Terrace as a Living Space- Its spatial resolution and human responses

5FSSBDF BT -JWJOH 4QBDF Its Spatial Resolution and Human Responses

By Neha Arora Guided By: Prof. Yatin Pandya

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Acknowledgments The study would not have been possible without the contribution of many individuals, I am deeply indebted to Cept University, for giving an opportunity to learn and explore with different medias in various spheres.

Professor Yatin Pandya for guiding me through the thesis, for encouraging my enthusiasm in the direction of the subject. His strong arguments and instances from routine made me think of little things.

My parents, especially my mother who is always there to support, motivate and show new directions to me.

My sister, Noni, who helped me as and when required.

Massi and Masarji, for always encouraging and telling me stories on terraces.

Hiren Patel and Kashyap from HPA for suggesting projects to study and sharing drawings.

Esha for sharing drawings of Agashiye.

HR Bhimsinh, Agashiye for allowing me to visit and document the place.

Udaipur City Palace authorities for letting me access all the terraces.

Manjuben, Kashish, Mansi, Owners of pol house, Lakha Patel ni pol, and Mangaldas Haveli’s caretaker for taking out time to show me terraces in their respective residences.

Dean Anne Fenestre for initiating a discussion on the subject and introducing me to his project in Nepal.

Architect Mellissa Smith for discussing her projects.

Mehrnaz Amiraslani for her suggestions, Riyaz Tayyibji for an initial discussion, Neha Krishnakumar for suggesting readings, movies and introducing me to hindi and urdu poetry, My hindi teacher, Mrs. Kiran for referring to poets who referred to terrace.

Aishani for discussions and proof reading.

Riddhi and Girisha for their help with editing drawings.

Neel, for his always working software solutions, suggestions and proof-reading.

Drashti and Chintoo for showing their presence at various stages.

Preet, for constant encouragement Vicky, for sending scans at the last moment.

All my friends and relatives for blessings and good wishes.

All my batch-mates for inputs, ideas and general discussions.

Library authorities, Siddhi Copiers, Khushboo Xerox for their cooperation.

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CONTENTS Aim Research Questions Need of Study Method of study Scope and limitations

Chapter 1 - Terrace as a Phenomena 1.1 Terrace as roof 1.2 Attributes of terraces 1.2.1 Horizontal plane 1.2.2 Receiver of climate 1.2.3 Expanded views 1.2.4 Topmost Plane 1.2.5 Private space 1.2.6 Immediate outdoor space 1.4 Role of terraces 1.3.1 Terrace as another ground 1.3.2 Terrace as garden 1.3.3 Terrace as identity of a building 1.3.4 Terrace as usable space 1.3.5 Terrace as livable space

Chapter 2 - Classification of terraces 2.1 Classification of terraces on the basis of its form 2.2 Classification of terraces on the basis of its situation in the building 2.3 Classification of terraces on the basis of its accessibility 2.4 Classification of terraces on the basis of its use

Chapter 3 - Elements of terraces 3.1 Floor 3.1.1 Role of floor in a terrace 3.1.2 Classification of floors 3.2 Edge Elements 3.2.1 Role of edge elements in a terrace 3.2.2 Classification of edge elements 3.3 Shelter Elements 3.3.1 Role of Shelter elements in a terrace 3.3.2 Classification of Shelter elements

Chapter 4 - Overview of terraces in Indian traditional architecture 4.1 Monuments and Palaces 4.2 Havelis 4.3 Terraces in Miniature Paintings

Chapter 5 - Overview of terraces in Contemporary architecture 5.1 Works of selected architects

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8 9 10

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18 20 22 28 30

34 35 35 37 46 46 49 62 62 64

68 69 83 94

98

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Case studies

130

Chapter 6- Case study I- City palace, Udaipur

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( Rajya Angan, Lakhu Gokhda, Badi Mahal, Badi Chhatrishali, Mor Chowk)

Chapter 7- Case study II - Pent house, Indraprastha 8- Frangipani, Ahmedabad

188

Chapter 8- Case study III- Agashiye- the house of MG, Ahmedabad

214

Conclusion

250

Glossary

252

Bibliography

253

Illustration credits

256

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Aim To study terrace, a building element as a resource and understand various forces determining the use and configuration of the space.

Research Questions 1.What are the opportunities and issues that are related to the resource?

2.What are the components of terrace and how do they vary with function and scale?

3. What are the ways in which people respond to this space to make the most out of it?

Need For The Study Generally people do not design for terraces. It is an uncared resource, which connects to sky; surroundings and can serve as an immediate outdoor space. But there are examples of designed terraces with meaningful design approaches ranging from addition of design elements such as high parapets with openings, pavilions, roof gardens, flooring patterns, etc. They also fulfill social needs of people and of recreation. Due to scarcity of land it is important to use each resource to its full extent and terrace is one such opportunity.

Scope and Limitations • • •

• •

The terrace here is an elevated open and horizontal space The study does not deal with what it acts as a shelter for (ceiling) but only as a floor plane.

Many different approaches across the globe have been studied. But specific case studies have been taken to study in detail based on the accessibility and appropriateness.

The study is based on self-experience.

During the visits of the case studies there are many variables that affect the perception

Methodology The framework of study has been developed gradually on the basis of a search for the qualitative aspects of a terrace. Various spatial, notional and functional, situational and environmental aspects affect the use of space. A terrace in a cold region would have a different use than the one in a hot region. A terrace of a residence will function differently than one of a restaurant. Similarly, one on the top of the hill will have different character than a one amidst densely populated area with buildings of varying heights. With changing needs and lifestyle of people and use of new materials, variations in terraces can be seen.

Literature Review In addition to books, some magazines and articles have been referred for the recent projects and information.

Published and unpublished books on subjects such as Mughal and Rajput architecture, open spaces, various architects’ work have been referred. Concepts of space and elements defined by Krier Rob, Yatin Pandya, Christopