40 Image 2.157. 2. Sayaji Hotel………….……...40 Image 2.158. 5. Sayaji Square…………..…..40 Image 2.159. 6. Indian Oil Petrol Pump….....40 Image 2.160. MR10 Road, Service Road…..40

Image 2.133. View towards La Omini……….35 Image 2.134. View towards MR10 RoadResidential Zone…………………….…….…..35

Image 2.161. MR10 Road ………….………..40 Image 2.162. 14. Vijay Nagar Polic Station...40

Image 2.135. View towards Apollo Premier………………………………………....35

Image 2.163. 15. Mangal City Mall………….40

Image 2.136. View towards AB RoadCommercial Zone………………………..…....35

Image 2.165. 3. Sayaji Hotel Auto Stand…...40

Image 2.137. View towards Sayaji Club Road (AB Road)…………………………………..….35 Image 2.138. View towards Sayaji Hotel……35 Image 2.139. Site Photos………………...…..35 Image 2.140. Site Dimensions…………..…..36

Image 2.164. 11. Apollo Premier……….…...40

Image 2.166. Road Coming from Bhamori Road towards Sayaji Hotel………….………..40 Image 2.167. 4. Square near the Site……....40 Image 2.168. 7. La Omini ………….…….…..40 Image 2.169. 8. Bus Depo…………………...40

Image 2.141. Site Area Calculation………....36

Image 2.170. Towards AB Roads from Sayaji Club Road………………………………….…..40

Image 2.142. Sayaji Club Road………….…..37

Image 2.171. 9. AB Road…………………….40 Image 2.172. 10. BRTS Station………….…..40

 o

Live Case Study Dilli Haat, Janakpuri

Image 3.1. Experientially intimate and grand, this traditional ‘haat’ of contemporary times is an earthy play of colour and texture…………41

Image 3.31. Second Floor Plan…………...…49

Image 3.2. Map of India Showing Delhi…….42

Image 3.33. Spiral Staircase, Tread: 250MM, Riser: 150MM………………………………….49

Image 3.3. Janakpuri, Delhi……………...…..42 Image 3.4. Location Site Plan of Dilli Haat, Janakpuri………………………………………42 Image 3.5. Conceptual View of Dilli Haat – Janakpuri……………………………………….43 Image 3.6. Zoning……………………………..43 Image 3.7. Site Plan………………………..…44

Image 3.32. Bamboo Basket Tower………...49

Image 3.34. Stainless Steel Railing Bamboo Handrail…………………………………….…..49 Image 3.35. Column free Internal Space cooled by centralized A.C………………..…..49 Image 3.36. Exposed Waffle Slab……..……49 Image 3.37. Fire Fighting System…………..49

Image 3.8. Site Model………………………...45

Image 3.38. Doubled walled structure, internal wall: Curtain wall, External wall: Bamboo…..49

Image 3.9. Foreground with Landscaping….46

Image 3.39. Key Plan- Food Court……….....50

Image 3.10. Circular Punctures in the Slab..46

Image 3.40. Basement Floor Plan........….….50

Image 3.11. Key Plan- Entrance Court….…46

Image 3.41. Ground Floor Plan………….…..50

Image 3.12. Key Plan- Central Plaza……….47

Image 3.42. First Floor Plan…………..….….50

Image 3.13. Lively use of the Plaza…….…...47

Image 3.43. Double height Food Court….….50

Image 3.14. Circular Flooring, Circular Seating……………………………………….…47

Image 3.44. Glass facade of the Food Court……………………………………………50

Image 3.15. View from Level-up…………..…47

Image 3.45. Glass facade with wooden mullions………………………………………...50

Image 3.16. Ramp………………………...…..47 Image 3.17. Key Plan- Exposition Hall……...47 Image 3.18. Exterior- Green Cover………….48

Image 3.46. The arches acts as an opening to the passage and also allows sunlight to enter the space………………………………..….….50

Image 3.19. Interior- Supported on circular ribs………………………………………………48

Image 3.47. Key Plan- A.C Shops…………..50

Image 3.20. Interior- 2 Levels………………..48

Image 3.49. Cluster of stalls…………….…...51

Image 3.21. Key Plan- Amphitheatre……..…48

Image 3.50. Mutual shading………………....51

Image 3.22. Shrub Beds…………………...…48

Image 3.51. Green patch……………………..51

Image 3.23. Amphitheatre……………………48

Image 3.52. Shop- Internal Layout…………..51

Image 3.24. Entry to Auditorium…………..…48

Image 3.53. Shop- External Shutter………...51

Image 3.25. Auditorium………………….……48

Image 3.54. Tensile Roof…………………….51

Image 3.26. Plan- Auditorium……………..…48

Image 3.55. Details of Shutter- Top………....51

Image 3.27. Section- Amphitheatre & Auditorium…………………………………...…48

Image 3.56. Details of Tensile Roof………...51

Image 3.28. Key Plan- Basket Tower…….…49 Image 3.29. Ground Floor Plan………….…..49 Image 3.30. First Floor Plan…………….…...49

Image 3.48. Key Plan- Circular Shops……...51

Image 3.57. Mechanical Ventilation…………51 Image 3.58. Roller for Shutter…………..…...51 Image 3.59. Basement Parking……………...52

Image 3.60. Key Plan- Parking………………52 Image 3.61. Key Plan- Movement……….…..52

Image 3.84. A. A wide entrance plaza finished with neat rows of Agra sandstone & cobbles55

Image 3.62. Ramp to access AC Shops……52

Image 3.85. B. Difference in material of pavers creates informal pathways…………………...55

Image 3.63. Ramp to access level 1 from central Plaza……………………………….…..52

Image 3.86. C. Stale stone cladding on walls………………………………………….…55

Image 3.64. Pavers for Blind…………………52

Image 3.87. D. Kota Stone Flooring…….…..55

Image 3.65. Ramp to access Amphitheatre..52

Image 3.88. E. Bamboo Façade……………..55

Image 3.66. Covered Drainage at Amphitheatre…………………………..………52

Image 3.89. F. Bamboo Skeleton…………...55

Image 3.67. Intersecting Open Drains……...52 Image 3.68. Grating above manhole………..52

Image 3.90. G. Agra Stone gives strength, durability, resistance to abrasion and environmental weathering………………....…55

Image 3.69. Paver blocks…………………….52

Image 3.91. H. Bamboo Fencing…………….55

Image 3.70. Stone Signage's…………….…..52

Image 3.92. I. Stone Masonry walls cools down the inner temperature of the space.….55

Image 3.71. Focus Light – Basket Tower…..52 Image 3.72. Bell Shaped Lamppost…………52 Image 3.73. Lights highlighting the tensile roof................................................................52 Image 3.74. Foot Light at Amphitheatre…….53 Image 3.75. Plumeria Alba Tree……………..53 Image 3.76. Landscaping in transition space53 Image 3.77. Key Plan- Open Spaces……….53 Image 3.78. Dense Landscaping in edges of the site……………………………………….....53

Image 3.93. J. Level difference in passage and Stall…………………………………………..…55 Image 3.94. K. Stone Masonry walls………..55 Image 3.95. L. Patterns in paving with different colours……………………………………….…55 Image 3.96. M. Central courtyard paved with Agra Sandstone……………………………….55 Image 3.97. Interactive urban spaces………57 Image 3.98. Exposition Hall……………….....57 Image 3.99. Circular Stall…………………….57

Image 3.79. Neem Tree………………………53

Image 3.100. Transition Space……………...57

Image 3.80. Ficus Benzema……………..…..53

Image 3.101. Food Court…………….…….…57

Image 3.81. Landscaping on dead Façade...53

Image 3.102. Entrance………………….....…57

Image 3.82. Creepers over the exposition Hall…………………………………………..….53

Image 3.103. Basket Tower……………….....57 Image 3.104. Pedestrian Ramp…………..….57

Image 3.83. Hedges behind the seating…....54

o

Dilli Haat, Pitampura

Image 3.105. The existing metro rail line within the site catches a spectacular view of elevated upper craft bazaar with vaulted green roofs and a dynamic urban spaces created……….59

Image 3.109. Street of stalls…………..……..60

Image 3.106. Map of India Showing Delhi….60 Image 3.107. Pitampura, Delhi………….…..60

Image 3.112. Entrance Plaza with landscaping…………………………………….63

Image 3.108. Location Site Plan of Dilli Haat, Pitampura………………………………………60

Image 3.113. Entrance Plaza with public seating………………………………………….63

Image 3.110. Zoning………………………….61 Image 3.111. Site Plan…………………….…62

Image 3.114. Key Plan- Entrance Court……63

Image 3.147. Ground Parking…………….….69

Image 3.115. Spice market with its forecourt64

Image 3.148. Key Plan- Parking……………..69

Image 3.116. Spice market on ground and below it basement parking…………………...64

Image 3.149. Key Plan- Movement………….69

Image 3.117. Key Plan- Spice Market…..…..64

Image 3.150. Ramp to access Entrance Court…………………………………………....69

Image 3.118. Sculpture court…………….…..64

Image 3.151. Ramp to access amphitheatre.69

Image 3.119. Art Gallery Entrance……..……64

Image 3.152. Ramps and Steps to maintain the site contour……………………………..….70

Image 3.120. Key Plan- Art Gallery………....64 Image 3.121. Ticket Counter………………...64

Image 3.153. Solar Panels above the craft shops……………………………………………70

Image 3.122. Key Plan- Administration….….64

Image 3.154. MS Grating…………………….70

Image 3.123. Key Plan- Street of Stalls…….65

Image 3.155. Fire cabin located on every intervals………………………………………...70

Image 3.124. Central plaza dividing the lane of shops…………………………………………...65 Image 3.125. Lane of Shops…………………65 Image 3.126. Interior in-built platform……….65 Image 3.127. Details of Stall with sheds…....65

Image 3.156. Channels running on ceiling level in basements with sprinklers at regular intervals…………………………………….…..70 Image 3.157. Service entry…………………..71 Image 3.158. Site Services…………………..71

Image 3.128. Section through shop showing vaulted roof and shed…………………………65

Image 3.159. Stone Signage's……………….71

Image 3.129. Passage to access the rooms.66

Image 3.160. Lamppost………………………72

Image 3.130. Interior of room……………..…66

Image 3.161. Key Plan – Open Spaces…….72

Image 3.131. Key Plan- Dormitory………..…66

Image 3.162. Hibiscus………………………..72

Image 3.132. Double and clearstory windows for natural ventilation………………………….66

Image 3.163. Camphire Shrub……………....72

Image 3.133. Back Stage Entry…………..…66

Image 3.165. Plumeria Alba……………….…72

Image 3.134. Key Plan- Amphitheatre….…..66

Image 3.166. Wild Dates………………….….72

Image 3.135. Double and clearstory windows for natural ventilation………………………….67

Image 3.167. Camphire Shrub…………….…72

Image 3.136. Male Female Toilet…………...67 Image 3.137. Key Plan- Toilet…………..…...67 Image 3.138. Passage to access……………67 Image 3.139. Interior of the Hall………….….67 Image 3.140. Key Plan- Conference Hall…..67 Image 3.141. Seating Arrangement…………68 Image 3.142. Food Stalls……………….…....68 Image 3.143. Key Plan- Food Plaza………...68 Image 3.144. Hall- Interior……………………68 Image 3.145. Hall- Exterior…………………..69 Image 3.146. Basement Parking…………….69

Image 3.164. Ficus……………………………72

Image 3.168. Manicured Shrub…………..….72 Image 3.169. Flooring Pattern……………….72 Image 3.170. A. Patterns formed in accordance with the landscaping……………73 Image 3.171. B. Court- Red Brick Veranda – Red sandstone………………………………...73 Image 3.172. C. Brick Paving throughout the site………………………………………………73 Image 3.173. D. White Vitrified tiles…………73 Image 3.174. E. Bhudhpura Stone in Food Court for water run-off………………………...73 Image 3.175. F. Red Sandstone is used in Amphitheatre (seating area)……………….…73

Image 3.176. G. Red Sandstone is used on treads for easy5.72. H. Brick jaali in wall for ventilation………………………………………73

Image 3.181. Site Furniture…………………..75

Image 3.177. I. Slate resting on wooden purlins…………………………………………..73

Image 3.183. Landscape……………………..75

Image 3.178. Key Plan- Materials…………..75

Image 3.185. Activity Area……………………75

Image 3.182. Street Bazaar……………….…75

Image 3.184. Food Court……………………..75

Image 3.179. Entrance Plaza ……………….75 Image 3.180. Sculpture Court…………….....75

 o

Book Case Study Awadh Shilpgram, Lucknow

Image 4.1. The elliptical complex is an integration of craft, shops, crafts courts, performance areas, food courts and other facilities…………………………………………77

Image 4.20. Key Plan- Amphitheatre………..83

Image 4.2. Map of India Showing Uttar Pradesh………………………………………...78

Image 4.22. Turf above the built form……….83

Image 4.3. Shaheed Path Bridge and its Surroundings, Lucknow………………………78

Image 4.24. Installing Jaali Panels………….84

Image 4.4. Location Site Plan of Awadh Shilpgram……………………………………....78 Image 4.5. Rumi Gate…………………….…..78 Image 4.6. Street View………………………..78 Image 4.7. Concept…………………………...78 Image 4.8. Imambara…………………………78 Image 4.9. Zoning………………………….….79 Image 4.10. Site Plan…………………………80 Image 4.11. Ground Floor Plan……………...81 Image 4.12. First Floor Plan……………….…81 Image 4.13. Site Section………………….….82 Image 4.14. Site Section………….……….…82 Image 4.15. Site Section……………….…....82 Image 4.16. Detail Section…………………..82 Image 4.18. Amphitheatre- Under Construction……………………………….…..83

Image 4.21. Undulating surfaces above the structure- Under Construction………………..83

Image 4.23. Key Plan- Demonstration Court.83

Image 4.25. Corridor Arches- After Construction……………………………………84 Image 4.26. Key Plan- Demonstration Court.84 Image 4.28. Light and Ventilation- Concept..84 Image 4.29. Key Plan- Movement…………...85 Image 4.30. Key Plan- Built- Unbuilt…….…..85 Image 4.31. Key Plan- Open Spaces……….85 Image 4.32. Key Plan- Parking………….…...85 Image 4.33. Informal Seating………….….….87 Image 4.34. Entrance…………………….…...87 Image 4.35. Covered Passage……………....87 Image 4.36. Green Roof……………………...87 Image 4.37. Steel Arches…………………….87 Image 4.38. Elliptical Planning……………....87 Image 4.39. Jaali work allows diffuse sunlight to enter inside the passage…………………..87

Image 4.19. Amphitheatre- With Stepped Planter Boxes…………………………….…...83

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CBD Urban Haat, Navi Mumbai

Image 4.40. The cluster planning is an integration of craft, shops, crafts courts,

performance areas, food courts and other facilities………………………………………....87

Image 4.41. Map of India Showing Maharashtra…………………………………...88 Image 4.42. Belapur, Navi Mumbai…………88

Image 4.58. Cluster for Food stalls………….91 Image 4.59. Key Plan- Food Court………….91 Image 4.60. Exhibition Hall Entrance……….91

Image 4.43. Location Site Plan of CBD Urban Haat…………………………………………..…88

Image 4.61. Key Plan- Exhibition Hall………91

Image 4.44. Zoning…………………………...88

Image 4.62. Amphitheatre……………………92

Image 4.45. Wall Painting……………….……89

Image 4.63. Key Plan- Amphitheatre…….….92

Image 4.46. Interactive Sculpture along with the Pedestrian walkways……………………..89

Image 4.64. Male-Female Toilet…………..…92

Image 4.47. Open Exhibition Area……….….89

Image 4.66. Signage………………………….92

Image 4.48. Site Plan…………………………90

Image 4.67. Street Furniture- Bench………..92

Image 4.49. Elevation…………………………90

Image 4.68. Key Plan- Movement……….…..93

Image 4.50. Plan…………………..…………..90

Image 4.69. Pedestrian Pathways…………..93

Image 4.51. View……………………………...90

Image 4.70. Entrance Court……………….…93

Image 4.52. Key Plan- Stall Custer………….90

Image 4.71. Green Patches……………….…93

Image 4.53. Level difference between pedestrian walkway and stall………………..91

Image 4.72. Natural Waterbody……………..93

Image 4.54. Cluster of 2 stalls………………91 Image 4.55. Stall Interior…………………….91 Image 4.56. Stall Interior……………………..91 Image 4.57. Food Court Module……………..91

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Image 4.65. Key Plan- Toilet………………...92

Image 4.73. Hardscape – Softscape…….….93 Image 4.74. Key Plan- Open Spaces……….93 Image 4.75. Built v/s Unbuilt Spaces…….….93 Image 4.76. Key Plan- Built- Unbuilt………...93

Khamir Crafts Resource Centre, Bhuj

Image 4.78. A contemporary pastiche upholds the cause and relevance of traditional building practices and inscribes its echo and the idea of timelessness of architecture rooted in identity, authenticity, culture and context……………..95 Image 4.79. Map of India Showing Gujrat….96 Image 4.80. Bhuj, Kutch…………………..….96 Image 4.81. Location Site Plan of Khamir Crafts Resource Centre, Bhuj………………..96 Image 4.82. Nodal Chowk…………….……...96 Image 4.83. Zoning……………………….…..97 Image 4.84. Mutual Shading…………….…..97 Image 4.85. Sloping Roof blocks opens up in Informal courtyards……………………………97 Image 4.86. Site Plan…………………………98 Image 4.87. Section A-A’……………………..98 Image 4.88. Section B-B’……………………..98

Image 4.89. Section C-C’…………………….98 Image 4.90. Section D-D’…………………….98 Image 4.91. Ground Floor Plan……………...98 Image 4.92. First Floor covered passage with GI and thatch railing…………………………..99 Image 4.93. Black stone staircase with coarse rubble stone pedestrian walkway…………....99 Image 4.94. The materiality and the spatial construct tap into the creative possibilities inherent in the traditions of the context……100 Image 4.95. Module of Reception Block…..100 Image 4.96. Key Plan- Reception Block…..100 Image 4.97. A composition of familiar space elements, the design is structured together in a manner to form shaded courts and thresholds…………………………………….100 Image 4.98. Module of Administration Block…………………………………………..100

Image 4.99. Key Plan- Administration Block………………………………………….100

Image 4.114. Construction of Wattle and Daub…………………………………………..104

Image 4.100. Overhead walkways connect the upper floors, dramatizing the walk through the ‘village’ with visual connectivity across levels…………………………………………..100

Image 4.115. Construction of Wattle and Daub Wall……………………………………………105

Image 4.101. Module of Administration Block………………………………………..…100 Image 4.102. Key Plan- Administration Block………………………………………….100

Image 4.116. Construction of Wattle and Daub Wall……………………………………………105 Image 4.117. Details of Roofing with Steel Rafters ………………………………………..105 Image 4.118. Steel Frames used for upper floor Roof……………………………………..105

Image 4.103. Pause points in-between clusters………………………………………..101

Image 4.119. Tile Detail……………………..105

Image 4.104. Module of Workshop Block…101

Image 4.120. Steel Frames for Roof………105

Image 4.105. Key Plan- Workshop Block…101

Image 4.121. Wooden Door…………….…..106

Image 4.106. Stone Rubble Masonry projection……………………………………..102

Image 4.123. Openable Window…………...106

Image 4.107. Wall Section………………….102

Image 4.125. Pop sculptures- Interior Wall.106

Image 4.108. Workshop unit section………102

Image 4.126. Pop sculpture Daylight………106

Image 4.109. Process of making Rammed Earth Wall…………………………………….103

Image 4.127. Pedestrian Pathways………..107

Image 4.110. Formwork for Rammed Earth Wall……………………………………………103

Image 4.124. Pop sculptures- Exterior Wall106

Image 4.128. Key Plan- Movement………..107 Image 4.129. Open, Semi-Open Courts......107

Image 4.111. Completion of Rammed Earth Wall……………………………………………103

Image 4.130. Key Plan- Open Spaces…....107

Image 4.112. Compressed stabilized earth blocks………………………………………….104

Image 4.132. Key Plan- Built- Unbuilt……..107

Image 4.131. Built v/s Unbuilt Spaces…….107

Image 4.113. Compressed stabilized earth blocks………………………………………….104



Comparative Analysis

Image 5.1. Location Site Plan of Dilli Haat, Janakpuri……………………………………..110

Image 5.4. Location Site Plan of CBD Urban Haat………………………………….….…….110

Image 5.2. Location Site Plan of Dilli Haat, Pitampura……………………………………..110

Image 5.5. Area Use of Dilli Haat, Janakpuri………………………………..……110

Image 5.3. Location Site Plan of Awadh Shilpgram……………………………………..110

Image 5.6. Area Use of Dilli Haat, Pitampura………………………………….....110

Image 5.7. Area Use of Awadh Shilpgram.110

Image 5.11. Schematic Planning of Awadh Shilpgram……………………………………..111

Image 5.8. Area Use of CBD Urban Haat…110 Image 5.9. Schematic Planning of Dilli Haat, Janakpuri……………………………………..111 Image 5.10. Schematic Planning of Dilli Haat, Pitampura……………………………………..111

Image 5.12. Schematic Planning of CBD Urban Haat…………………………………...111 Image 5.13. Dilli Haat, Janakpuri…………..111 Image 5.14. Dilli Haat, Pitampura………….111

Image 5.15. Awadh Shilpgram……………..111

Image 5.25. Mutual Shading…………….….113

Image 5.16. CBD Urban Haat……………...111

Image 5.26. Semi Covered Verandah……..113

Image 5.17. Dilli Haat, Janakpuri- Zoning…112

Image 5.27. Mutual Shading……………..…113

Image 5.18. Dilli Haat, Pitampura- Zoning.112

Image 5.28. Linear cluster…………………..113

Image 5.19. Awadh Shilpgram- Zoning.…..112

Image 5.29. Agra sandstone and cobbles...113

Image 5.20. CBD Urban Haat - Zoning…....112

Image 5.30. Brick Paving…………………...113

Image 5.21. Dilli Haat, Janakpuri…………..112

Image 5.31. Red Agra sandstone………….113

Image 5.22. Dilli Haat, Pitampura………….112

Image 5.32. Glass Mosaic Vault Roof….….113

Image 5.23. Awadh Shilpgram……………..112

Image 5.33. Ficus Benzema…………….….114

Image 5.24. CBD Urban Haat……………...112

Image 5.34. Ficus Benzema…………….….114 Image 5.35. Green Roof…………………….114

Image 5.36. Green Patches……………..….114



Pre- Design

Image 6.1. Space Allowance……………….116 Image 6.2. Forward reach without obstruction……………………………………116 Image 6.3. Typical dimension for easy use.116 Image 6.4. Schematic zoning of Happy Street………………………………………….117 Image 6.5. Happy Street Seating………..…117 Image 6.6. Sidewalk width……………….…118 Image 6.7. Difference in level………………118 Image 6.8. Shape of level difference………118 Image 6.9. Kerb Detail………………..……..118 Image 6.10. Schematic zoning of Administration Block…………………………119 Image 6.11. Anthropometrics of Office Desk……………………………………….…..119

Image 6.16. Required width to turn a wheelchair…………………………………….120 Image 6.17. Schematic zoning of Parking...121 Image 6.18. Anthropometrics of Serving Counter- Elevation…………………………...121 Image 6.19. Anthropometrics of Serving Counter- Plan………………………………..121 Image 6.20. Seating Arrangement………...122 Image 6.21. Serving Counter……………....122 Image 6.22. Seating Arrangement………...122 Image 6.23. Serving Counter……………....122 Image 6.24. Schematic zoning of Art Gallery.........................................................123 Image 6. 25. Measurement of adult and six year child visitors in relation to cases……...123

Image 6.12. Anthropometrics of Reception Desk……………………………………….…..119

Image 6.26. Difficulties encountered in viewing details more than 2.5M or 0.3M above one’s eye level……………………………………....123

Image 6.13. Ramp adjacent to entrance plinth………………………………………..…120

Image 6.27. Variation in dimensions and the relation between height and width………....123

Image 6.14. Passage and corner section…120

Image 6.28. Minimum 0.9Mdistance after Display Box………………………………..….123

Image 6.15. Passage for facilities visited by many wheelchair users…………………..….120

Image 6.29. Average viewing Sightlines…..124 Image 6.30. Height of Table Case…………124

Image 6.31. Cane detection of wall-hung case.............................................................124

installed on both sides, should be cash/wrap near door……………………………………..130

Image 6.32. Schematic zoning of Open air Theatre……………………………………..…125

Image 6.49. For narrow frontage recess entrance to provide larger display area and angles of view through offsets………….….130

Image 6.33. Typical Site Plan- Open Air Theatre………………………………………..125 Image 6.34. Typical Section- Detail Seating Profile…………………………………….……125 Image 6.35. Typical Section- Detail Seating Profile……………………………………..…..125 Image 6.36. Space for Wheelchair…………126 Image 6.37. Different positon for wheelchair………………………………..…..126 Image 6.38. Different positon for wheelchair…………………………………….126 Image 6.39. Wheelchair Space dimension..126 Image 6.40. Schematic zoning of Stalls in Bazaar………………………………………...127 Image 6.41. Plan analysis and routes of Customer and Good services……………....129 Image 6.42. Typical Sales CounterStanding………………………………….…...129 Image 6.43. Typical Sales CounterSeating........................................................129

Image 6.50. By slanting entire window and having doors in same line…………………..130 Image 6.51. Properly placed fittings allow customers to move from entrance to sales counter, cash desk, issuing counter and exit without reverse circulation………………….130 Image 6.52. No separation between customer and sales staff- Self Service………………..130 Image 6.53. Shops for individual consult, fitting tables………………………………………….130 Image 6.54. Schematic zoning of Parking...131 Image 6.55. 90 Parking for medium and small cars “a” and very small cars “b”………….…131 Image 6.56. Comparing 2-Wheeler Parking and 4-Wheeler Parking……………….……..131 Image 6.57. Handicap Parking……………..132 Image 6.58. Parking Lot…………………….132 Image 6.59. Approach to Parking Lot….…..132 Image 6.60. Schematic zoning of Toilet..….133

Image 6.44. Shops interior circulation……..130

Image 6.61. Female Toilet………………….134

Image 6.45. Display window extended by having shop entrance behind it. Internal Width minimum of 2600MM………………………..130

Image 6.62. Male Toilet……………………..134

Image 6.46. Very deep shops often permits extensive display windows, impressive even if shops itself quite small……………………...130 Image 6.47. Deep shops may have wide vestibules with display windows at angles to entrance, attracting customers away from street traffic……………………………….…..130 Image 6.48. Central doors suitable for shops >6000-6200MM wide, counters may be



Design Brief

Image 7.1. The Place Image 7.2. Objectives of Placemaking Image 7.3. Principal of Placemaking

Image 6.63. Universal Access Toilet View..134 Image 6.64. Universal Access –Wash basin, Use by a cane user………………………….134 Image 6.65.Universal Access –Wash basin, Use by a wheelchair user………………..…134

List of Charts 

Introduction

Chart 1.1. Comparison of Haat………………1

Chart 1.4. Importance of Haat/ Bazaar……...5

Chart 1.2. Comparison of Bazaar……………2

Chart 1.5. Correlation of Retail, Sociality and Culture……………………………………………6

Chart 1.3. Comparison of Shopping Mall…...3

Chart 1.6. Chain for need of a Haat/ Bazaar...7



Live Case Study

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Dilli Haat, Janakpuri

Chart 3.1. Area Statement……………………56

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Dilli Haat, Pitampura

Chart 3.3. Area Statement …………….….…74



Book Case Study

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Awadh Shilpgram, Lucknow

Chart 4.1. Area Statement ………………..…86

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Chart 4.4. Inferences…………………..……..94

Chart 4.6. Inferences…………....…………..109

Pre-Design

Chart 6.1. Number of Seats…………..…….125



Chart 4.2. Inferences………………….……..86

Khamir Crafts Resource Centre, Bhuj

Chart 4.5. Area Statement ………….……...108



Chart 3.4. Inferences…………………………76

CBD Urban Haat, Navi Mumbai

Chart 4.3. Area Statement …………..…....…94

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Chart 3.2. Inferences………………………….58

Design Brief

Chart 7.1. Design Brief…………..……….....144 Chart 7.2. Number of Seats…………..….....148

Chart 6.2. No. of toilets for different use of buildings-NBC Guidelines………………….149

 What is Haat?  What is Bazaar?  What is Shopping Mall  Introduction to “Malwa Haat/Bazaar”  Aim  Objectives  Need  Scope  Methodology

Haat: • Haat is an open-air temporary market that serves as a trading venue for local people.

• Haats are conducted on a regular basis, that is once or thrice

a week.

• The Haats are often mobile and flexible as the shift from one location on one day to another on the next day and the locations vary in nature too. Periodicity is one of their defining

Open Space Chaotic Situation Built -Environment User- Friendly 1.1.Comparison of Haat.

characteristics, which encourages the local inhabitants to congregate only on the specified days set aside for transaction. Also called as “Hafta Markets”.

• A Bazaar is often an organically developed number of shops that eventually

become and urban space.

• Haat plays a pivotal role to the lives of local communities as to gather news and information, to exchange views and knowledge, to engage in various social, cultural, religious and even political activities.

• They are venue for both commerce as well as festivity and exude a feeling of unity and strength. These occasional gatherings leads to traffic in social , cultural, and economic exchanges.

• Haats are made by the people, for the people, and the way it is designed - the architecture, the sustainable materials make the people feel good to be there.

• Though there are various functions of a Haat, the primary purpose remains to provide a marketplace for the community. Nowadays Permanent shops and Markets are overruling the historic importance of Haat which were a temporary market which allowed people to purchase goods they could not easily access.

1.1. Overview of a Haat Scenario

1.2. Temporary Sheds in Haat

1.3. Overview of a Haat 1 Scenario

Bazaar: • Bazaar is a permanently enclosed marketplace-or street where goods and services are exchanged or sold.

• The bazaar was originally a public market district of a Persian town.

Open Space Chaotic Situation Built -Environment User- Friendly

• A bazaar is a linear planned development having series of shops or a built mass that eventually becomes an urban space.

• Bazaar is a symbol of tradition which operates not only in

1.2.Comparison of Bazaar.

economic terms but also in socially and culturally. It is viewed as a city’s tangible and intangible heritage.

• Bazaars acts as Europeans plaza where social, political, cultural and civic development of people happens. Bazaars are curial in giving a sense of integrity to its region .

• The bazaar in India is not always a market building. One could say that the bazaar is not always architecture. However, there have been market buildings which became the starting point in many Indian Cities foe an entire urban precinct which served as a marketplace.

• Bazaars as a unifying element connects the main urban functions and guarantee the city’s economic and social life.

• The bazaar plays important role in a city: 1. They interconnect the different parts of the city’s physical structure.

2. A city’s social and cultural structure brings unity among the citizens.

1.4. Bazaar Alley

1.5. Stalls under one Roof

1.6. Stalls under one Roof 2

Shopping Malls: • Shopping Malls are permanently air conditioned enclosed marketplace where goods and services are sold.

• Shopping Malls refers one huge building, planned development (linear or organically) having complex of shops Open Space Chaotic Situation Built -Environment User- Friendly

with interconnecting indoor walkways.

• Shopping malls are modern adaption of historical market place where shopping, food and entertainment are under one

1.3.Comparison of Shopping Mall.

roof.

• Officially shopping malls are one or more buildings forming a complex of shops representing merchandise with interconnected walkways enabling visitors to walk from unit to unit. Unofficially, they are the heart and soul of communities, the foundation of retail economies and a social sanctuary for teenagers but with a strict decorum.

• Packed in an built environment with no connection to outdoor spaces.

• Shopping Malls are designed so that architectural consumer remains in these isolated small cities for a long time. The outside of the building does not give information about what is inside, the inside is not connected to outside. This is the result of time-space separation.

• Shopping Malls have changed the shopping pattern in present scenario, Now its just shopping , earlier it was a place for social, economical, and cultural interaction.

• It is a ubiquitous piece of architecture- Huge, Hulking, and overly air-conditioned.

They reduce the sign of creativity in spaces.

• “ To think of making these fantasy spaces, that are unconnected to reality, permanent public spaces, bothers me……. Frank Gehry, (1986).

1.7. Atrium of Mall

1.8. Enclosed Environment in the Mall

1.9. Artificial Nature 3

Introduction: Haat/ Bazar are important and vital part of a region as they serve as means for interaction, meeting, exchange of goods and services. They are much more than the commercial gathering places. These are flexible and spacious spaces that provides a clear image of a regions economy. Historically, the bazar’s has played a major role in the emergence of cities from the covered markets of Central Asia and China, the Roman Forum and the street markets and market places of European cities. Markets are traditionally the places where food and other essential items were brought across the globe.

Haat/ Bazar have been an important catalyst for urban growth by providing sustainable solutions to accommodate its population. But today these Haat/Bazars acts as a sense of “life” and “heart beat” of a region globally. A Haat/Bazar gives a feel of the pulse, the energy and the potential that a region offers- An urban quality that appeals both to tourists and to local residents. It is a place for engagement, creating a buzz with its richness in activities, sound, colour, smells and experience.

The market is transient, ever changing and is intrinsic to the urban landscape. These public spaces are the mirror of the society. It showcases the cultural realm of a city. A space where a human being does not feel as an individual entity but rather people get together and interact with other fellow being. These kind of spaces not only helps the consumers but also the craftsmen, artisans and other labourers involved in producing the goods.

The architectural design of a Haat/Bazaar is adapted to create a new form of social infrastructure which stimulates civil society through public planning. A Haat/ Bazaar is an architectural archetype which has evolved and developed a variety of typologies, the architecture of the these typologies can design not only social activities of economic transaction but also how this activities can be articulated to influence civil society.

4

The Malwa region lying in the middle of India, forms a distinct geographical unit.

Dominated by tribal communities, Malwa region is rich in culture. The amalgamation

of the varied tradition of the different groups has made the culture of the region vibrant and multi-dimensional. Be it music and dance or art and craft or may be just food.

Malwa has mostly agrarian economy, where oilseeds, cotton legumes and cereal grains are the main cash crops. Some of the industries in Malwa produce cotton textile, ginning cotton, sugar, oil, lumber and paper. Being the agrarian region, the natives celebrate their crops by having food festival which is visited by people all over India. Malvi cuisines includes butte ka khees, Dal baati thulli, and many more ‌all from basic cereals grown their. Not only food, the region is also known for its production of fine muslin and chintz cloth. The DABU style (dye) which is not yet discovered to the world comes from Indore and Ujjain. Amalgation of all these culturally enriched goods and products will make the Urban Haat/ Bazar more nourishing.

1.4.Importance of Haat/ Bazaar.

5

Aim: The intent of this project is to develop a market space as a type of social area which supports urban culture and being an exchanging medium between communities not only economically but also socially throughout the globe.

Social The activation of the Haat/Bazaar as a hub is brought about by social inclusivity and intangible interaction.

Retail The Basic Essence of the Haat/ Bazaar is driven by the business as its core.

Culture Every Space has a distinct unique definition by the life of the people in that region.

1.5. Correlation of Retail, Sociality and Culture.

Objectives: •

The objective of the dissertation is to study, analyse, survey, and explore public interaction spaces- Haat/ Bazar.

•

To improvise the quality of life of rural Malwa by networking them with urban Malwa.

•

To establish a landmark for recreational and developmental activities.

•

To give them a platform – bazar arena to showcase their talents and provide a space for interaction between tourist and local people.

•

Promote the rich ethnic inheritance of Malwa Region and develop the a hub for recreational activities.

•

To provide a platform for production, display and demonstration of goods.

•

To expose the artisans and craftsmen to a new techniques of production and design.

•

To provide different activities which would enrich the cultural life of Malwa Region.

•

To provide tourists a space for authentic Malvi food.

•

To enhance the economic backbone and social set-up of local people.

6

Need: Smart city mission focuses upon clean and hygienic city because of this local markets in Malwa region are facing threats in their existences. The local bazars were actually street markets creating problems in loading – unloading of goods, traffic congestions, Parking problems and unhygienic corners. The shopping trend then shifted to either air conditioned supermarkets or online shopping. This change in shopping paradigm local traders or the craftsmen had to door to door to find consumers for their products. Even domestic produce has been substituted for the import by 80%.

Consequently, the cities being involved in Global Trade Network are losing their authentic identity. In these conditions project -Urban Haat/bazar gains a specific importance.

1.6. Chain for need of a Haat/ Bazaar.

Scope: • The scope of the project is to focus upon the upliftment and development of Malwa region. One stop platform will make buying and selling easy with the support of different kinds of recreational activities like food plaza, public open spaces, banquet halls, auditorium.

• The built environment will also help the craftsmen from different regions demonstrate their talents.

• The architectural language will vary for each cultural pavilions but unite them as a whole through various methodologies. The built form will integrate existing city fabric and acting as global recognition.

7

Methodology STAGE 1: Data Collection

STAGE 2: Site Analysis

STAGE 3: Case Study

STAGE 4: Research

STAGE 5: Design Programme

STAGE 6: Concept Development

STAGE 7: Design Development

• Field of interest.

• Study of Cultural Aspects related to Market.

• To study the local market and available products and work environment.

• Study of site and analysis of available information.

• Analysis of site under various parameters for such as Open Spaces, Road Hierarchy, Landuse, Building Height, Flora Fauna, Soil Condition, Geography, Topography.

• Study the Byelaws of the Area.

• Live Case Study- Dilli Haat Janakpuri, Dilli Haat Pitampura.

• Book Case Study- Awadh Shilpgram, CBD Belapur Urban Haat, Khamir Crafts Resource Centre, Bhuj.

• Inferences and Comparison.

• Literature Review.

• Comparison and Inferences from Research Papers.

• Study about Social, Economic and Cultural values related to Market Places in Malwa Region.

• Research Component.

• Design Brief.

• User and space Matrix Analysis.

• Area Statement from Case Study Inferences.

• Concept Development with respect to Climate Responsive Strategies.

• Different Types of Zonings- Active Passive Spaces, Thermal, Acoustical , hierarchy of spaces.

• Sketches, 3D, Models with integrated Design Solution.

• Refinement of Architectural Proposal.

• Defining of Pedestrian, Vehicular, Handicap Movement, Open spaces, Street furniture.

• Detailing of Building Blocks – Internal and External.

• Detailing with Landscape, Streetscape, Services.

Final Architectural Project- “Malwa Haat/ Bazaar, Indore”

8

 Malwa Region  Indore  Reliance Ground, Proposed Site  Site Surroundings  Site Justification  Area Calculation  Site Sections  SWOT Analysis

Malwa Region Location and Geography: • A region in west-central northern India occupying a plateau of volcanic origin in the western part of Madhya Pradesh state.

• Geologically, the Malwa Plateau generally refers to the volcanic upland south of the Vindhyas, which includes the Malwa region and extends 2.1 Malwa Plateau

east to include the upper basin if the Betwa and the headwaters of the Dhasan and Ken rivers.

• The average elevation of the Malwa plateau is 500M and the landscape generally slopes towards north.

Climate: • Malwa’s elevation gives a mild pleasant climate, a cool morning wind - the Karaman and an evening breeze- the Shan-e-Malwa makes the summers less harsh.

• Summers extends over the months of Chitra to Jyestha (mid- March to Mid- May). The average daily temperature during the summer months

measures 35°C, which typically rises to around

2.2. Women's with hand fans in harsh summers

40°C. • The rainy season starts with the first showers of shaadha (mid-June) and extends to the middle of Ashvin (September). Most of the rain falls during the southwest monsoon spell, and ranges from

2.3. Heavy rainfall during Monsoon

about 100cm in the west to 165cm in the east.

• Winters constitutes the longest of the three seasons extending for about five months (midAshvin to Phalgun, i.e. October to mid March). The average temperature ranges from 15°C to 20°C, though on some nights it can fall as low as 7°C.

2.4. Misty Weather during Winters 9

Rivers: • Chambal River and its tributaries drains in Central and north, Mahi River in the western, Betma River and the headwaters of the Dhasan and Ken rivers in east sloping towards north. The Shipra River has a historical importance because of Simhasth Mela, held every twelve years.

2.5. Shipra River

2.6. Betma River

2.7. Polluted Khan River

Political Boundaries: •

The region includes the Madhya Pradesh districts of Dewas, Dhar, Indore, Jhabua, Mandsaur, Neemuch, Rajgarh, Ratlam, Shajapur, Ujjain, and parts of Guna and Sehore, and the Rajathan districts of Jhalawar and parts of Banswara

and Chittorgarh.

• Ujjain was the political, economic, and cultural capital of the region in ancient times, and Indore is presently the largest city and commercial centre.

Chambal Bhundelkand Central

Satpuda Vindhyan Malwa 2.8. Political Map of Madhya Pradesh 10

Demography: • The population of the Malwa region stood at 18 million with Po[ulation density at 231/km².

• Numerous tribes live in the region, including the Bhils and the Meena.

• There are numerous tribes in the region, such as the Bhils, the Meos, the Bhilalas, Barelas and Patelias and the Meenas.

2.9. Bhil Ladies

2.10. Adivasi Woman

2.11. Meena Clan

Vegetation: • Tropical Dry Forest with scattered Teak forests.

•

The main trees includes Butea, Bombax, Acacia, and Boswellia.

• The shrubs or small trees include species of Grewia, Ziziphus mauritiana, Casearia, Prosopis, Capparis, Woodfordia, Phyllanthus and Carissa.

2.12. Dry Deciduous Teak Forest

2.13. Dense Tropical Forest

Agriculture: • Agriculture is the main occupation of the people of Malwa.

•

The region has been one of the important producers of opium in the world.

•

Cotton and soybeans are other important cash crops and textiles are a major industry.

2.14. Tribal family in Jowar Cultivation 2.15. Opium Cultivation 2.16. Wheat Husk Collection 11

Soil Condition: • Black, brown and Bhatori (stony) soil make up the classes of soil.

• The volcanic, clay-like soil of the region owes its black colour to the iron content of basalt from which it is formed.

• The soil requires less irrigation because of its high capacity for moisture retention.

• The other two soils types are lighter and have a higher

2.17. Volcanic Black Soil

proportion of sand

Industries: • Industries include the manufacturing of textile, chemicals and pharmaceuticals, as well as cotton ginning and pressing, food processing and hand –loom weaving.

•

Malwa’s industrial centres include Ujjain, Indore, Bhopal, Khandwa, Ratlam and Neemuch.

2.18. Textile Industry

• Small scale and cottage industries are more important at the local level.

Culture: • Culture of Malwa has been significantly influenced by Rajasthani culture, because of their geographic proximity.

• Marathi influence is also visible, because of recent rule by the Marathas.

• The main language used in Malwa is Malvi.

• Traditional Malwa food has elements of both Gujrati and Rajsthani cuisine.

2.19. Lavani Dance Form

2.20. Dal-Baati –Malvi Cuisine

2.21. Tribal Dance Form

12

Art and Craft: 1. Batik Painting: • Location: Bheugarh Settlement, Ujjain.

• Batikis an old-age craft in which a section of fabric is covered with hot wax. After drying, the fabric is crushed to bring out the cooled wax. Lastly, it’s dyed which gives

2.22. Batik Painting

the fabric a unique cracked effects.

2. Bead Jewellery: • Location: Jhabua Jilla • The tribal communities like Bhil and Bhilala practise bead work like bead necklaces, bracelets and earrings.

• It highlights the traditional occupations emphasising rich and aesthesis from rural malwa region.

2.23. Bead Jewellery

3. Bagh Saree: • Location: Bagh • Bagh printing is done by using natural colours that are mined from fruits and flower extracts.

•

They are inspired by nature, wildlife and heritage.

4. Durrie Weaving: • Location: Sironj, Jhabua

2.24. Bagh Saree

• A flat thick cotton woven fabric made by the tribal residing their.

• The weaving is generally done by hand operated pitlooms. These bright coloured dhurries are done in the

2.25. Durrie Weaving

most traditional way of weaving.

• They are known for their sturdiness and bright colours of the durries items.

5. Bamboo Work: • Location: Bhopal • Bamboo arts are done Basod or Basor community.

• The local artisans have skilfully harmonized their age-old techniques and knowledge with innovative designs to meet the demands of modern market.

2.26. Bamboo Stools

• Fishing traps, agricultural implements, baskets, hunting tools are made of bamboo.

13

6. Paper Mache: • Location: Ujjain, Bhopal

• The craftsmen belongs to the Nagvanshi Community.

• The craftsmen make intricate and utilitarian objects from something as simple as paper.

7. Mandana Painting: • It is a form of folk paiting created by one of the oldest

2.27. Paper Mache Sculptures

tribal communities of malwa region called as Meena.

• Mandana Painting is famous for reflecting the expressions of the people. This painting also represents the socio-cultural ambience of the region.

• The significance of mandna paintings is that they are not only used decorative arties to embellish walls and floors

2.28. Mandana Painting

but also illustrates the religious inclinations of the devout.

•

The mixture of red clay and cow dung is used as a base materials to daub the surface. It is done to make the white drawing on the surface more prominent and set a contrast against the base.

8. Dokhra: • Location: Betul • It is non-ferrous (other than iron and steel) metal moulding craft, created using the lost-wax casting

technique done by Bharewas community, a sub-tribe of Gonds.

•

Items such as oil lamps, daggers, accessories, figurines, photo frames.

2.29. Dokhra Lamps

9. Nandna Painting: • Location: Tarapur, Neemuch • Nandna printed fabric is regularly worn by the ladies of the Bhil tribe. The long working hours was also the reason for the clothing to be of dark colures like blue and green.

• The four motifs used are Mirch, Champakali, Amba, Jalam Buta.

2.30. Nandna Painting

14

10. Art Ichol: • Location: Maihar

• The flowers at temples are collected by local women and then converted into incense sticks called “Scared in Sense”.

• This would help to create a self-help group called “Shared Beri”.

2.31. Art Ichols

11. Pithora Paintings: • Not merely colourful images on walls but they hold a significant place for the aboriginal tribes of Rathwas, Bhilals and Naykas.

• These paintings denote the advent of an auspicious occasions with their hues and animated figures. It recalls

2.32. Pithora Paintings

the traditions of rural India.

• Even materials used are quite unusual: the colours are prepared by amalgamating pigments with milk and liquid which is made from auspicious Mahuda tree.

12. Jute Work: • Location: Bhopal • Jute is a natural eco-friendly fibre that is good for the air, bio-degradable, feeds the soils, absorbs three times CO2.

• Local female artisans make jute crafts, floor mats, miniatures, bags and other accessories.

2.33. Jute Paper Stand

Mostly above described art works are restricted to its tribal zone only or may be sold at higher prices in cities during exhibitions, fairs or may be in AC shops. Due to less funding's or shortage of artisans these precious hand-crafted items and skills are in

danger. Malwa Haat/Bazaar can be option where these local artisans can get a platform where they can directly sell their product without in-between profit.

15

Architectural Style: • The Indo-Islmic architecture in Malwa province took place with the invasion of early Tughalqs from Delhi in Medieval period. This was due to the lack of significant local traditions in Malwa and hostile relations with neighbouring Gujrat. • Majorly development happened in cities of Dhar and Mandu.

Silent Feature:

2.34. Battered Walls

2.35. Pointed arches

2.36. Boat keel domes

with spear head fringes

2.37. Combination of

2.38. Artistic

2.39. The artisans in

2.40. Buildings are raised

arches with pillar and

combination of

Malwa possessed

on high plinths, accessed

beam

arches with pillar

secret formula for

by long and stately flight

and beam

creating Turquoise

of steps

blue colour

Prominent use of colour in decoration. Use of different coloured marble, semi-precious stones and glazed tiles.

16

The architectural style can be divided into 3 phases: First Phase:

• Dismantling of temples and converting them into mosque.

• The buildings were wonderfully decorated in which coloured played an important role in their architectural scheme.

• This colour consequences was obtained by two methods, partially by the use of various coloured stones (mainly red sandstone) and marbles and partially by means of encaustic tiles.

• Pointed Arches, Arcaded Porticos and series of steps.

• Monuments:

2.41. Kamal Maula Masjid (Dhar)

2.42. Lat Masjid (Dhar)

2.43. Malik Mughis Masjid (Mandu)

Second Phase: • Monuments of original character. Sober and elegant. More substantial and formal order.

• Fortified Entrance, Domes, planned in east- west axis, Rubble masonry walls • White marble faced buildings.

• Doorways, windows and cornices were elegantly carved, while in certain places patterns in choice stones were inlaid with frieze of blue and yellow glaze.

• Monuments:

2.44. Jami Masjid (Mandu)

2.45. Ashrafi Mahal

2.46. Hushang Shah’s Tomb

17

2.47. Hinola Mahal

2.48. Jahaaz Mahal

Third Phase: •

Less austere and more fanciful structures, implying a life of ease and luxury.

•

Influenced by music, poetry and other artistic forms of expression.

•

Pavilions, loggias, Central courtyard with pool and fountains, Fluted domes, kiosks, terrace.

•

Mahmud’s memorial was a luminous architectural creation built with red sandstone and height of 150 feet with balconies projecting over marble string-course discriminating each story. However lost its character in history.

•

Monuments

2.49. Nil Kanth Palace

2.50. Rupmati’s Pavilion

2.51. Baz Bhadur’s Palace

18

Indore Location: • Indore is located in the western region of Madhya Pradesh, on the southern edge of the Malwa plateau, on the Saraswati and Khan rivers, which are tributaries of the Shipra River.

Gradual changes from a village Indareshwar to a Commercial

Indore City: 1800

1900

• Development of the city

• Development of industrial

as military town and later

area: textile, steel, oil

took the shape of

producing.

• Development of Rail

agricultural work.

• Establishing Arra Bazaar.

2.52. 1800

Network.

2.53. 1900

1950

2000

• Development of industrial

• River edges becomes close to

Township- Sanwer, Pitampura,

industrial development.

• Large scale slums, encroachments,

Pologround.

• The suburbs development increases.

lack of management of resources.

2.54. 1950

• Markets fully developed around city core-Rajwada.

2.55. 2000

2010 • Population: 26,00,000.

• City under JNNURM for urban development.

• Largescale residential and commercial development.

2.56. 2010

• Roads being constructed under BRTs.

19

Climate: • Summers spans between the months of April and June and the temperatures soar as high as 45°C during month of may. Summer temperature varies between 35°C to 42°C. Although the summer days are scorching hot, the evenings are much cooler and pleasant because Indore being subjected to Shab-e-Malwa during the early evenings.

• Rainfall in Indore is quite sparse and the city receives 35 to 40 inches, approximately 80cm rainfall annually from the southwest monsoon.

• Winters are fairly cold with the average night temperature being around 10°C and as low as 2°C.

2.57. Average Temperature in Indore

2.58. Humidity in Indore

2.59. Average Rainy days in Indore

2.60. Average Precipitation in Indore

Economy:

2.61. Average monthly sun hours in Indore

• Indore is the most-populous city in the state.

It is the chief collecting and distributing centre for Malwa region as well s a commercial and industrial centre.

• Major industries includes the manufacturing

of textiles, tile, cement, chemicals, tents, furniture, grain mining and sporting goods.

2.62. Crowed jail road-Electronic market

• It has many traditional cottage industries for pottery, loom weaving.

20

Culture: The cultural heritage of Indore includes magnificent remains of its glorious past, soulful religious places and beautiful surroundings. Indore culture is a unique blend of various cultures from across the country.

Food: • Indore is famous for its food and cuisine. The city’s culinary culture has a blend of Maharashtrain, Malwi, Rajasthani and Gujrati influence.

• The street food of the city is especially popular- Chappan Dukan and Sarafa Bazaar.

• Sarafa bazaar is a night street food market which attracts large crowds from the city and tourists from various place. It is the only street food market in India which is open till two in the morning.

• Indore is also famous for its wide variety of namkeen or savoury items.

2.63. Poha-Jalebi counter

2.64. Chappan Dukhan Food Stalls

2.65. Night Market in Sarafa

Festivals: • Indore celebrates all the traditional and modern indian fectivals including Makar Sankranti, Mahashivratri, Holi, and Rangpanchmi, Raksha bandhan and the list continuous.

2.66. Anand Chaudas Jhaki

2.67. Rangpanchmi

2.68. Night Garba

21

Art: • Indore’s Arts and Crafts industry has a charm of its own.

• It exhibits hereditary skills, painstaking craftsmanship and evokes a desire to learn more about the land.

• The art and craft of Indore are influenced by the neighbouring states, but at the same time, they have developed their own distinctive style and individuality.

• Hand Block Printing Hand block printing is among the most important crafts of Indore. The colours used in this process are vegetable and natural dyes like Indigo, turmeric roots, pomegranate skin, lac, iron etc.

2.69. Hand Block Printing

• Tie and Dye The art of tying and dyeing fabric of Indore is also quite popular. The process is known as Bandhani or Bandhej in Madhya Pradesh. This is a delicate technique which represents the earliest forms of resist patterning.

• Batik

2.70. Tie and Dye

Batik is done on quite a large scale in Indore. Multicolored Batik sarees of Indore are popular for their varied design and attractive color contrast and schemes. Other than sarees, dress material, bed sheets, lungis, dupattas etc. are also made here.

2.71. Batik Painting

• Jute Industry Besides cotton, Jute is the cheapest and most important of all textile fibers. It is used on a large scale in the manufacturing of different types of packaging material for agricultural and industrial products in Indore.

2.72. Jute Artefacts

• Zari Work Indore has a wide variety to offer in terms of its craft work. On one hand, it offers handicrafts in crude jute

and on the other hand, it also practices one of the most delicate art works called Zari work.

2.73. Zari Work 22

• Stuffed Leather Toys The toys are skillfully crafted and casually painted to

look very attractive. Craftsmen in Indore specialize in making leather shoes, jutties, leather bags, mushk, etc.

Architectural Character:

2.74. Leather Toys

• Indore is fascinating with the charm of its architectural grandeur and historical enigma.

• Indore has architecturally significant buildings in wide range of styles spanning distinct historical and culture periods of Mughal, British and Maratha era and now moving to Modernism.

Rajwada: • A blend of Maratha and Mughal style- Indo Saracenic.

• Planned with courtyards.

• The aisles and arcades, punctured by delicate

niches, wooden doors and windows creates a space in which articulation of open, semi-open spaces and covered spaces is effortless and enchanting.

Lalbagh Palace:

2.75. Rajwada

• Palace represents the desirable lifestyle and the inventive eye of the Holkars.

• The entrance gate of the palace is the copy of Buckingham Palace, London.

• The three storey building, the ground floors entrance hall is made of marble displaying the pre-historical architecture.

2.76. Lal Bagh Palace

Krishnapura Chhatris: • Located near the khan river. It is characterised by a number of chhatris or memorial canopies dedicated to the Holkar rulers and their family members.

• Maratha architectural character style.

• These dome shaped cenotaphs with pyramidal spires on top are the significant features.

2.77. Chhatris

23

Mahatma Gandhi Hall: • Mahatma Gandhi hall also known as Town

Hall built in 1904 is one of the prettiest building in the city.

• Indo-Gothic Architectural Style.

• Made of white seoni and red patan stone and has domes, furnished rooms, cupolas, Rajput style terraced roof, frescoed ceilings, gilded ornamental mouldings and

2.78. Mahatma Gandhi Hall

minarets which are the landmark of the city.

• The famous four faced clock tower locally known as ‘Ghanta Ghar’ and the twostorey wings terminates with Domed Tower.

Kanch Mandir: • A Jain temple which is entirely made up of Glasses and Mirror.

• It is also known as Seth Hukamchand Temple built in early 20th century.

• The walls, ceilings, floors, pillars, doors, everything is adorned with glass.

• The charisma of the temple is intensified with delicately crafted Chinses lantern-type lamps and cut

2.79. Kanch Mandir

glass chandeliers.

Central Museum: • Central Museum, also known as the Indore Museum, is one of the most interesting buildings in Indore.

• The Museum exhibits the finest collection of Parmar sculptures from Hinglajgarh. The Parmar style actually originated here only. Its main features include proportioned figures, careful and intricate ornamentation and depiction in stone.

2.80. Central Museum 24

Market Places in Indore: • Heart core of Indore City comprises of Rajwada, the focal point in commercial sector from history till today. Earlier development of markets would happen in the surrounding of Rajwada and are successfully running till today. Markets comprises of shop-house or just shops, depending upon its character. Each market has its own unique smell and connectivity. The connectivity of the markets are with narrow lanes of the internal markets. Indore has specific bazaars for different categories. • Now the development of commercial retail hub is shifting from inner city to outer new development like Vijay nagar, Dewas Naka, Bengali Square. The new development comprises of Air conditioned Super markets, Shopping Malls.

Following are the famous markets in the city: 1. Loharpatti- Metal and Steel Furniture 2. MT Cloth Market- Wholesale Textile Industry 3. Sitlamata Bazaar- Retail Clothing 4. Sarafa Bazaar- Jewelery and Night Street Food Market 5. Khajuri Market- Books and Stationary

6. Moolchand Market- Retail Clothing 7. Jawahar Marg- Hardwares and Plumbing 8. Atala Bazaar- Cheap Fashion Accessories 9. Bartan Bazaar- Utensils and Cutlery 10. Marothia Bazaar- Daily Household 11. Kothari Market- Retail Clothing 12. Chappan Dukhan- Food Plaza 13. Central Mall

14. Treasure Island Mall 15. Dhenu Market- Plumbing and Hardwares 16. Jail Road- Mobile and China Products

2.81. Markets of Indore in main city core

25

Lohar Patti- Steel and Metal Furniture: • Area: 22,000 Sq. M

• Footfall: 70-100 Customers everyday • Size: 15-40 Sq. M • Lohar patti known for indigenous products of steel and other metals.

2.82. Lohar Patti

• It is settled by Muslim community living there itself.

• The settlement is in Linear pattern, shops planned on both the sides of the street-Mulana Azad Marg.

Series of Shops

Parking

MAIN ROAD

above them are houses where families reside.

Parking

Series of Shops

Rectangular shops on the ground floor and

Load-bearing Structures with rich wooden carving facade.

High plinth of the shops so as to cater the drainage channels passing on the ground level.

Shops encroached on the road and verhandah

2.83. Schematic Planning

2.84. Typical Shop

for displaying their selling items and Parking.

Sitlamata Bazaar-Retail Clothing: • Area: 10,000 Sq.M • Footfall: 800-900 Customers everyday • Size: 15-40 Sq.M • Sitlamata Bazaar is considered as an extension of MT Cloth Market of about 70-100 years old exclusively for female fashion.

2.85. Sitlamata Bazar

• Shops aligned on both the sides of the road. Road hierarchy and shop size are interdependent. Internal Branching on one side.

Series of Shops Shops run on the ground floor and above them are houses where

Series of Shops

Internal Street

Series of Shops

Internal Street

Series of Shops

Internal Street

Series of Shops

MAIN ROAD

2.86. Schematic Planning

families reside or tailoring shops with separate entry and exists.

Shops are decorating with saris, bags, and dress materials 2.87. Typical Shop

26

Maharaja Tukojirao Cloth Market- Wholesale Textile: • Area: 1 Kilometre • Footfall: More than 10,000 Customers everyday • Size: 5-400 Sq.M

• MT Cloth Market is about 100-150 years old built by the Holkars as commercial trade centre for textile industry.

• Grid-iron planning with central courtyards for Parking, Food Stalls, Amenities.

Shops

Internal Street

Area

Series of

Open

Internal Street

Shops

Internal Street

Series of

Internal Street

Series of Shops

Parking MAIN ROAD

Parking

Series of Shops Parking

MAIN ROAD

Series of Shops

MAIN ROAD Parking

Series of Shops

2.89. Cloth Market-

2.90. Cloth Market-

Street View

Shop Interior

Open Area

2.88. Schematic Planning Shops on the ground floor and above them are houses where families reside.

Stone Walls painted with blue coloured choona mitti keeps the interior cools.

Floor seating furnitures such as floor stuck gadde, hisaab ki table, iron peti Furnitures are generally painted in shiny yellow colour Verandas outside the shops connects all the nearby shops. It was a place where people used to walk, saving 2.91. Typical Shop

them from sunlight and rain.

Moolchand Market - Retail Market • Area: 15,000 Sq. M

• Footfall: 1,000-1,200 Customers everyday • Size: 15-80Sq. M • Linear planning, Shops aligned on both the sides of the Main road.

2.92. Main Road

Shops on the ground floor and above them are Series of Shops

manufacturing units for garments.

Parking MAIN ROAD Parking

Plinth used for displaying selling items.

Series of Shops 2.93. Schematic Planning

Roads encroached with Parking and vendors.

2.94. Typical Shop

27

Sarafa Bazaar- Jewelery and Night Street Food Market • Area: 30,000 Sq. M • Footfall: 1,000-12,000 Customers everyday • Size: 9-60 Sq. M

• Sarafa Bazaar is plays a dual role, in daytime remains as

2.95. Sarafa Bazaar- Day Time

jewellery marketplace and converts itself into street food court at night.

•

Linear planning in T- shape, Shops aligned on both the sides of the narrow road.

•

Mostly the shops are ground structure , few double and 2.96. Sarafa Bazaar-

triple storey.

Night Time

• Floor seating arrangement

Internal Street

Series of Shops

Internal Street

Series of Shops

Series of Shops

MAIN ROAD

Series of Shops Series of Shops

2.97. Schematic Planning

2.98. Type 1. Twin Shop sharing common temporary verandah 2.99. Type 2. One building with

Chappan Dukhan

number of compartments.

• Area: 45-50 Sq. M • Footfall: 3400-3500 Customers everyday

• Size: 10-50 Sq. M • Linear planning Shops aligned on both the sides of the Main road.

Series of Shops

MAIN ROAD

Series of Shops

• 56 dukan is known for its 56 street food stalls

2.100. Chappan Dukhan Main Road

Ground Structure

Internal Street

Fancy modern Interiors

Series of Shops

Outside utility Services.

Series of Shops Internal Street

2.101. Schematic Planning

Footpath as a pause area for street eating 2.102. Typical Shop

28

Bartan Bazaar- Utensils and Cutlery: • Area: 25,000 Sq. M • Footfall: 600-900 Customers everyday • Size: 20-60 Sq. M

• Located behind Sarafa bazaar, the market has similar

2.103. Bartan Bazaar

architectural style of shop layout as in Sarafa Bazaar.

•

Linear planning aligned on both the sides of the narrow road.

Shops run on the ground floor and above

Series of Shops

Parking

Parking

MAIN ROAD

Series of Shops

them are houses where families reside.

Bartan Bazaar is linked with various other markets such as bajaj khana, Sarafa Bazaar, Rajwada.

Shops encroached on the road.

2.104. Schematic Planning

2.105. Typical Shop

Khajuri Market- Books and Stationary • Area: 42,000 Sq.M • Footfall: 2,000-2,100 Customers everyday • Size: 15-20Sq.M •

Khajuri Bazaar is known for different types of books and stationary.

• Being next to Rajwada, it is rushed with traffic all the time.

2.106. Main Road

• Linear planning with branches, Shops aligned on both the sides of the busy road.

• Main road leads to inner streets ending up with godwons.

Shops

Series of Shops

Internal Street

Series of

Internal Street

Internal Street

• Internal Branching both the side

Shops run on the ground floor with few houses above them.

Shops

Internal Street

Internal Street

Series of

Internal Street

MAIN ROAD

Series of Shops

2.107. Schematic Planning

The shops directly open up on the road.

2.108. Typical Shop

29

Atala Bazaar- Fashion Market: • Area: 11,000 Sq. M • Footfall: 1,200-1,300 Customers everyday • Size: 10-20 Sq. M

• Though being just next to Rajwada, it is considered as

2.109. Bartan Bazaar

the most busiest market in the vicinity for cheap accessories.

Series of Shops

Parking

MAIN ROAD

Parking

Linear planning aligned on both the sides of the narrow road.

Series of Shops

•

Shops on the ground floor and above

them are houses where families reside.

Roads are encroached with shop displays, Parking, Food Tellas.

2.111. Typical Shop

2.110. Schematic Planning

Marothia Bazaar- Handicraft • Area: 30,000 Sq. M • Footfall: 1,200-1,300 Customers everyday • Size: 25-55 Sq. M • Located behind Sarafa bazaar, next to bartan bazaar it is completely different from these two.

• Recently developed market for local handicraft items, daily household items.

2.112. Main Road

• Grid-iron Pattern with no parking spaces in between.

Series of Shops

Architectural style is a

Parking

combination of modernism and

MAIN ROAD

Series of Shops

post modernism.

Internal Street

Internal Street

Parking

Series of

Ground structure shops.

Shops Parking in front of the shops, makes chaotic situation on the road

Internal Street

2.113. Main Road

2.114. Typical Shop

30

Reliance Ground, Indore Address: Reliance Ground, MR10 Road, Opposite Sayaji Club Garden Vijay Nagar, Indore

Climate: Hot and Dry Climate Site Area: 19,370 Sq.M Built-Up Area:

8,700 Sq.M

FSI: 1.5 Typology:

Commercial

Topography:

Flat Land

Connecting Roads: 1. MR 10 Road (30M) 2. Sayaji Club Road (24M) 3. Petrol Pump Service Road (18M)

Soil Condition:

Black Cotton Soil

Flora: Plumera Alba, Neem Tree

2.115. Proposed Site 31

Site Surrounding Study: Built-Unbuilt -Site Surrounding :

2.117. Unbuilt BCTL Bus Parking

2.116. Built-Unbuilt

Land-Use -Site Surrounding :

2.119. Commercial cum residential Area Residential (Apartments, Hostels) Commercial (Automobile Showroom,

Hotel, Restaurants, Bus Depot, Offices) Open Spaces (Parks, Parking Grounds, Empty Plots ) Public Utility (Police Station, RTO, Hospital, Public Transport Office )

2.118. Land-Use

Open Spaces -Site Surrounding :

2.121. Corner Pockets for Urban Life Park (Residential) Parking (Transport Buses, Office Parking, Garage )

Marriage Gardens Public Utility (Poilce Station, RTO)

2.120. Open Spaces

32

Building Height -Site Surrounding :

2.123. G+3 Building facing MR10 Road

Building Height >10M Building Height >20M Building Height >30M

2.122. Building Height

Road Hierarchy -Site Surrounding :

2.125. Junction between Collector Road and Sub-Arterial Road Collector Road (6-9M) Sub- Arterial Road (10-18M) Arterial Road (24-32M)

2.124. Road Hierarchy

Public Transport -Site Surrounding :

2.127. BRTS Junction

Upcoming Elevated Metro BRTS Bus Track Metro Station

2.126. Public Transport

33

34

2.128. Site Analysis

Site Analysis:

35

2.138. View towards Sayaji Hotel

2.136. View towards AB Road- Commercial Zone

2.139. Site Photos

2.137. View towards Sayaji Club Road (AB Road)

2.133. View towards La Omini

2.135. View towards Apollo Premier

2.134. View towards MR10 Road- Residential Zone

Site Photos:

2.132. wild Thorny tree

2.131. Acacia tree

2.130. Plumria Alba

2.129. Ficus benjamina

Site Vegetation:

Site Dimensions:

Total Site Area: 35,570 SQ.M

Area Calculation:

2.140. Site Dimensions

Area Calculation:

A1= 7,290 SQ.M A2= 7,290 SQ.M A3= 1,540 SQ.M A4= 1,540 SQ.M A5= 770 SQ.M A6= 770 SQ.M A7= 170 SQ.M Total Proposed Site

Area: 19,370 Sq.M

2.141. Site Area Calculation

36

2.146. Sayaji Club Road

2.144. Towards AB Road

2.151. Site Section parallel to MR10 Road

2.149. Bus Parking

2.145. Site Section parallel to Sayaji Club Road

2.143. Proposed site viewing toward La omini

2.147. La-Omini 2.148. Proposed site viewing toward Commercial Zone

2.142. Sayaji Club Road

2.150. AB Road

Site Section:

37

Site Justification: • Vijay Nagar developed by Indore Development Authority, is the newly developed suburb in ate 1990s. It lies in the eastern part of the city nestled between MR-9, MR-10 and Ring Road. The area is sustained by Residents and Commercial Offices, Malls, Hotel and party plots. Its has witnessed a rapid growth within few years after the development of BRTS Bus. • To cater the recreational, and shopping needs of the residents nearby to provide a breathing space.

• To develop the commerce of the area.

• To have a common meeting junction for public activities particularly in that area.

2.152. Connection of traditional markets and proposed site

Architectural Challenges of the project: • To have a subtle architectural style which maintains the diversion from Culture to Commerce.

• Explore the inter-relationships of the spaces in relation with its public usage.

• To explore the inter-relationships of the spaces and the challenges of disparities cause by the design which restricts spaces to particular segments of public.

• To amalgamate possible characters and functions.

• To provide a contemporary model of conventional Indian Markets.

38

Landuse Map:

2.153. Landuse Map-Indore

2.154. Proposed Site Landuse Map-Indore

2.155. Landuse Map Legend

39

40

SWOT Analysis:

 Dilli Haat, Janakpuri  Dilli Haat, Pitampura

“3.1.Experientially intimate and grand, this traditional ‘haat’ of contemporary times is an earthy play of colour and texture.”

Dilli Haat, Janakpuri Harmony between Spaces and Light

Dilli Haat, Janakpuri showcases the country’s craft and cultural traditions. It brings India’s rural tradition of an open market space to modern Delhi.

Address: Lal Sai Mandir Marg, Virender Nagar Janakpuri East, New Delhi

Year of Construction: 2014 Client: Delhi Tourism and Transportation Development Corporation

Climate: Composite Climate Site Area: 32375 Sq. M Built-Up Area:

16000 Sq. M

Architect: Mr. Sourabh Gupta, Archohm

Typology:

Commercial

3.1.Experientially intimate and grand, this traditional ‘haat’ of contemporary times is an earthy play of colour and texture

It bonds the overall functional program of formal and informal shops to sell crafts and celebrate culture with an underlying layer of music as a theme, differentiating it from the already thriving cultural jamboree of the Delhi Haats in Delhi.

41

Location: • The site is a northwest facing contiguous land that turns southeast towards the end.

• The plot is bound by the main bus terminus on one side, the Tihar jail (a national prison) greens on the other side • A large commercial road in the front.

3.2. Map Of India Showing Delhi

3.3. Janakpuri, Delhi

3.4. Location Site Plan of Dilli Haat, Janakpuri

History: ‘Haat Beat’ was main theme to the competition entry in 2005. To inject a new life into this part of Delhi .The idea was to give them a place for playful music. This was the underlying layer that bonded the overall program of formal and informal shops to sell crafts and celebrate culture.

Concept: • The haats had to be in tune with today’s times and respecting the craft and cultural centricity of the project. The design is therefore a conversation between the past and the present, acknowledgement of the traditional and its adaptation in contemporary times, in concept and in construction.

• To make the haat a functionally viable space, it was decided to give a music theme to the centre.

42

• A state-of-the-art auditorium that can hold large music concerts, an amphitheatre, a

music centre for sales and exhibition of musical instruments along with inviting exuberant gatherings of budding musicians and music lovers.

3.5. Conceptual View of Dilli Haat - Janakpuri

Planning: • The site plan is knit together efficiently.

• Free-flowing open spaces bind various activities on two levels.

• A large open space takes the visitor through a

frisking area to another pocket that leads to the huge central plaza formed by meandering Air conditioned shops and the exposition halls.

• The open pedestrian ramp leads to the terrace lined by canopy shops.

• From the frisking area, there are direct access

3.6. Zoning

points to the cafe, surface and basement parking and banquet greens.

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

• Another frisking area is located near these clusters since there is a strong possibility of craft shops to become the predominant function.

• The four 8 M high towers are interspersed along the site.

Hierarchy in Planning: Level 1: Public Spaces- 1.Entrance Court 2.Administration Office 3.Parking Level 2: Meeting/ Resting Spaces- 1.Food Court 2.Central Plaza 3.Open Courts Level 3: Purpose- 1. Stalls 2.Music Hall 3. Amphitheatre 4.Auditoruim 5.Exposition Hall

43

Site Plan:

3.7. Site Plan

A(1). Basket Tower– Banquet Hall A(2). Basket Tower– DTTDC Office A(3). Basket Tower– Music Store A(4). Basket Tower– Museum B. Exposition Hall C. Amphitheatre & Auditorium D. Circular Stalls E. Air conditioned Shops F. Food Court G. Parking H. Kids Zone I. Coffee Shop J. Central Court K. Public Toilet

44

Section 1

Section 2

Section 3

Site Section

3.8. Site Model

45

The Proposal: Conception of the program is as large a design intervention as its physical manifestation. The final functionality found are as follows: • An indoor, well-equipped, 800 capacity auditorium for formal concerts.

• An informal open air amphitheatre that works simultaneously with independent spaces and support services.

• A multipurpose, multiscale exposition hall for exhibitions and seminars.

• A set of four baskets houses a music museum, a music store and music workshop space along with tourism offices and cafes.

• A large air-conditioned food court extends into shaded courtyards and expansive greens for the basic need of spill overs.

• Formal, informal and open shop spaces are created to bring in the required sensitive adaptations of malls, markets and bazaars into this haat.

• An independent fine dining with an extended banquet facility is created to reinforce the business plan of this complex cultural complex.

Design Elements in Dilli Haat, Janakpuri: Entrance Court: • A low heighted entrance court leads to the inner open area of the haat.

• Ticketing area is a column less space.

• The concrete roof is dotted with round cutouts.

• Some of these hold circular lights, while others are open to sky.

• The grill above allows sunlight to come in.

3.9. Foreground with Landscaping 3.10. Circular Punctures in the Slab 3.11. Key Plan- Entrance Court

Central Plaza: • The central zone gives a rhythmic flow to the space as it leads to different zones of the haat.

• The central plaza culminates to the auditorium and informal shops cluster.

46

Central Plaza: • The plaza is surrounded is by A.C shops.

• The archway allows air and light to enter the passage and light the shops.

• The flooring pattern gives a essence of central zone.

• The plaza also has seating in continuity of the circular form.

• The seating is supported by trees to provide shade.

Sometimes the seating platform can be also used as display area.

3.12. Key Plan- Central Plaza

• Food court is connected to the plaza.

3.14. Circular Flooring, Circular seating

3.13. Lively use of the Plaza

Level-Up: • From the upper level various zones of the haat can be seen and from ground level, raised level can be seen.

• The ramp leads the way to level 1, its constructed in such a way that it’ gives a view to the central courtyard.

3.15. View from Level-up

3.16. Ramp

Exposition Hall: • The exposition hall is 960 Sq. M in area.

• Height : 6M • The exposition halls are three linear vaults of ascending widths in plan, forming one large space that can be divided into three as required.

• The outer walls of the hall are covered by creepers to provide a green cover.

47

3.17. Key Plan- Exposition Hall

• Colourful flowering creepers softens the scale and helps temperature control further cover the steel sheeting on top.

• Glass and wooden frame facade.

• Seating on the exterior wall.

3.18. Exterior- Green Cover

3.19. Interior- Supported on circular ribs

3.20. Interior- 2 Levels

Amphitheatre and Auditorium: • The grand open air theatre with a seating capacity of 820 is designed as a series of seating steps finished in stone, grass and shrub beds.

• It acts as an anchor to the whole composition, marking the transition from formal to the informal zone.

• A state of the art auditorium with 800 seating capacity also forms an amphitheatre on top • The green and paved amphitheatre instantly reduces

3.21. Key Plan- Amphitheatre

the huge mass of the auditorium and at the same time helps retain the green cover, helping in heat control.

3.22. Shrub Beds

3.23. Amphitheatre

3.26. Plan- Auditorium

3.24. Entry to Auditorium

3.25. Auditorium

3.27. Section- Amphitheatre & Auditorium 48

Basket Tower: • There are 4 basket towers 1. A café 2. An information Centre 3. A Museum 4. A Music Centre • Height: 8M high.

• The funnel shaped structures is cladded with bamboo and thus looks like huge bamboo baskets.

3.28. Key Plan- Basket Tower

• They are two storied buildings with a roof top canopy designed for outdoor activities.

• Closer to the entry, one basket houses the information centre, while the other forms a café.

• The interiors of the site has a music centre and a museum.

• The music centre not only avails sale of all genres of rare classics, musical instruments, but provides ample outdoor space and a small amphitheatre to take care of interactive functions.

3.29. Ground Floor Plan

3.33. Spiral Staircase Tread: 250MM Riser: 150MM

3.30. First Floor Plan

3.36. Exposed Waffle Slab

3.31.Second Floor Plan

3.37. Fire Fighting System

3.32. Bamboo Basket Tower

3.38. Doubled walled structure Internal wall: Curtain wall External wall: Bamboo 49

Food Court: • The food court has 48 stalls.

• The two storied AC space is well supported with individual service courts for every stall, in turn opening into a larger service yard connected with separate access.

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

•

3.39. Key Plan- Food Court

Glass facade.

3.40. Basement 3.41. Ground Floor Plan Floor Plan

3.42. First Floor Plan

3.43.Double height Food Court

3.44. Glass facade of the Food Court

A.C Shops: • 46 AC shops.

• The AC shops are in front of the central plaza and continues till informal circular shops.

• The layout of the individual shop goes with the form of the central plaza.

• The passage in front of the shops are supported by arches for light • Glass Facade.

3.45. Glass facade with wooden mullions

3.46. The arches acts as an opening to the passage and also allows sunlight to enter the space.

3.47. Key Plan- A.C Shops 50

Circular Shops: • Area 9.62 Sq.M • 100 craft shops circular in plan, are arranged in clusters of 5-6 each forming a bazaar.

• Street sculptures.

• These are built in natural stone masonry, covered with tensile canopies.

• The clusters are connected with small green patches 3.48. Key Plan- Circular Shops

and paved allies completing the village scene.

• The rear boundary wall is lined with informal platform shops overlooking this village.

• Each shop has its own cash counter cum display table, Wooden strips nailed to the wall acts as display.

3.49. Cluster of stalls

3.52. Shop- Internal Layout

3.50. Mutual shading

3.53. Shop- External Shutter

3.51. Green patch

3.54. Tensile Roof

Details of Shutter

3.55. Details of Shutter- Top

3.56. Details of Tensile Roof

3.57. Mechanical Ventilation

3.58. Roller for Shutter 51

Parking: • Parking is provide at the entrance towards the north-east corner and at the basement of the food court.

• 240 Cars at Ground Level.

• 3 buses at Ground Level.

• 55 Cars at Basement Level.

• 120 Two- wheeler at Basement Level.

3.59.Basement Parking

3.60.Key Plan- Parking

Movement: • Vehicular Movement is restricted to the entrance and periphery • Pedestrian and Vehicular entries are from a busy street.

• There is a separate service entry and a couple of special entry points.

Barrier- Free • Lifts, ramps and escalators are installed for the convenience of differently-abled persons and senior citizens.

3.61. Key Plan- Movement

3.62. Ramp to access AC Shops

3.63. Ramp to access level 1 from central Plaza

3.64. Pavers for Blind

Vehicular Movement Barrier-Free Movement Pedestrian Movement

3.65. Ramp to access Amphitheatre 52

Services: • 5 Nos. of public toilets • Energy efficient fittings and light fixtures • 24 x 7 Power back up • Proper sewage treatment plant • Water treatment plant • Rain water harvesting • 3 garbage dumping spaces • CCTV cameras have been installed at the venue

3.66. Covered Drainage at Amphitheatre

which provides proper surveillance.

3.67. Intersecting Open Drains

3.68. Grating above manhole

3.69. Paver blocks

Signage’s : • Signage's are installed in intervals, in different zones.

• The selection of material remains the same for the signage's.

• Material: Stone

Lightning:

3.70. Stone Signage's

• The campus is well lightened by bell shaped yellow lamppost.

• Individual building has its own lighting system.

• Small Elements also have focus lighting.

3.71. Focus Light – Basket Tower

3.72. Bell Shaped 3.73. Lights highlighting Lamppost the tensile roof

3.74. Foot Light at Amphitheatre

53

Open Spaces: • The site is surrounded by green cover thus has a variety of flora in its site.

3.75. Plumeria Alba Tree

3.77. Key Plan- Open Spaces

Hardscape Softscape

3.76. Landscaping in transition spaces

3.78. Dense Landscaping in edges of the site

3.81.Landscaping on dead Facade

3.79. Neem Tree

3.82. Creepers over the exposition Hall

3.80. Ficus Benzema

3.83. Hedges behind the seating

54

Materials: • Materials such as red Agra stone, Kota stone, slate and the local Delhi quartz stone masonry on facades and landscapes are used. • Bamboo is extensively used.-Structures for shading, screens for baskets and food court, sculptures for street furniture on one side and the natural growing ones as soft capes of boundary plantations and accent trees on the other.

3.84. A. A wide entrance plaza finished with neat rows of Agra sandstone and cobbles

3.85. B. Difference in material of pavers creates informal pathways

3.86. C. Stale stone cladding on walls

A 3.87. D. Kota Stone Flooring

C

3.88. E. Bamboo Facade

B

E

DM 3.89. F. Bamboo Skeleton

F

H

3.91. H. Bamboo Fencing

I

G 3.90. G. Agra Stone gives strength, resistance to abrasion and weathering

JKL

3.92. I. Stone Masonry walls cools down the inner temperature of the space

3.93. J. Level difference 3.94. K. Stone 3.95. L. Patterns in paving with different colours in passage and Stall Masonry walls

3.96. M. Central courtyard paved with Agra Sandstone 55

Area Statement: Building Circular Shops

Type

Number

Area / Units

Type 1

95

9.62 Sq. M

Type 2

05

7.6 Sq. M

Type 1

01

42.10Sq. M

Type 2

15

17.20 Sq. M

Type 3

22

16.18 Sq. M

Type 4

04

15.40 Sq. M

Type 5

04

07.70 Sq. M

Platform Shops

Type 1

85

Food Court

Type 1

48

16.50 Sq. M + 11.65 Sq. M (Kitchen) + 6.8 Sq. M (Courtyard)

Cafe

Type 1

01

256.56 Sq. M (Kitchen) + 10.6 Sq. M (Courtyard)

Basket Tower

Type 1

04

260.00 Sq. M

Exposition Hall

Type 1

01

960.00 Sq. M

Auditorium

Type 1

01

800 Seats

Amphitheatre

Type 1

01

806 Seats

Parking

Bus

03

4- Wheeler

292

2- Wheeler

120

Type 1

05

AC Shops

Toilet

• Site Area: 3.92 Hectare (32375.00 Sq.M)

3.1. Area Statement

• Proposed Ground Coverage: 27.88% - 9028.00 Sq.M • Proposed FAR: 39.98%- 12925.00 Sq.M

56

Conclusion: The traditional Haat of contemporary times is a rich, earthy play of colour and texture and an experience of intimate spaces

designed to human scale as well as the grandeur. The site being closer to a huge green belt area, the design is carried out in reference of its surroundings. The haat has been developed with

3.97.Interactive urban spaces

a number of eco-friendly features such as follows:

3.98. Exposition Hall: Green cover over the hall is a unique feature in the haat. It also acts as a thermal cooler for internal space. It also gives a sense of seating under the green cover

3.100. Transition Space: Sense of peacefulness and a pause area.

The paving guides the users to access the inner spaces.

3.99. Circular Stall: The stalls creates street bazzar in the site itself. The basket tower behind these stalls is more imposing

Sufficient Ground Level Parking for 2 wheeler, 4 wheeler and buses

3.102. Entrance: Grand welcoming entrance with different scales of elements superimposing the entrance court

3.103. Basket Tower: Being at the entrance of the haat, the tower homes DTTC office and other supportive administration office.

3.101. Food Court: Rhythm of repetition of vertical bands gives a sense of verticality. Glass faรงade gives transparency between indoor and outdoor spaces

3.104. Pedestrian Ramp: To access the levelled up areas, wide barrier free ramp can be used. The ramp gives view to the haat.

57

Conclusion: Elements

Observation

Comments

Entrance

The front view from the entrance is punctuated by a veranda with rising walls and huge architectural forms beyond.

These block the inside view of activities and functions of the formal shops. In the absence of any design clues the view from the large entrance plaza remains dull.

Ramp

Ramp brings the two levels together, thus giving the impression of a larger open space.

The form dictates the movement through the campus and the ramps takes to the upper level which increases interaction between spaces.

Circulation

Built form defines the circulation through the building.

Paving helps in defining the pathways.

The site is made barrier free by adding ramps at various points.

Light and Ventilation

Deep Verandas, membrane canopies and self shading forms of bamboo basket tower, green roof are few measures taken to keep the interiors lit and decreases the temperature inside.

These measures makes the buildings climate responsive.

Design Features

• Contemporary use of materials • Low height with more spread on ground • Green cover • Street bazzar • Plazas within the site • Built Spaces with a backdrop of green cover.

Use of materials makes the haat unique in its sense. The forms and spaces created along the form makes the space more interactive.

Parking

Sufficient Parking on site and service parking below the ground.

Parking being on the periphery of the site, reduces traffic congestion at entry point.

3.2. Inferences 58

“The existing metro rail line within the sit catches a spectacular view of elevated upper craft bazaar with vaulted green roofs and a dynamic urban spaces created..�

Dilli Haat, Pitampura Terraced Landscaping within Market

Dilli Haat, Janakpuri has been designed to cater the comfort levels of all sections in the society keeping in mind the same principles and simplicity of ambience.

Address: TV Tower, Netaji Subhash Place Pitampura, North- West Delhi

Year of Construction: 2007 Client: Delhi Tourism and Transportation Development Corporation

Climate: Composite Climate Site Area: 2.9 Hectares Built-Up Area:

29,000 Sq. M

Architect: Mr. Pradeep Sachdeva

Typology:

Commercial

3.105.The existing metro rail line within the sit catches a spectacular view of elevated upper craft bazaar with vaulted green roofs and a dynamic urban spaces created.

An understated and simple layout comprising of low - rise buildings grouped together to enclosed interesting spaces that encourages different activities. Large open spaces have been mapped in different stages linked by activities such as shopping, exhibition, demonstration halls.

59

Location: • A central place surrounded by a group of residential blocks from one side with the popular shopping complex of Netaji Subhash Place on the other end.

• Metro station on eastern side of the site about 200 M away.

• Wazipur Road on southern side.

3.106. Map Of India Showing Delhi

3.107. Pitampura, Delhi

3.108. Location Site Plan of Dilli Haat, Pitampura

Site Conditons: • ‘It was not allowed to construct high structure due to the Metro bridge.

• The area below the Metro bridge was initially empty but later the site for the HAAT was extended below the Metro utilizing the area as Green area and sitting.

• Two columns of Metro are included in the site.

• The site was previously used as a casting yard for metro.

Concept: • The understated and simple layout, comprising of low rose buildings grouped together to enclose interesting spaces that encourages various activities.

• Large open spaces have been mapped out in different stages linked by activities such as shopping, exhibition, demonstration areas.

3.109. Street of stalls 60

Planning: • The site is contoured, the entry from the road leads to a higher level with a gradually slope till the ticket counter.

• The inviting entry plaza is made open for all with designed seating arrangements under the tree shade.

• Spice court near the entrance allows shoppers to pick up authentic spices, opposite to the craft court.

• Fore court before the stalls gives the view of series of stalls with its craft court.

• The lanes of stalls has both side seating with landscaping giving an urban character.

• The central axis divided the shopping lanes into two parts.

3.110. Zoning

• The buffer space for recreational activities divides the site into two parts – shopping area and for public activities.

• There are two ways of reaching the level below - Ramp from the craft court leads the food court with in between sittings.

- Open air amphitheatre takes the transition space between the two levels.

• The spill-over spaces makes the site more interactive.

Hierarchy in Planning: Level 1: Public Spaces- 1.Entrance Court 2.Administration Office 3.Art Gallery 4.Parking Level 2: Commercial Spaces- Stalls Level 3: Peaceful Spaces- 1.Food Court 2.Restaurant 3.Amphitheatre 4.Confernce Hall

61

Site Plan:

3.111. Site Plan

1. Coffee Shop, Information & 7. Sculpture Court Bank 8. Art Gallery 2. Entrance Plaza 9. Craft Market 3. Children Play Area 10. Dormitory 4. Managing Office 11. Amphitheatre 5. Spice Market 12. Food Stalls 6. Upper level plaza with 13. Food Court basement car parking below 14. Craft Market

15. Multipurpose Pavilion 16. Conference Hall 17. Restaurant 18. Utilities 19. Sewage Treatment Plant

62

The Proposal: The Haat in Pitampura is envisaged as a well planned space with provisions for following functions: • An entry plaza which acts as buffer between the main road and the Haat.

• A specially designed spice market that works independently.

• The series of craft shops gives a view of street shopping and makes the space more urban in nature.

• An open air Amphitheatre is the transition element which divides the site into two levels.

• Children's play area at the entrance provokes more users to the site.

• Dormitory at first floor for the artisans to stay.

• Public toilets with natural ventilation.

• Food Court at the other end of the site makes it more comfortable • Sculpture Court for demonstration of art work near the art gallery.

• Basement car parking with its separate entry and exit points.

• The haat also has and conference hall, banquet hall, and a fine dine restaurant.

Design Elements in Dilli Haat, Pitampura: Entrance Plaza: • The entrance plaza is intended as a buffer between the busy road and haat lending it a sense of place as well as avoiding the spill over of activities onto the road one walks past the beautiful landscape area.

• Green area and sit out at plaza creating a buffer zone.

• The entrance to the site is at a lower level of the road from Lala Jagat Naryan Marg.

3.112. Entrance Plaza with landscaping

3.113. Entrance Plaza with public seating

3.114. Key PlanEntrance Court

63

Spice Market: • It is used to display the attractive ethnic products of various states.

• Being at the entrance pulls the visitors to it.

• Loading and un-loading happens from the basement just below it.

3.115. Spice market with its forecourt

3.116. Spice market on ground and below it basement parking

3.117. Key Plan- Spice Market

Art Gallery: • A separate hall for art gallery is given for art exhibition with separate entry from outer side of the complex.

• The spillover space before the gallery reduces the traffic congestion.

• The corner placement of art gallery gives a sense of privacy.

• An intermediate sculpture court in front of art gallery and exhibition.

3.118. Sculpture court

3.120. Key Plan- Art Gallery

3.119. Art Gallery Entrance

Administration: • It includes ticket counter, offices and meeting room and is at the right of the entrance.

• The structures are in brick with slate roofs on verandah.

• The ticket counter is in front of the admin block and at the entrance of the haat.

3.121. Ticket Counter

64

3.122. Key Plan- Administration

Stalls: • Area : 9 Sq. M • These are placed at the front so that visitors browses them before entering the food stalls.

• The series of stalls on both the sides of the lanes gives a bazar character to it.

• The craft shops, essentially a verandah like arcade, have different kind of built in shelves, to provide a variety of selling styles : off counter, on the floor, stepped display and so special stores have been provided temporary shops.

• The passage before the shops is covered sloping roof. 3.123. Key Plan- Street of Stalls

3.124. Central plaza dividing the lane of shops

3.125. Lane of Shops

3.126. Interior in-built platform Sloping Roof Wooden Battens Artificial Light Brick Arch Wooden column to support the sloping roof Wall Display Counter Display 3.21. Stall

3.127. Details of Stall with sheds

3.128. Section through shop showing vaulted roof and shed

65

Dormitory: • Capacity: 28 beds • Dormitories providing accommodation for the artisans and craftsmen's to stay during the exhibition days.

• Each dormitory of approx. 33sqm is given with space for 4 days.

• A combined toilet for 2 dormitories and common toilet for all dormitories on each floor.

• The structure of two stories is made for dormitories.

• It has a common gallery facing the park on the rear side.

3.129. Passage to access the rooms

3.130. Interior of room

3.131. Key Plan- Dormitory

Amphitheatre: • A small performance art theatre.

• The stage has a circular form and adequate back stage area.

• There is a central 2.5 M wide walkway towards stage from the center and on sides.

• Back up areas for amphitheater are like green room, toilets.

• A central 3M wide walkway towards stage from center and sides.

• Frescos painted on rear wall.

• Planting on Steps.

• Ramps provided.

3.132. Double and clearstory windows for natural ventilation

3. 133. Back Stage Entry 3.134. Key Plan- Amphitheatre

66

Toilet: • Separate male female toilets at the end of the sculpture court.

• Bamboo partitions is placed to give an informal look and to block direct view.

• The space is lit with daylight • Clearstory windows are provided for natural ventilation.

3.135. Double and clearstory windows for natural ventilation

3.136. Male Female Toilet

3.137. Key Plan- Toilet

Conference Hall: • The conference hall is provided with a small kitchenette, buffer area, store.

• A waiting room for visitors is also provided.

• Conference Hall being at the extreme end of the site makes it isolated.

• Toilets facilities are also provided in this area.

3.138. Passage to access

3.139. Interior of the Hall

3.140. Key Plan- Conference Hall

Bank and Utility: • Bank and ATM provided for monetary purpose and conveniences for the visitors.

• Also accessible from outer side.

Activity Lounge: • It is behind the amphitheatre .

• Provided for social activity performances.

• It covered by steel trussed finished by tile covering .

67

Food Plaza: • Food plaza is provided at the back, due to the requirement of hygiene and dust proofing is furnished in kota stone flooring and RCC roof.

• There are 40 food stalls in whole plaza, with each one specializing in the foods of a particular state, thereby providing food from all states.

• All the food stalls are simple brick structures with flat RCC roofs and parapet walls are given a treatment of brick jaali.

• The front façade of different blocks are given treatments in form of traditional arts of their state.

• Small planters have been created with seats arranged around them and the restaurants are covered under sheds.

• Food stalls surrounded by open air eating areas. The tables are of brick and concrete with stone slab tops

3.140. Seating Arrangement

3.141. Food Stalls

3.142. Key Plan- Food Plaza

Restaurant/ Dining Hall: It is a central multi cuisine restaurant, placed to the right side of the food court.

3.143. Hall- Interior

3.144. Hall- Exterior

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Parking: • Parking is provide at the entrance towards the north-east corner and at the basement of the food court.

• 350 Cars at Basement Level • 130 Two- wheeler at Basement Level.

3.145. Basement Parking

3.146. Ground Parking

3.147. Key Plan- Parking

Movement: • Vehicular Movement is restricted to the entrance and periphery • Pedestrian and Vehicular entries are from a busy street.

• There is a separate service entry and a couple of special

entry points.

Barrier- Free • Lifts, ramps and escalators are installed for the convenience of differently-abled persons and senior citizens.

Service Movement Barrier-Free Movement Pedestrian Movement

3.148. Key Plan- Movement

3.149. Ramp to access Entrance Court

3.150. Ramp to access amphitheatre

3.151. Ramps and Steps to maintain the site contour 69

Services: • 2 Nos. of public toilets (Male and Female) • Energy efficient fittings and light fixtures • 24 x 7 Power back up • Proper sewage treatment plant • Water treatment plant • Rain water harvesting 3.152. Solar Panels above the craft shops

• garbage dumping spaces

• CCTV cameras have been installed at the venue which provides proper surveillance.

• Electric sub station, Pump room, DG panel, LT room • All the services are provided on the periphery of the site with a service lane around them.

• Service lane also gives them an appropriate set back from the TV tower radiations.

• Gas pipes, flame-poof cylinder locking spaces, kitchen exhausts, hydro-pnuematic systems, generous sinks and pot wash areas all thought out built in.

• Drainage has been worked out on the basis of area drains. These area drains are connected to storm water drains which ends into the municipal sewer lines that run along the linear length of the site.

3.153. MS Grating

3.154. Fire cabin located on every intervals

Garbage dump (2.4mx2.1m)

Common wash area (5mx3m) Gas banks

3.155. Channels running on ceiling level in basements with sprinklers at regular intervals.

3.155. Service entry

Service area behind food courts 3.156. Site Services 70

Signage’s: • Signage's are installed in intervals, in different zones.

• The selection of material remains the same for the signage's as of the built structure.

• Material: Stone and SS Sections painted similar to stone.

3.157. Stone Signage's

Lightning: • The campus is developed as a street and lightened by traditional circular lamppost.

• Individual building has its own lighting system.

• Outdoor satins having lamppost.

3.158. Lamppost

Open Spaces: • A plaza paved with stone and brick work skillfully interspersed with grass, flowering shrubs and flowering eucalyptus trees plus a play area for children.

• The landscape of the area incorporates colorful flowering shrubs and trees.

• Shrubs are used at the boundary for beautification and also to cover the rear side of the shops.

• Flooring patterns change at every level. Bricks have been placed either radial or in crisscross pattern at various levels to merge with the vegetation created at the site • Green Cover in Dilli Haat are:

3.159. Key Plan – Open Spaces

Plants

Trees

Shrubs

• • • •

• Caesalpinia decapetala • Acacia • Cork tree • Royal palm • Easter tree • Curry

• • • • •

Ficus Sughandhi Wild date Dardpat

Hardscape Softscape

Camphire Hibiscus Gardenia Chelorodendm Azalea 71

3.162. Hibiscus It is placed with ramp aligned to Amphitheatre

3.165. Plumeria Alba

•

3.166. Wild Dates

3.163. Camphire Shrub It is planted at entrance of site in four side curved shape.

3.164. Ficus Seating area is planted by different plants and trees, for shading and asthetic purposes in front of restaurant.

3.167. Camphire Shrub

3.168. Manicured Shrub

The irrigation of all plants, shrubs and trees are done by recycled water supplied from sewage plant.

• It’s supplied by PVC pipe which are hide in shrubs, these piping is fitted in a manner that it is not easily visible.

Hardscape • To create interest and to give relief from the scorching sun, some trees were planted as a part of design but it could not be heavy foliage so small green spaces have been created.

• Open sittings is also well designed around these green spaces.

Sculpture court in front of art gallery

Paved area

Green area

Small tree planters

Landscape court with curvilinear floor patterns

3.169. Flooring Pattern 72

Materials: • The building Technology is simple keeping in mind the functional and aesthetics concept of the Haat, and as in its precursor, inspired by vernacular architecture with subtle rural village settings.

• The structures are built of framed RCC with walls in brick and stone.

• The shaded Verandahs in the front are covered by stale tiles placed on a framework of steel.

• The sloping Verandahs which are probably urban interpretation of the rural thatched roofs are marked by ochre colored columns made of timber with yellow sandstone base.

3.170. A. Patterns formed in accordance with the landscaping

3.171. B. Court- Red Brick Veranda – Red sandstone

3.173. D. White Vitrified tiles

3.174. E. Bhudhpura Stone in Food Court for water run-off

A D

3.172. C. Brick Paving throughout the site

C B

I

H G

3.175. F. Red Sandstone is used in Amphitheatre (seating area)

F

E

3.176. G. Red Sandstone is used on treads for easy movement

3.179. Key Plan- Materials 3.177. H. Brick jaali in wall for ventilation

3.178. I. Slate resting on wooden purlins

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Area Statement: Building

Number

Area / Units

Coffee shop, information centre, bank

01

80 Sq. M

Children Play Area

01

1740 Sq. M

Craft Shops

108

10.8 Sq. M

Spice Market

01

279.6 Sq. M

Art Gallery

01

234 Sq. M

Office

01

77.6 Sq. M

Amphitheatre

01

200 Sq. M

Dormitory

08

32.9 Sq. M

Conference Hall

01

207.23 Sq. M

Restaurant

01

194.61 Sq. M

Food Stalls

30

35 Sq. M

Toilet

02 3.3. Area Statement

• • • • • •

Total Plot Area: 28,885.5 Sq.M Ground Floor Built- Up Area 4,013.00 Sq.M First Floor Built Up Area: 715.00 Sq.M Basement Area: 5,430 Sq.M Permissible Ground Coverage: (25%)7,221.00Sq.M Proposed Built-Up: (0.15) 4728.00 Sq.M

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Conclusion: It provides an ambience of a traditional village market for more contemporary needs. It provides a synthesis of crafts, food and cultural activities. This is an

egalitarian space where people from all sections of the society come to buy crafts, to eat, to relax and to engage in diverse social interaction. The haat has been developed with a number of eco-friendly features such as follows:

3.181. Sculpture Court: Built halls opens up in open to sky courts which acts a spit-out space and reduces congestion in passage.

3.180. Entrance Plaza: The plaza has been designed as a recreational space and includes a play area for children integrated with the adjoining street.

3.182. Site Furniture: Seating furniture in campus breaks the monotony of walkways and gives a good sitting space, creating a vista along with the plants and shrubs. These sittings are giving a forcefully direction.

3.184. Landscape: Site’s architecture is supported and enhanced with landscaping- Green Areas.

Sufficient Ground Level Parking for staff and basement parking for visitors.

3.185. Food Court: Open food court attracts the passer-by and also gains attraction from amphitheatre.

3.183. Street Bazaar: Covered Passage makes the movement easy even in harsh weather and helps in maintaining the inner temperature.

3.186. Activity Area: To break the hard and rigid planning, covered platform provides spaces for gathering.

75

Conclusion: Elements

Observation

Comments

Entrance

The front view from the entrance plaza is levelled up with a lot of sittings with landscaping.

These block the inside view of activities and functions of the formal shops. In the absence of any design clues the view from the large entrance plaza remains dull.

Ramp

Ramp brings the two levels together, thus giving the impression of a larger open space.

Circulation

The lanes defines the circulation around the shops. the verandas are shaded The site is made barrier free by adding ramps at various points.

The transition space acts a playful space between the food court and craft court.

Mutual Shading from the sloping roof maintains a comfortable temperature.

Light and Ventilation

Deep Verandas, membrane canopies and self shading forms keep the interiors lit and decreases the temperature inside.

These measures makes the buildings climate responsive.

Design Features

• Contemporary use of materials- Red brick • Low height with more spread on ground • Green cover with a variety of trees.

• Designed hardscape • Street bazzar • Plazas within the site • Built Spaces shaded with sloping roof.

Use of materials makes the haat unique in its sense. The forms and spaces created along the form makes the space more interactive. The in-between sittings gives an urban perspective to the haat.

Parking

Sufficient Parking on site and basement and service parking below the ground.

Parking being on the periphery of the site, reduces traffic congestion at entry point.

3.4. Inferences 76

 Awadh Shilpgram, Lucknow  CBD Belapur Urban Haat, Navi Mumbai  Khamir Crafts Resource Centre, Bhuj

“The elliptical complex is an integration of craft, shops, crafts courts, performance areas, food courts and other facilities.�

Avadh Shilpgram, Lucknow Infusing the Traditional with Contemporary

BAZAAR + CRAFT + CULTURE + CUSINE Address: Near Awadh Vihar Yojna, Amar Shaheed Path, Lucknow, Uttar Pradesh

Year of Construction: 2016 Client: Government of Uttar Pradesh Climate: Hot and Humid Site Area: 20.1 Acres Built-Up Area:

29784 Sq.M

Architect: Mr. Sourabh Gupta, Archohm

Typology:

Commercial

4.1. The elliptical complex is an integration of craft, shops, crafts courts, performance areas, food courts and other facilities.

Typically like Indian urban Bazaars, Awadh Shilpgram is a visual and experiential mĂŠlange, facilitating leisure/recreational activities, indulgence in food, socio-cultural celebrations, providing a platform for all sections of society to interface and encouraging shopping that supports livelihoods; thus keeping alive the legacy of arts and crafts of the entire region of Awadh.

77

Location: • Lucknow, itself the nerve centre of the Awadh region in erstwhile times and now as state capital is a throbbing cultural hub, making it a relevant place to host a socio-cultural institution as the Awadh Shilpgram.

• The site is located close to a major highway in a rapidly developing area.Its proximity to Kannauj, Moradabad, Varansi, Firozaabad makes it relevant to host a socio- cultural institution.

4.2. Map Of India Showing Uttar Pradesh

4.3. Shaheed Path Bridge and its Surroundings, Lucknow

4.4. Location Site Plan of Awadh Shilpgram

‘Concept: • Shilgram is designed from inspiration of cultural, political, commercial and entertainment activities of people.

• This is built with a motive to keep the warmth of Lucknowi markets and culture alive and keep the memories of streets of the city alive.

• It is inspired from Rumi Gate and Imambara.

4.6. Street View

4.7. Concept

4.5. Rumi Gate

4.8. Imambara 78

Planning: • Awadh Shilpgram is an elliptical form evolving organically from the interactive spirit of people enables a smooth corner circulation; narrowing down while spiraling inward.

• Elliptical form of this haat is designed outside in, which helps in smooth running of premises.

• The building forms a collage of shapes and materials that references the chaotic

composition of the bazaar found throughout the region.

• From an entrance courtyard, a spiralling structure lined with craft shops leads gradually towards an open plaza at the centre of the curving building.

• The open area at the centre of the complex contains a stepped amphitheatre.

• The campus has an arc-shaped exhibition hall and a food court that look onto a circular lawn with a fountain at its centre.

4.9. Zoning

The Proposal: • A provision of Auditorium, Amphitheatre, Food Court, Exhibition Hall, 200 Stores and Dormitories as a restroom for artisans along with their entertainment

resources.

• 24 units of craft courts for developing interest in handicrafts, where live exhibition of various forms of handicrafts can be carried out.

• Greenery is developed in the campus to provide pleasant environment to the users.

• Playgrounds for children • Live performance of folk art in the amphitheatre provides a relaxing environment

for the users of the space • Food courts with several cuisines.

79

Site Plan:

4.10. Site Plan

1. Entrance Court 2. Admin, Indoor Kids Zone & Service Block 3. A.C. Shops 4. Craft Shops 5. Platform Shops 6. Dormitory & Amphitheatre 7. Sitting 8. Food Street 9. Craft Courts 10. Food Court 11. Water Body 12. Exhibition Hall

13. Outdoor Dining 14. Service Courtyard 15. Sunken Plaza 16. Outdoor Kids Zone 17. Parking 18. Service Block 19. Open Banquet 20. Green Area 21. Space for DG and Transformers 22. Banquet 23. Garbage Dump & Common Washing Area 24. Handicap Parking

80

Floor Plans: Platform Shops Craft Shops 93 Shops A.C. Craft Shops 16 Shops Food Court Stalls 08 Stalls Exhibition Hall Dormitories (Ladies) 74 Beds Public Toilets Craft Courts 24 Craft Courts Banquet Halls 2 Halls, 1000 Person each Kids Play Area Indoor and Outdoor Administration Other Services

4.11. Ground Floor Plan

Platform Shops Craft Shops 73 Shops A.C. Craft Shops 15 Shops Food Court Stalls 01 Stalls Exhibition Hall Dormitories (Gents) 100 Beds Public Toilets

4.12. First Floor Plan

81

Section- 3

Section- 2

Section- 1

A

B 4.13. Site Section

4.14. Site Section

Detail of A- Craft Shops

4.15. Site Section

4.16. Detail Section

Detail of B- Demonstration Court 4.17. Detail Section 82

Design Elements in Awadh Shilpgram, Lucknow: Amphitheatre: • A stepped amphitheatre located centrally, incorporates planted beds.

• A paved ramp provides access to the upper level, which looks down towards the circular stage

4.18. Amphitheatre- Under Construction

4.19. AmphitheatreWith Stepped Planter Boxes

4.20. Key PlanAmphitheatre

Demonstration Area: • Demonstration Area is outside the main spiral building.

• The area is developed as cluster of stone-walled structures with rounded turf-covered roofs • The artisans conducts workshops there and is observed

by groups seated on benches incorporated into the inner walls.

4.21. Undulating surfaces above the structure- Under Construction

4.22. Turf above the built form

4.23. Key PlanDemonstration Court

Arches: • The arches are the important element of the architecture of the city of Lucknow.

• To articulate contemporary traditional elements us of arches and Jaalis are introduced as a skin to the inner face of the buildings.

• It is given a 'make-over' in a contemporary style even while continuous access is allowed beneath it.

83

• An independent structure is arranged to look like an integrated one.

• Each arch allows entry into the corridor at the ground-floor level.

• The zigzag form of jaali arches is derived by modifying the basic lines of traditional Mughal arches from which one can pass through in the corridors.

• The double height gives a grand feeling like in the Buland Darwaza at Agra.

• Material: The steel structure cladded with Red Agra sand stone in Jaali pattern, with motifs inspired by the renowned Lucknowi embroidery craft called ‘Chikan kari’.

Corridor Arches- Under Construction

4.24. Installing Jaali Panels

4.25.Corridor Arches- After Construction

4.26. Key PlanDemonstration Court

Light and Ventilation: • Adequate day light and proper air circulation through cross-ventilation adds dimension of comfort to the Shilpgram.

• Green cover on the roof of the shops acts as a natural air cooling technique.

• The archway acts as shading device.

• Stone Masonry and red sand stone cladding act as a cooling agent.

4.27. Mutual Shading

4.28. Light and Ventilation- Concept

84

Movement: • Vehicular Movement is restricted along the periphery of the site.

• Pedestrian Movement is defined by the elliptical form of the building, enabling smooth barrier free circulation.

• Entrance to the site is along the north and south.

4.29. Key Plan- Movement

Built- Unbuilt:

4.30. Key Plan- Built- Unbuilt

Green Area:

4.31. Key Plan- Open Spaces

Parking:

4.32. Key Plan- Parking

85

Area Statement: Building

Number of Shops Ground Floor

Area

First Floor

Craft Shops

81

63

3300 Sq. M

AC Craft Shops

28

26

4150 Sq. M

Craft Courts

24

85

925 Sq. M

Food Court

09 Food Stalls

02 Restaurants

3300 Sq. M

Exhibition Hall

01

Dormitory

44

Amphitheatre

500 Seats

2495 Sq.M 102

Administrative Block

2930 Sq. M 3000 Sq.M 1840 Sq. M 4.1. Area Statement

Conclusion: Elements

Observation

Comments

Entrance

• Voids between the built forms defines the entrances.

Ramp

• Spiral ramp along the arches defines the built form.

Circulation

• Built form defines the circulation through the building.

Light and Ventilation

• Overhanging slabs takes care of the summer sun while allowing the winter sun.

• Double height spaces and split levels helps in stack ventilation.

These measures makes a huge difference in keeping the temperature down.

• Arches with jail defines the façade of the complex.

Corridor below the arches is the passage which connects the shops.

• Sufficient Parking on site near al entry and exits.

• Special parking for handicaps • Service entry and parking on east side.

Parking being on the periphery of the site, reduces traffic congestion at entry point.

Design Features

Parking

The form dictates the movement through the campus and the arches makes the façade look pleasant.

4.2. Inferences 86

Conclusion: The elliptical complex is an integration of craft shops, craft courts, performance areas, food courts and other facilities. The

architecture in essence gifts an iconic sociocultural institution employing a vocabulary that is contemporary and functional yet rooted in history. Shilpgram has been developed with a number

4.33. Informal Seating

of eco-friendly features such as follows:

4.34. Entrance: The landscape at the entrance converts into the huge entrance court gives a hint of massiveness of the site.

4.35. Covered Passage: The grand arch is reinterpreted as a skin to the inner face of the buildings in a contemporary style with continuous access beneath it

4.36. Green Roof: Passive feature turn into an interactive cum urban feature for the site. The green roof adds extra load on the Ferro cement roof.

4.37. Steel Arches: Grandeur of the arches makes it more interesting. The zig-zag welding of the steel battens helps the jaali frame an extra support. The monotony of the building gets continued through the jaali arches. The curved column stands on a concrete footing which provides more stability. Joinery of the steel members is done through welding.

4.38. Elliptical Planning: The form enables free flowing movement throughout the site. It allows mutual shading and maintains thermal comfort.

The planning lacks in seating spaces in shaded area.

4.39. Jaali work allows diffuse sunlight to enter inside the passage.

87

“The cluster planning is an integration of craft, shops, crafts courts, performance areas, food courts and other facilities.�

CBD Urban haat, Navi Mumbai Ever Permanent Fair for Craft, Food, and Cultural Activities

Address: Sakaram Patil Marg, Sector 6, CBD Belapur Navi Mumbai

Year of Construction: 2017 Client: Maharashtra Government Climate: Warm and Humid Site Area: 15 Acres Built-Up Area: Topography: Typology:

1.5 Acres

Highly Contoured

Commercial

4.40. The cluster planning is an integration of craft, shops, crafts courts, performance areas, food courts and other facilities.

Urban Haat at Belapur give the city shop goers a varied experience of shopping in natural surroundings. The visitors are intimidated by the feeling of exclusion and peaceful environment with sound of classical music reaching to their ears. People feel close to nature while walking along the pedestrian pathways looking at stalls selling handicrafts on one side and nature on the other side.

87

Location: • The site is near to Belapur Railway Station in Sector 29. The Site is located at corner of cross junction of Nirmaladevi Marg and Sakaram Patil Marg.

• The Site has undulating Terrain with hill at the centre and slope towards the surrounding roads. The site provides panoramic view of the areas surrounding it.

• Belapur is planned as a central commercial and cultural center for people of Navi Mumbai. Raigad Bhavan, NMMC, Reserve Bank of India, MTNL are some of the administrative offices which are situated in Belapur.

4.41. Map Of India Showing Maharashtra

4.42. Belapur, Navi Mumbai

4.43. Location Site Plan of CBD Urban Haat

Planning: • The site is hilly terrain which is sloped towards the main roads. The planning is done with reference to pedestrian circulation and site contours.

• Use of Contours is visible in planning. Different levels are created on the site

separates different activities taking place simultaneous.

4.44. Zoning

88

• Cluster Planning is incorporated for designing of stalls.

• A retaining wall around the site and locating structural components at the periphery.

• Natural Landscape is maintained wherever possible. Bamboo is planted throughout the site. Curbing around the trees and plants is done to prevent any damage .

• All the shops faces east to allow natural daylight.

• The Haat has food court at the extreme end.

• The central part of the haat is designed for public activities like Amphitheatre, water bodies using natural contour.

The Proposal: • With Metro project being implemented in Navi Mumbai there is a great chances of development in all sectors.

• A provision of Amphitheatre, Food Court, Exhibition Hall, 50 Stores along with their entertainment resources.

• 50 units of craft stalls to exhibit and sell arts such as Handloom, Handicraft, Hand carved wooden furniture.

• The campus is surrounded by lush greenery to provide pleasant environment to the users.

• Amphitheatre is developed along the contours of the site.

• Food courts at the extreme end of the haat.

4.45. Wall Painting

4.46. Interactive Sculpture along with the Pedestrian walkways

4.47. Open Exhibition Area

89

Site Plan:

4.48. Site Plan

1. Entrance Court 2. Administration 3. Stall Cluster 4. Sunken Court 5. Amphitheatre

6. Water Body 7. Food Court 8. Exhibition Hall 9. Lake 10. Parking

Design Elements in CBD Urban Haat:

Craft Stalls: • Each cluster has two stalls sharing a common rubble wall and two vault has been constructed as a roof which are supported by beams resting on these walls.

• Area of each stall is fixed to 15 Sq.M considering the space required for artisans for displaying, storage and other activities.

• The vault roof is made of bricks and concrete with pieces of coloured ceramic tiles used for surface treatment.

• Exposed rubble masonry walls.

4.49. Elevation

4.51. View 4.50. Plan

4.52. Key Plan- Stall Custer

90

4.53. Level difference between pedestrian walkway and stall

4.54. Cluster of 2 stalls

4.55. Stall Interior

4.56. Stall Interior

Food Court: • The food court has 3 stalls with independent kitchens creating private space for internal function of Kitchen and Utility area.

• A common open public seating area.

4.57. Food Court Module

4.58. Cluster for Food stalls

4.59. Key Plan- Food Court

Exhibition Hall: • Courtyard Planning, Courtyard surrounded by 4 exhibition Halls.

• The courtyard provides Daylight and ventilation to the interior built spaces.

4.60. Exhibition Hall Entrance

4.61. Key Plan- Exhibition Hall

91

Amphitheatre: • Capacity: 200 • Use of natural contours for seating arrangement.

• Ramp to access amphitheatre.

4.62. Amphitheatre

4.63. Key Plan- Amphitheatre

Toilet: • Separate Male Female Toilet • Use of natural Light and ventilation.

4.64. Male-Female Toilet

Signage:

4.66. Signage

4.65. Key Plan- Toilet

Street Furniture:

4.67. Street Furniture- Bench

92

Movement: Vehicular Movement is restricted along the periphery of the site.

Pedestrian Movement is defined long the contour levels throughout the site.

Entrance to the site is along the north direction 4.68. Key Plan- Movement

4.69. Pedestrian Pathways

4.70. Entrance Court

Open Spaces:

4.71. Green Patches

4.72. Natural Waterbody

4.73. Hardscape Softscape

4.74. Key Plan- Open Spaces

Built- Unbuilt:

4.75. Built v/s Unbuilt Spaces

4.76. Key Plan- Built- Unbuilt 93

Area Statement: Building

Number

Area

Craft Shops

50 (15 Sq.M)

750 Sq. M

Food Court

08 Food Stalls

120 Sq. M

Exhibition Hall

01

200 Sq.M

Ticket Booth

01

15 Sq. M

Amphitheatre

200 Seats 4.3. Area Statement

Conclusion: Elements

Observation

Comments

• The entrance is from the main road.

Easy access from main road and public transport.

The terrain dictates the movement through the site making it cost-effective.

Circulation

• Vehicular Movement restricted till entry.

• Pedestrian Movement throughout the site supporting with universal access • Movement in site is planned according to the terrain.

Proper use of contours.

Planning

• Cluster planning • Different levels created, segregates the activities of the haat.

• Natural landscape is maintained.

• The Haat being covered with huge foliage trees, the temperature is lower as compared to outside.

Aesthetic elements like water fountain, amphitheatre, seating spaces enhances the natural maintained landscape.

• The clusters face towards east for maximize fresh breeze and daylight.

Buildings should be responsive to climate and maintain the sustainability of the site.

• The vault roof is made of bricks and concrete with pieces of coloured ceramic tiles which is used for surface treatment.

• Exposed rubble masonry walls

Stone walls and sloping roofs acts as vernacular architecture.

Entrance

Natural Features.

Design Features

Materials

4.4. Inferences 94

“A contemporary pastiche upholds the cause and relevance of traditional building practices and inscribes its echo and the idea of timelessness of architecture rooted in identity, authenticity, culture and context.�

Khamir Crafts Resource Centre, Bhuj A joint exploration of architectural capacities to reawaken a local craft

Address: Behind BMCB Society, Lakhond Crossroad Kukma Road, Bhuj

Year of Construction: 2007 Client: Nehru Foundation for Development Climate: Hot and Dry Climate Site Area: 8093.71 Sq.M Built-Up Area:

844 Sq.M

Architect: Mr. Neelkanth Chhaya Typology:

Earthquake proof Structure, Commercial

4.78. A contemporary pastiche upholds the cause and relevance of traditional building practices and inscribes its echo and the idea of timelessness of architecture rooted in identity, authenticity, culture and context.

Khamir works to strengthen and promote the rich art and traditions of Kutch district.

Moreover the campus design is responsive and sensitive towards the user groups.

The campus is planned in a way which comes together through fragmented notions in coordination with the existing context and scale of the region.

95

Location: • Khamir craft centre is located behind BMCB society at Lokhond crossroad- Kukma, Bhuj.

• Khamir is located on outskirts of the city 10 km from Bhuj.

• The immediate context is the open lands (Private Property).

4.79. Map Of India Showing Gujrat

4.80. Bhuj, Kutch

4.81. Location Site Plan of Khamir Crafts Resource Centre, Bhuj

Concept: • Derived from local street scape and village pattern.

Planning: • A low rise clustered campus design is responsive and sensitive towards its users.

• The planning is done in the same manner as of the village

4.82. Nodal Chowk

street layouts forming chowks and courts.

• In the stratified cluster- administrative offices and spaces for craft activities staggered along various levels compose the plan. Though internal, the complex resonates with a sense of openness.

• The buildings emulate the structure of the traditional villages in Kutch Regionworkshop units clustered together to form narrow streets and shaded spaces, and the streets divide and meet into courtyards and chowks.

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4.83. Zoning

The Proposal: • Khamir’s Administration Office.

• Office space and Studio Labs for 7 Craft Focal Points.

• Service Centres for Documentation Design.

• Facilities for Regional Natural and Chemical Dyeing.

• Quality Textile Laboratory.

• Value added Tailoring Unit.

• Raw Material Depot.

• Collaborative spaces for Demonstration and Learning.

• Meeting and Exhibition Halls.

• Private Residences and Dormitories.

• Dinning Hall and Canteen.

4.84. Mutual Shading

4.85. Sloping Roof blocks opens up in Informal courtyards.

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Site Plan: B

D

A

A’

C

C’

B’

D’ 4.86. Site Plan

4.87. Section A-A’

4.88. Section B-B’

4.89. Section C-C’

4.90. Section D-D’

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Ground Floor Plan:

4.91. Ground Floor Plan

1. Reception and Exhibition 2. Training Room 3(A). Workshop(Leather/Laquer) 3(B). Workshop(Bell) 3(C). Workshop(Pottery) 3(D). Workshop(Tie and Die) 3(E). Workshop(Weaving) 3(F). Workshop(Block Printing) 4. Administration and Museum

4.92. First Floor covered passage with GI and thatch railing.

4. Crc Design and Museum 5. Store 6. Guest House 7. Dining 8. Kitchen 9. Dormitory 10. Potter’s Shed 11. Weaver's Shed

4.93. Black stone staircase with coarse rubble stone pedestrian walkway 99

Design Elements in Khamir Crafts Resource Centre, Bhuj: Reception: • The Reception is the starting point of the campus.

4.95. Module of Reception Block

4.96. Key Plan- Reception Block

4.94. The materiality and the spatial construct tap into the creative possibilities inherent in the traditions of the context.

Administration: • The Administration block is designed for 10 people connected with Museum.

4.97. A composition of familiar space elements, the design is structured together in a manner to form shaded courts and thresholds.

4.98. Module of Administration Block

4.99. Key Plan- Administration Block

Accommodation: • Guest Room are mirror of one block, connected with a Staircase and Courtyard.

4.100. Overhead walkways connect the upper floors, dramatizing the walk through the ‘village’ with visual connectivity across levels.

4.101. Module of 4.102. Key Plan- Administration Block Administration Block 100

Workshop: • The workshops are designed as ‘otlas’ (raised plinths) adjoining a quiet protected room that is often used as a store for raw materials and tools, a space for research and development, or as a small display area for finished products.

• The workshop areas are made by making a module and repeating it six times creating lanes and chowks in between them.

• Module Level- The modules are created with covered interior spaces around a semi open space at the centre which acts as an informal active verandah.

• Each module is arranged in a way, where the get their own individual spaces for workshop.

• The training area is a club of 3 blocks, which are repeated and placed on the site contours forming an informal and interactive space.

• The training area is play of such modules, where blocks are mirrored and places.

4.103. Pause points inbetween clusters.

4.104. Module of Workshop Block 4.105. Key Plan- Workshop Block

Structural System: • Khamir’s structure system involves three main elements: 1. Foundation 2. Walls

3. Roofing • It is built by Hunnarshala Foundation, an organisation especially conceived to learn, use and promote sustainable practices in construction, Khamir employs unique strategies of making in this earthquake-prone area.

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Foundation: • Deep rubble stone foundations hold up the ground floor up till the plinth level , of all

the buildings using stone available nearby.

• 2M deep strip foundations are made with CC base.

4.106. Stone Rubble Masonry projection

4.107. Wall Section

4.108. Workshop unit section

Wall: • Walls at khamir are combination of three types: 1. Rammed Earth walls 2. Stabilized concrete blocks 3. Wattle and Daub •

The ground storeys of most of the buildings are constructed in rammed earth.

•

A cast- earth technology in which mud from the site is packed into metal formwork.

•

The walls continue upwards of the lintel using compressed and stabilized earth blocks- reinforced cement concrete makes the slab.

Rammed Earth walls: • This technique includes a slipping type formwork.

• The panels are lifted up and the walls are built like piers walls.

• The process is similar to the modern rammed earth system practiced.

• The ram is done by hand with some peripheral equipment.

• Some sand is added 25 to 30 % according to the soil quality ,so as to reduce shrinkage.

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4.109. Process of making Rammed Earth Wall

4.110. Formwork for Rammed Earth Wall

4.111. Completion of Rammed Earth Wall

Compressed Stabilized Earth Blocks: • The soil , raw or stabilized , for a compressed earth blocks slightly moistened , poured into a steel press ( with or without stabilizer) and then compressed either

with a manual or motorized press.

• CRB can be compressed in many different shapes and sizes. For example , the Aural press 3000 proposes 18 types of moulds for producing about 70 different blocks.

• Compressed earth blocks are stabilized with cement or lime. Therefore are called as compressed stabilized earth blocks ( CSEB).

• Walls are made of rammed earth till lintel level and then is constructed with

compressed stabilizers earth blocks.

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Advantages of CSEB: • Earth construction is a Labour intensive technology and it is an easily adaptable and transferable technology.

• It is a cost and energy effective material.

• It is much less energy consuming than country fired bricks (about 4 times less) • It is much less polluting than country fired bricks (about 4 times less).

4.112.Compressed stabilized earth blocks

4.113.Compressed stabilized earth blocks

Wattle and Daub: • Wattle and Daub is a composite building material used for making walks ,in which a woven lattice of wooden strips called waffle is daunted with a sticky material usually

made of some combination of wet soil ,clay ,sand ,animal dung and straw.

• The wattle is made by weaving thin branches (either whole, or more usually split )or slats between timber to make infill panels ,or it may be made in place to form the whole of a wall.

4.114. Construction of Wattle and Daub 104

Advantages of wattle and Daub: • Simple construction • Made of naturally occurring, abundant materials.

• Highly durable if properly constructed concerning it's structure , but also considering climate and location.

• Highly sustainable • Proper design , planning and construction can make maintenance costs less.

4.115. Construction of Wattle and Daub Wall

4.116. Construction of Wattle and Daub Wall

Roof: • Above the ground floor steel frames take over and support the roof.

• The roof are made with corrugated sheeting with country tiling ,using a naturally available compound purlite, as an insulating and

4.117. Details of Roofing with Steel Rafters

binding agent.

4.118. Steel Frames used for upper floor Roof

4.119. Tile Detail

4.120. Steel Frames for Roof

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Materials: Doors and Windows: • Locally carved shutters make windows ,and doors are made exactly in the vernacular manner

4.121. Wooden Door

4.122. Openable Window

POP Sculptured Wall: • The large gables underneath the roofs, bring in indirect light through a structure Plaster of Paris sculptured wall with small openings .

• Orientations and configuration take inti account appropriate breeze flow ,reduction of thermal radiation exposure and creation of effective daylight conditions.

• Ventilation is worked out in away that diffused light enters the room.

4.123. Pop sculptures- Exterior Wall

4.124. Pop sculptures- Interior Wall

4.125. Pop sculpture Daylight 106

Movement: Pedestrian Movement is defined throughout the site, concentrating on the central spine connecting the clusters.

Entrance to the site is along the south direction.

4.126. Pedestrian Pathways

4.127. Key Plan- Movement

Open Spaces:

4.128.Open, Semi-Open Courts

4.129. Key Plan- Open Spaces

Built- Unbuilt:

4.130. Built v/s Unbuilt Spaces

4.131. Key Plan- Built- Unbuilt 107

Area Statement: Building

Number of Users

Area

Reception and Exhibition

130

130 Sq. M

Museum Achieve

130 Food Stalls

100 Sq. M

Administration

10

50 Sq. M

Bell Workshop

15

82 Sq. M

Pottery Workshop

30

115 Sq. M

Block Printing Workshop

30

100 Sq. M

Weaving Workshop

40

100 Sq. M

Training

35

115 Sq. M

Leather/ Lacquer Workshop

30

90 Sq. M

Dye and Tie Workshop

25

72 Sq. M

Guest House

20

156 Sq. M

Cafe

12

36 Sq. M

Store

100 Sq. M

Toilet

100 Sq. M 4.5. Area Statement

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Inferences: Elements

Observation

Comments

Circulation

• Vehicular Movement restricted till entry.

• Pedestrian Movement throughout the site supporting with universal access • Movement in site is planned according to the main spine.

Circulation is majorly concentrated on the central spine connecting the cluster.

Planning and Design Features

• Cluster planning with courtyard effect.

• Orthogonal Planning • The planning is simple and strong, which comes tighter fragmented notions in concordance with the pre existing scale off the region.

• Plan and building relates to the local street pattern. A local village with narrow streets makes the atmosphere of creativity with the artisan and help them to work better.

• The street scape arrangement facilities the architecture to participate with users. It establishes a kind of urbanistic relationship.

• A local village with narrow streets makes the atmosphere of creativity with the artisan and help them to work better.

• • • •

• Climate responsive materials.

Materials

Rammed earth Rubble stone Wattle and daub Light weight lath plaster and paneling

4.6. Inferences

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 Dilli Haat, Janakpuri  Dilli Haat, Pitampura  Awadh Shilpgram  CBD Belapur Urban Haat

Parameters 1. Location and Access

Dilli HaatJanakpuri

Dilli HaatPitampura

Awadh Shilpgram

Belapur Urban Haat

• Lal Sai Mandir Marg, Virender Nagar Janakpuri East, New Delhi • The plot is bound by the main bus terminus on one side, the Tihar jail (a national prison) greens on the other side.

• TV Tower, Netaji Subhash Place Pitampura, North- West Delhi.

• Metro station on eastern side of the site about 200 M away.

• Wazipur Road on southern side.

• Near Awadh Vihar Yojna, Amar Shaheed Path, Lucknow, Uttar Pradesh.

• Located close to a major highway in a rapidly developing area.

• Sakaram Patil Marg, Sector 6, CBD Belapur Navi Mumbai • Located at corner of cross junction of Nirmaladevi Marg and Sakaram Patil Marg.

5.1. Location Site Plan of Dilli Haat, Janakpuri.

5.3. Location Site Plan of Awadh Shilpgram.

5.4. Location Site Plan of CBD Urban Haat.

Comments • The Site should be in crowded area so that the environment inside becomes more lively , Moreover in a developing area.

• The Site should have proper public transport facilities for better footfall.

5.2. Location Site Plan of Dilli Haat, Pitampura.

2. Year of Construction 3. Site Area 4. Climate

2014

2009

2016

2017

--

32,375 Sq. M

29,000 Sq. M

81,342 Sq. M

60,702.8 Sq. M

--

Composite Climate.

Composite Climate.

Hot Humid Climate.

Warm and Humid Climate.

---

5. Area Use

5.5. Area Use of Dilli Haat, Janakpuri.

5.6. Area Use of Dilli Haat, Pitampura.

5.7. Area Use of Awadh Shilpgram.

5.8. Area Use of CBD Urban Haat.

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Parameters 6. Planning

Dilli HaatJanakpuri

Dilli HaatPitampura

Awadh Shilpgram

Belapur Urban Haat

Comments

Organic Planning

Grid-iron Planning

Elliptical Planning

Linear Planning

--

5.11. Schematic Planning of Awadh Shilpgram.

5.12. Schematic Planning of CBD Urban Haat.

5.9. Schematic Planning of Dilli Haat, Janakpuri.

7. Circulation and Internal Planning

5.10. Schematic Planning of Dilli Haat, Pitampura.

• Free-flowing open spaces bind various activities on two levels.

• A large open space takes through a frisking area to another pocket that leads to the huge central plaza formed by meandering AC shops and the exposition halls.

• The central plaza culminates to the auditorium and the craft shops cluster • The craft shop clusters located at the rear end enables to walk through the entire haat.

• The entry from the road leads to a higher level with a gradually slope till the ticket counter.

• Fore court before the stalls gives the view of series of stalls with its craft court.

• The central axis divided the shopping lanes into two parts.

• The elliptical form evolving organically from the interactive spirit of people enables a smooth corner circulation; narrowing down while spiraling inward.

• From an entrance courtyard, a spiralling structure lined with craft shops leads gradually towards an open plaza at the centre of the curving building.

• The open area at the centre of the complex contains a stepped amphitheatre.

• Different levels are created on the site separates different activities taking place simultaneous.

• All the shops faces east to allow natural daylight.

• The Haat has food court at the extreme end.

• The central part of the haat is designed for public activities like Amphitheatre, water bodies using natural contour.

5.13. Dilli Haat, Janakpuri.

5.14. Dilli Haat, Pitampura.

5.15. Awadh Shilpgram.

5.16. CBD Urban Haat.

• Hierarchy of spaces should be maintained.

• Spaces should be seen or connected with its surrounding ones.

• Entrance should be wide and open for all to cater the traffic congestion.

• External passages should have interaction with nearby spaces.

• Natural constraints should be maintained .

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Parameters

Dilli HaatJanakpuri

Dilli HaatPitampura

Awadh Shilpgram

Belapur Urban Haat

--

8. Zoning

5.17. Dilli Haat, JanakpuriZoning.

9. Architectural Character

Comments

• It bonds the overall functional program of formal and informal shops to sell crafts and celebrate culture with an underlying layer of music as a theme, differentiating it from the already thriving cultural jamboree of the Delhi Haats in Delhi.

5.21. Dilli Haat, Janakpuri

5.18. Dilli Haat, PitampuraZoning.

5.19. Awadh ShilpgramZoning.

• An understated and simple layout comprising of low rise buildings grouped together to enclosed interesting spaces that encourages different activities. Large open spaces have been mapped in different stages linked by activities such as shopping, exhibition, demonstration halls.

• It is a visual and experiential mélange, facilitating leisure/ recreational activities, indulgence in food, socio-cultural celebrations, providing a platform for all sections of society to interface and encouraging shopping that supports livelihoods.

5.22. Dilli Haat, Pitampura

5.23. Awadh Shilpgram

5.20. CBD Urban Haat Zoning.

• A varied experience of shopping in natural surroundings. The feeling of exclusion and peaceful environment with sound of classical music reaching to their ears. People feel close to nature while walking along the pedestrian pathways looking at stalls selling handicrafts on one side and nature on the other side.

• The spaces reflects its own induvial character by use of unique Architectural Character.

• The induvial character makes the space more interesting and useful.

• It also gives an idea of cultural, social and economic lifestyle prevailing in that region.

5.24. CBD Urban Haat

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Parameters 10. Climate Responsive

Dilli HaatJanakpuri

Dilli HaatPitampura

Awadh Shilpgram

Belapur Urban Haat

Comments

• Mutual shading of tensile roof makes the passages semi covered pathways and reduces heat gain.

The covered extended verandah passages are the climate responsive strategies in Delhi's Harsh climate.

• Adequate day light and proper air circulation through crossventilation adds dimension of comfort to the Shilpgram.

• The Haat being covered with huge foliage trees, the temperature is lower as compared to outside.

• The clusters face towards east for maximize fresh breeze and daylight.

• Buildings should be responsive to climate and maintain the sustainability of the site.

5.25. Dilli Haat, JanakpuriZoning.

11. Materials

• Materials such as red agra stone, Kota stone, slate and the local Delhi quartz stone masonry on facades and landscapes are used.

• Bamboo is extensively used in structures for shading, screens for baskets and food court, sculptures for street furniture.

5.29. Agra sandstone and cobbles

5.26. Dilli Haat, PitampuraZoning.

• The structures are built of framed RCC with walls in bricks and stone.

• Brick paving throughout the site • Patterns formed in accordance with the landscaping.

• Red sandstone is extensively used.

5.30. Brick Paving

5.27. Awadh ShilpgramZoning.

5.28. CBD Urban Haat Zoning.

• Green cover on the roof of the shops acts as a natural air cooling technique.

• The archway acts as shading device.

• Stone Masonry and red sand stone cladding act as a cooling agent.

• The vault roof is made of bricks and concrete with pieces of coloured ceramic tiles which is used for surface treatment.

• Exposed rubble masonry walls • Bamboo are planted at the entrance.

5.31. Red Agra sandstone

5.32. Glass Mosaic Vault Roof

• Materials used in construction for indoor and outdoor spaces should be vernacular or pleasing to eyes.

• Easy availability.

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Parameters 12. Vegetation

Dilli HaatJanakpuri • The site is surrounded by green cover thus has a variety of flora in its site.

5.33. Ficus Benzema

Dilli HaatPitampura • The landscape of the area incorporates colorful flowering shrubs and trees.

5.34. Ficus Benzema

Awadh Shilpgram • The Green Roof turn into an interactive cum urban feature for the site.

5.35. Green Roof

Belapur Urban Haat • Natural contours and vegetation is preserved.

• Rainwater harvesting through Bamboo.

• Service courts behind food stalls.

• Grated drainage channels.

• Energy efficient fittings and light fixtures • 24 x 7 Power back up • Sewage treatment plant • Water treatment plant • Rain water harvesting • Garbage dumping spaces.

• Site Drainage • Vermi-compost pit • Sewage treatment Plant

• Site Drainage • Vermi-compost pit • Sewage treatment Plant

14. Area Statement

Spaces

Spaces

Spaces

Area

Spaces

Area

3300 Sq.M 4150 Sq.M 3300Sq.M 2933 Sq.M 2493 Sq.M 500 Seats

Ticket Booth Administration Stalls Food Court Exhibition Hall Toilet

15 Sq.M 60 Sq.M 750 Sq.M 120 Sq.M 75 Sq.M 3 Blocks

Area 952 Sq.M 750 Sq.M 85 Sq.M 1678 Sq.M 1040 Sq.M 960Sq.M 800 Seats 806 Seats

Area

Craft Shops 1165 Sq.M Spice Markets 280 Sq.M Art Gallery 234 Sq.M Office 77.6 Sq.M Amphitheatre 200 Seats Dormitory 264Sq.M Conference Hall 207Sq.M Restaurant 194Sq.M Food Stalls 1050Sq.M

Craft Shops AC Craft Shops Food Court Dormitory Exhibition Hall Amphitheatre

• Natural vegetation should be kept intact with addition of some flowering plants which adds a play of colour.

5.36. Green Patches

13. Services

Circular Shops AC Shops Platform Shops Food Court Basket Tower Exposition Hall Auditorium Amphitheatre

Comments

• Site should be properly serviced with drainage, water system, Fire fighting and waste management

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Parameters

Dilli HaatJanakpuri

Dilli HaatPitampura

Awadh Shilpgram

Belapur Urban Haat

15.Movement

16. Green Cover

17. Built-Unbuilt

18. Parking

115

 Barrier Free Design  Happy Street  Administration- Office  Food Court  Art Gallery  Amphitheatre  Bazaar  Parking  Toilet

Barrier- Free Movement Min. Access Provisions Required in Various Building: Type of Building

Minimum Provisions

•

• A minimum of 1 lowered service counter.

Offices, ATM, Shops

•

Food Court

• A minimum of 1 table without stools or seats attached to the floor for every 10 tables.

•

Amphitheatre, Workshop Halls

• Accessible entrances, exists, aisles public gathering areas.

• Accessible toilet facilities should be nearby.

• Seating for persons with disabilities to be accessible from main entrances and lobbies.

• Various seating/viewing choice to be provided for persons in wheelchairs throughout the main seating

area.

• A minimum of 4 wheelchair spaces for seating capacity from over 100 to 400 seats.

6.1. Space Allowance

6.2. Forward reach without obstruction

6.3. Typical dimension for easy use

116

Happy Street- Pedestrian Design Happy Street is an interactive pedestrian zone that adds colour and life to the monotony of Main Road. The footpath invites the aimless passer-by to interact with the installations and different pause area.

Space Requirement: • Seating zone • Installations • Demonstration Court • Food Trucks • Outdoor Game Zone • Shaded Walk-way

6.4. Schematic zoning of Happy Street

Design Consideration: • The Pedestrian street and Vehicular Road is differentiated by the help of Green patches connected with massing of Cube and Cuboid seating.

• Installation Zone- Poster, paper art work are displayed at the rear end of the pedestrian zone which is kept open for all.

• Outdoor Game Zone- Engraved board game tables with in-laid seating blocks are an interesting element which attracts a lot of people to use it and make happy street HAPPY.

• Demonstration Court- Festival Pandal, Activity area, Nukar Natak is a group loaded activity area where a outsiders can come and demonstrate their talent and avoiding congestion on main road. At night it can be habitat for the street dogs.

• Minimum of 1.8M - 2M clear space between activities and green seating.

• Seating to be shaded with green trees.

Relaxing Human position

Level difference in cuboids acts as a back rest

Space left due to massing acts as a habitat for street dogs

6.5. Happy Street Seating

117

Universal Access: • Walks should be smooth, hard level surface suitable for walking and wheeling.

Irregular surfaces as cobble stones, coarsely exposed aggregate concrete, bricks etc. often cause bumpy rides.

• The minimum walk way width would be 1200MM and for moderate two way traffic it should be 1650MM- 1800MM • Longitudinal walk gradient should be 3 to 5% (30MM - 50MM in 1 meter) • Texture change in walk ways adjacent to seating will be desirable for blind persons.

•

Avoid grates and manholes in walks. If grates cannot be avoided then bearing bar should be perpendicular to the travel path and no opening between bearing bars greater than 12MM in width.

6.6. Sidewalk width

Levels AND Grooves (Passing over different levels & grooves): •

Sidewalk width - The casters on a wheelchair are about 180MM in diameter.

Therefore, a wheelchair can only get over a small level difference.

•

Use a method that can reduce the height of the level difference, in addition to the methods shown here.

•

Round off or bevel the edge.

6.7. Difference in level

6.8. Shape of level difference

Kerb:

6.9. Kerb Detail

118

Administration A formal zone which provides organizational and instructional leadership needed to create a healthy atmosphere on site. It is a flexible and technologically advanced working environment for the staff working for the development of the site.

Space Requirement: • Ticket counter and Cloak Room • Reception • Waiting Area • Director’s Cabin • Manger’s Cabin • Deputy Manger’s Cabin • Conference Hall • Clerical

• First-aid Room • Store Room • Services

6.10. Schematic zoning of Administration Block

Deign Consideration: • Passive Cooling strategies (courtyard, water body) to be adopted, to make the inner environment cool.

• Openings in the form of brick jaali on west and south side of the block for cross ventilation and day light, but maintaining the inner privacy of the rooms by adding landscape on the outer side.

6.11. Anthropometrics of Office Desk

6.12. Anthropometrics of Reception Desk

119

Universal Access: Ramp: • Ramp shall be finished with non slip material to enter the building.

• Minimum width or ramp shall be 1800MM. with maximum gradient 1:12, length of rarnp shall not exceed 9.0 M having double handrail at a might of 800 and 900MM on both sides extending 300MM. beyond top and bottom of the ramp.

6.13. Ramp adjacent to entrance plinth

• Minimum gap from the adjacent wall to the hand rail shall be 50MM. Corridor: • The wheelchair body itself is about 650MM wide. Allowing for the use of hands and arms outside the wheelchair, the passage must be as wide as 900MM or more.

• Locations such as entrances and exists can be 900MM wide. However, a continuous

passage must at least be 900MM wide to allow for slight side-to-side movement of the wheelchair as it travels.

• The minimum width should be 1500MM. • In case there is a difference of level slope ways shall be provided with a slope of 1:12. Hand rails shall be provided for ramps/slope ways.

6.14. Passage and corner section

6.15. Passage for facilities visited by many wheelchair users

6.16. Required width to turn a wheelchair

Exit/Entrance Door: • Minimum clear opening of the entrance door shall be 900MM. and it shall not be provided with a step that obstructs the passage of a wheel chair user. Threshold shall not be raised more than 12MM. Window: • A window should have handies/controls at a height that permits use from wheelchairs. 120

Food Court A facility that is contiguous with the counters of multiple food vendors and provides a common area for dining. The leisure and a pause area in commercial zone gains equal importance to the shopping area.

Space Requirement: • Food Stalls - Food Display - Servicing Area - Cash Counter - Preparation Area

- Utility - Toilet • Open air Dining Area • Semi covered Dining Area

6.17. Schematic zoning of Parking

Design Consideration: • A frequently used rule for allotting apace for the kitchen is that it should be one-

third to one-half the area of the dining room .

• Space allowance of serving areas should be adapted to the needs of the specific facility . The menu, organization of work, and number served will influence size .

The type of service will also be influential in dictating space needed • Space for dining areas is usually based on the number of square feet per person seated times the number of persons seated at one time .

• Seating arrangement should be stable to maintain balance as guests seats

themselves and comfortable to sit in during eating.

6.18. Anthropometrics of Serving Counter- Elevation

6.19. Anthropometrics of Serving Counter- Plan

121

Universal Access: • Passageway spaces between furniture, equipment and other fixed objects inside the dining area should be wide enough to allow a person using mobility aids to pass.

• Major passageways should be a minimum of 1065MM wide. If space is constraint, • the narrowest passage should be at least 810MM wide.

• At least one counter section of food stall should be no higher than 915MM from floor finishes to allow person using wheelchair to access food and beverages.

• Display of menu items should be fixed at eye level- 915MM from the floor surface.

• Ensure a minimum of 20% of tables and no fewer than 1 in outdoor public use eating area are accessible.

• A clear space of 2000MM (minimum) on all sides of the table • Directional signage at strategic locations to identify the location(s) of accessible tables and or public use eating areas.

• Where barbecues are provided in outdoor public-use eating areas, ensure that they are placed away from the accessible path of travel and on a surface with high tonal and textural contrast with the adjacent surfaces.

6.20. Seating Arrangement

6.22. Seating Arrangement

6.21. Serving Counter

6.23. Serving Counter

122

Art Gallery The basic objective of an art gallery is to collect, preserve, study and exhibit significant objects of the community, and provide related educational services in order to increase public knowledge and stimulate creative activity.

Space Requirement: • Entrance Lobby • Gathering Lounge • Exhibition / Display Area • Auction Area • Store Room • Lecture Hall/ AV Room • Open Air Exhibition

6.24. Schematic zoning of Art Gallery

Circulation and Planning: • Provide sufficient lighting on circulation routes.

• Provide non-verbal way finding assistance along the circulation route.

• To be accessible to people using wheelchairs, the circulation route must be at least 0.9M wide for one way traffic and 1.5M for two way routes.

• Objects on ground should be placed above 0.65M.

6.25. Measurement of adult and six year child visitors in relation to cases.

6.26. Difficulties encountered in viewing details more than 2.5M or 0.3M above one’s eye level.

6.27. Variation in dimensions and the relation between height and width.

6.28.Minimum 0.9Mdistance after Display Box 123

Universal Access: • The circulation route within the art gallery must be accessible to everyone. The circulation route must be well lighted, clearly defined, and easy to follow.

• Seating must be provided near the displays. 50% of the seats must be accessible.

Single gallery exhibitions must have seating in a nearby corridor or in an adjacent gallery space.

• Mount small items (to centre line) at no higher than 1015MM above the floor.

• A male adult who uses a wheelchair has an average eye level of between 1090MM and 1295MM above the finished floor. Objects placed above 1015MM will be seen only from below by most seated and short viewers.

• Objects that are wall mounted must protrude no more than 100MM from the wall unless their bottom edges are cane detectable (less than 685MM above the floor) or more than 2030MM above the floor.

• Construct the top of a case at a maximum of 915MM above the finished floor for items that are mounted flat on a pedestal or deck. For larger items, maintain the minimum case height possible.

• Construct exhibition barriers (railings) at a maximum height of 915MM. • Create colour contrast between the items and the background, particularly when the items are displayed in lower light levels.

6.29. Average viewing Sightlines

6.30. Height of Table Case

6.31. Cane detection of wall-hung case 124

Amphitheater A freestanding building as a form of gathering place provides seating capacity and stage area for shows and entertainment for guests and campers. It should compliment the natural features of the site and all the amenities should be durable and weather resistant.

Space Requirement: • Arrival Court • Stage • Seating Space • Back Stage • Store Room • Rehearsal Hall • Green Room • Waiting Area

6.1. Number of Seats

Design Considerations:

6.32.Schematic zoning of Open air Theatre

• A very wide seating arena may have good acoustics.

• The slope of seating should not be less than 12 degrees, for better audibility and visibility.

•

The tiers are constructed as a combination of concrete and grass strips, wooden or stone.

•

Back Stage wall should be made reflective and broken in convex shape shaped surface. The broken wall should be at least 0.9M to 1.8M wide.

• Use of natural buffers such as heavy landscaping for proper acoustical reasons.

6.34. Typical Section- Seating Profile

6.33. Typical Site Plan- Open Air Theatre

6.35. Typical Section- Detail Seating Profile

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Universal Access: • Amphitheatres should include seating areas that are accessible to persons using mobility aids. At least two spaces should be provided side by side.

• A minimum of 2% of all spaces is recommended for persons using mobility aids.

• Accessible seating space should be provided in a variety of locations to give persons with physical disabilities a choice.

• Fixed or portable seating should include some seats with back supports and arm rests to accommodate seniors or others with limited stability.

• Balcony or terrace surfaces should be of firm non-slip materials, laid to fall (no greater than 5%) to ensure rapid removal of water.

• Balcony or terrace handrails or guards should comply with OBC requirements and should be designed to allow clear vision below the rails for persons seated in wheelchairs wherever possible.

• Balcony depths should be a minimum recommended of 1830MM to allow free rotation of mobility aids.

6.36. Space for Wheelchair

6.37. Different positon for wheelchair

6.38. Different positon for wheelchair

6.39. Wheelchair Space dimension

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Bazaar • A Bazaar (shopping arena) is a complex of retail stores end related facilities planned as a unified group to give maximum shopping convenience to the customer and maximum exposure to the merchandise.

• Bazaar as a place for social interaction, the physical setting of stalls in bazar attracts the viewers emotionally, thus it is important to have a proper functioning of stalls. Bazaar layout should not be disorienting and thus it is necessary to arrange the circulation system so that there is a hierarchy of spaces.

•

Bazaar infrastructure is influenced by many factors, the most fundamental of which is the size, use and placement of selling space with its relation to secondary parameters such as internal access roads and parking, paving and sales pitches, surface water drainage, including perimeter drainage and outfall structures, perimeter fencing and access gates, temporary shade structures, toilets.

Space Requirement: • Arrival Court • Stalls (Display + Staking area) • Seating Space • Circulation • Loading- Unloading Area

6.40. Schematic zoning of Stalls in Bazaar

Design Considerations: • To encourage people to use the space the bazaar should have highly visible and wide entrances, positioned so that it is possible for the public to immediately grasp how to enter the building.

• Fixed stall designs for bazaar can either be accommodated in single-sided buildings ranged along the external wall of a bazaar or in double-sided blocks where the access can either be from the perimeter or stalls can be approached from a central buyers' walk through the centre of the building. This is important when protection from weather conditions is a major consideration.

Circulation: • The stalls in bazaar depends upon high level of access.

• Aisle widths should be in the range of 1.8M to 3.5M and wide enough for ease of pedestrian circulation.

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• The minimum width is based on allowing a group of three people walking together to pass one person standing by a stall, or for two people walking to pass two other

people.

• The 6M width of aisle would allow for seating and other uses and is ideal for the main access of the market.

• A pedestrian network must feel lively if shoppers are to be encouraged to use the facilities.

Materials: • The structures should be simply maintained one.

• Steel or timber structures with roof and wall cladded in profile steel sheeting.

Use of colour : • The general appearance of a bazaar depends on the feature to attract customers.

• There is a clear need to choose the colours so that they promote the appeal of the products.

• Paler materials are preferred as they reflect light, providing brighter surroundings, and suggest hygienic conditions.

Influence of Climate: • In arid and semi arid conditions appropriate use of internal open courtyards within bazaar provides a way of improving comfort conditions by allowing crossventilation.

• If the courtyard is too enclosed there is probability of it being "dead" and this can be avoided by opening it up to the activities of the building.

• The spaces can be used as sitting areas, overspill selling spaces or the courtyard can form part of the entry to the building.

Site landscaping and outdoor seating: • The trees should be protected 'from damage by tree guards, typically a low wall or a cast-iron grating surrounding the tree.

• Other forms of site landscaping should only be introduced if it is possible to maintain them.

• The seats should face into the activities of the market and be climatically appropriate, i.e. shaded in hot climates.

• Low walls (a minimum 0.4M in height and 0.3M to 0.5M deep) are an economic means of providing seating.

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Shops in Bazaar The essential function of retail spaces is to display and sell merchandise. The design of these spaces involves the manipulation and coordination of architectural, interior design and merchandising elements as necessary to meet the programmatic needs of the client.

Space Requirement: • Arrival Court • Stalls (Display + Staking area) • Seating Space • Circulation • Loading- Unloading Area

6.41. Plan analysis and routes of customer and Good services

Design Considerations:

6.42. Typical Sales Counter- Standing

6.43. Typical Sales Counter- Seating

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6.44. Shops interior circulation

6.45. Display window extended by having shop entrance behind it. Internal Width minimum of 2600MM

6.48. Central doors suitable for shops >6000-6200MM wide, counters may be installed on both sides, should be cash/wrap near door.

6.46. Very deep shops often 6.47. Deep shops may have wide permits extensive display vestibules with display windows at windows, impressive even if angles to entrance, attracting shops itself quite small customers away from street traffic

6.49. For narrow frontage recess entrance to provide larger display area and angles of view through offsets.

6.51. Properly placed fittings allow customers to move from entrance to sales counter, cash desk, issuing counter and exit without reverse circulation.

6.52. No separation between customer and sales staff- Self Service

6.50. By slanting entire window and having doors in same line

6.53. Shops for individual consult, fitting tables.

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Parking Parking lot is a cleared area that is intended for parking the vehicles on a durable or semi-durable surface. Parking layouts are strategies for efficiently organizing multiple indoor or outdoor parking spaces.

Space Requirement: • Parking lot for –Cycle - 2 –Wheeler -4 –Wheeler - Bus - Handicap • Security Cabin • Entry and Exist Gates

6.54. Schematic zoning of Parking

• Seating/ Waiting Area

• Vehicular Road • Pedestrian Zone

Circulation and Planning: • Divide the parking bays physically, generally after 9 cars.

• Hedges and shrubs can be used to break up long lines of vehicles, and to provide windbreaks against dust and rubbish blowing across the area.

• Parking bays can be grouped on different levels, separated by embankments planted with low cover.

• The trees should be planted between raised curbs or in elevated boxes to avoid hazards like vehicles backing into them and tree roots poisoned if fuel run-off gets into the water supply.

6.55. 90 Parking for medium and small cars “a” and very small cars “b”.

6.56. Comparing 2-Wheeler Parking and 4-Wheeler Parking

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Universal Access: • Surface parking for two care spaces shall be provided near entrance for the physically handicapped persons with maximum travel distance of 30 M from building entrance.

• The width of parking bay shall be minimum 3.60M..

• The information stating that the space is reserved for wheel chair users shall be conspicuously displayed.

• Guiding floor materials shall be provided or a device which guides visually impaired persons with audible signals or other devices which serves the same purpose shall be provided.

6.57. Handicap Parking

6.58. Parking Lot

6.59. Approach to Parking Lot

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Public Toilet Public Toilets are a room where cubical for WC are arranged linearly with wash basin platform in a ratio of 2:1. Natural light and ventilation is an important strategy while designing a toilet.

Space Requirement: • Female Toilet Block • Male Toilet Block • Universally Accessed Cubical • Rest Room • Store Room • Waiting Area

6.60. Schematic zoning of Public Toilet

Circulation and Planning: • The main entrance shall preferably have no door, and the cubicles, urinals and mirrors shall be away from the line of sight from the main entrance.

• The ratio of fittings in male and female toilets should take into consideration the expected user profile.

• Natural lighting can be used to help create a softer, friendlier environment.

•

A urinal should not be set closer than 450mm from its centre to any side wall, partition, vanity or other obstruction, or closer than 900mm centre-to-centre between adjacent fixtures. There should be at least a 900mm clearance in front of the urinal to any wall, fixture or door.

• A WC should not be set closer than 450mm from its centre to any side wall, partition, vanity or other obstruction. There should be at least a 900mm clearance in front of the WC to any wall, fixture or door. The shape of WCs should be of the elongated type and equipped with seats of the elongated type.

• Wash basins should be substantial in size. The basins should have a minimum

size of 500mm in length and 400mm in width. A wash basin should not be set closer than 450 mm from its centre to any side wall, partition, vanity or other obstruction, or closer than 900 mm centre-to-centre between adjacent fixtures.

There should be at least a 900 mm clearance in front of the wash basin to any wall, fixture or door 133

Universal Access: • One special W.C. in a set of toilet shall be provided for the use of handicapped with essential provision of wash basin near the entrance for the handicapped.

• The minimum size shall be 1500 x 1750MM. • Minimum clear opening of the door shall be 900 mm. and the door shall swing out.

• Suitable arrangement of vertical/horizontal handrails with 50MM. clearance from wall shall be made in the toilet.

• The W.C. seat shall be 500MM. from the floor.

• The toilet bowl should preferably be a stool type. At least one of the toilet bowls must have a handrail installed.

• The door should be outward-opening. The door lock must be easily operable. Also, an indication must be provided on the outside of the stall to show that the toilet is occupied.

• Sufficient clear space for wheelchair users should be provided in front of the basin.

• The mirror should be so installed as to permit its use by wheelchair users.

6.61. Female Toilet

6.63. Universal Access ToiletView

6.64. Universal Access – Wash basin, Use by a cane user

6.62. Male Toilet

6.65.Universal Access –Wash basin Use by a wheelchair user 134

Toilet- National Building Code

6.2. No. of toilets for different use of buildings-NBC Guidelines

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 Placemaking  Design Brief  Design Brief Analysis

Placemaking Placemaking is a people-centered approach to the planning, design and management of public spaces. Put simply, it involves looking at, listening to, and asking questions of the people who live, work and play in a particular space, to discover needs and aspirations. This information is then used to create a common vision for that place.

The vision can evolve quickly into an implementation strategy, beginning with smallscale, do-able improvements that can immediately bring benefits to public spaces and the people who use them.

As both and overarching idea and a hands-on approach for improving a neighbourhood, city, or region, placemaking inspires people to collectively reimagine and reinvent public spaces as the heart of every community. Strengthening the connection between people and places they share, placemaking refers to a collaborative process by which we can shape our public realm in order to maximize shared value. More than just promoting better urban design, placemaking facilities

creative patterns of use, paying particular attention to the physical, cultural, and social identities that define a place and support its ongoing evolution.

Just as community input is essential to the placemaking process, it is equally important to have a mutual understanding of the ways in which great places foster successful social networks and benefit multiple stakeholders and initiatives at once.

7.1. The Place 136

Objectives of Placemaking: Great public spaces are those places where celebrations are held, social and economic exchanges occur, friends run into each other and cultural mix.

1. Accesses and Linkages: A successful public space is easy to get to and get through, it is visible both from a distance and up close. The edges of a spaces are important as well. For example a row of shops along the street is more interesting and generally safer to walk by than a blank wall or empty lot. Accessible spaces have a high parking turnover and ideally are convenient to public transit.

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

3. Uses and Activities: Activities are the most important pieces of the puzzle when it comes to a place.

Having something to do gives people a reason to come to a place and return. When there is nothing to do, a space will be empty and that generally means that something is wrong.

4. 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.

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7.2. Objectives of Placemaking 138

Principles of Placemaking: 1. The community is the Expert The people living and working in a place are the folks who know what needs to be done and how best to do it. The important starting point in developing a concept for a haat/ bazaar is to identify the talents and assets within the community. In any community there are people who can provide an historical perspective, valuable insights into how the area functions, and an understanding of the critical issues and what is meaningful to people. Tapping this information at the beginning of the process will help to create a sense of community ownership in the project that can be of great benefit to both the project sponsor and the community.

“Identifying and Defining” 2. You are creating a place, not a design The blueprints for a neighbourhood improvement effort are much less critical to its success than other factors, such as a management plan and the involvement of local citizens. If the goal is to create a place, a design will not be enough. To make an under-performing space into a vital "place," physical elements must be introduced that would make people welcome and comfortable, such as seating and new landscaping, and also through "management" changes in the pedestrian circulation pattern and by developing more effective relationships between the surrounding retail and the activities going on in haat/bazaar. The goal is to create a haat/bazaar that has both a strong sense of community and a comfortable image, as well as a setting and activities and uses that collectively add up to something more than the sum of its

often simple parts. This is easy to say, but difficult to accomplish. “ Identifying issues” 3. Look for Partners A good haat/bazaar requires more resources and expertise than any one individual or organization can offer. Partners are critical to the future success and image of a haat/bazaar. A good place always attracts high real estate values. Thus, the spaces are generally occupied by establishes market leaders, who may not necessarily

promote the place. The maintaining or enforcement body plays an important role in controlling- who occupies the spaces.

“Carefully Selection” 139

4. You can see a lot just by observing We can all learn a great deal from others' successes and failures. By looking at how

people are using (or not using) spaces in haat/Bazaar and finding out what they like and don't like about them, it is possible to assess what makes them work or not work.

Through these observations, it will be clear what kinds of activities are missing and what might be incorporated. And when the spaces are built, continuing to observe them will teach even more about how to evolve and manage them over time. “ Imagination and conclusions” 5. Vision The vision needs to come out of each individual community. However, essential to a vision for haat/bazaar is an idea of what kinds of activities might be happening in the space, a view that the space should be comfortable and have a good image, and that it should be an important place where people want to be. It should instill a sense of pride in the people who live and work in the surrounding area.

“Develop a vision” 6. Experiment The complexity of Haat/ Bazaar is such that you cannot expect to do everything right initially. The best spaces experiment with short term improvements that can be tested and refined over many years! Elements such as seating, outdoor cafes, public art, striping of crosswalks and pedestrian havens, community gardens and murals are examples of improvements that can be accomplished in a short time.

“Functionality” 7. Triangulate Triangulation is the process by which some external stimulus provides a linkage between people and prompts strangers to talk to other strangers as if they knew each other" (Holly Whyte). In haat/bazaar, the choice and arrangement of different elements in relation to each other can put the triangulation process in motion (or not).

“Outline triangulation opportunities and its potentially” 8. They always say “It can’t be done” Creating good haat/bazaar is inevitably about encountering obstacles, because no one in either the public or private sectors has the job or responsibility to "create places."

“Implementing”

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9.Form Supports Function The input from the community and potential partners, the understanding of how other

spaces function, the experimentation, and overcoming the obstacles and naysayers provides the concept for the space. Although design is important, these other elements tell you what "form" you need to accomplish the future vision for the space.

“Relate the functions of a space on plan” 10. Money is not the issue This statement can apply in a number of ways. For example, once you've put in the basic infrastructure of the haat/bazaar, the elements that are added that will make it work (e.g., vendors, cafes, flowers and seating) will not be expensive. In addition, if the community and other partners are involved in programming and other activities, this can also reduce costs. More important is that by following these steps, people will have so much enthusiasm for the project that the cost is viewed much more broadly and consequently as not significant when compared with the benefits.

“Cost-effectiveness” 11. You are never finished By nature a good Haat/bazaar that respond to the needs, the opinions and the ongoing changes of the community require attention. Amenities wear out, needs change and other things happen in an urban environment. Being open to the need for change and having the management flexibility to enact that change is what builds great public spaces and great cities and towns.

“Implementing the improvements”

7.3. Principal of Placemaking

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Design Statement •

Happy Street:

Happy Street is an interactive pedestrian zone that adds colour and life to the monotony of Main Road. The footpath invites the aimless passer-by to interact with the installations and different pause area.

•

Administration:

A formal zone which provides organizational and instructional leadership needed to create a healthy atmosphere on site. It is a flexible and technologically advanced working environment for the staff working for the development of the site.

•

Food Court:

A facility that is contiguous with the counters of multiple food vendors and provides a common area for dining. The leisure and a pause area in commercial zone gains equal importance to the shopping area.

•

Art Gallery:

The basic objective of an art gallery is to collect, preserve, study and exhibit significant objects of the community, and provide related educational services in order to increase public knowledge and stimulate creative activity.

•

Amphitheatre:

A freestanding building as a form of gathering place provides seating capacity and stage area for shows and entertainment for guests and campers. It should compliment the natural features of the site and all the amenities should be durable and weather resistant.

•

Workshop Hall:

Workshop hall is a talent showcase and learning area where artisans display and teach their art and craft to the students and learners.

•

Bazaar:

Bazaar as a place for social interaction, the physical setting of stalls in bazar attracts the viewers emotionally, thus it is important to have a proper functioning of stalls.

Bazaar layout should not be disorienting and thus it is necessary to arrange the circulation system so that there is a hierarchy of spaces.

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Users

Shopkeeper/

Students

Staff

Casual Victors

Artisans Mode of Transport Mode of Transport

Mode of Transport

Mode of Transport

• Private Vehicle

• Private Vehicle

• Private Vehicle

• Private Vehicle

• Public Transport

• Public transport

• Public transport

• Public transport • Auto/Taxi

• Auto/Taxi Spaces needed

Spaces needed

Spaces needed

Spaces needed

• Bazaar

• Bazaar

• Bazaar

• Bazaar

• Workshop Hall

• Workshop Hall

• Workshop Hall

• Happy Street

• Parking

• Happy Street

• Administration

• Food Court

• Food Court

• Food Court

• Art Gallery

• Amphitheatre

• Amphitheatre

• Parking

• Art Gallery

• Art gallery

• Parking

• Parking

Frequency of

Frequency of

Frequency of

Frequency of

Visit

Visit

Visit

Visit

• Everyday

• Once a Week

• Everyday

• Twice a Week

• Morning to

• Duration of

• Morning to

• Noon to

Evening • 6-10 Hours per visit

Event • 2-5 days per visit

Evening • 6-12 Hours per visit

Evening • 2-4 Hours per visit

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Design Brief

144

145

146

A.

Total Footfall:

1500-1550

B.

Built-Up Area:

3946 Sq.M

C.

Total Semi Covered Area:

997 Sq.M

D.

50% of Semi Covered Area:

388.5 Sq.M

E.

15% of Circulation Space:

590 Sq.M

F.

5% of Handicap Circulation:

120 Sq.M

G.

Total Built-Up Area:

6041.5 Sq.M

H.

Total Proposed Site Area:

19370 Sq.M

I.

Total Open Area:

13328.5 Sq.M

Built-Up Area

Semi Covered Area

Circulation Area

Handicap Circulation

Open Area

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Design Brief Analysis

148

149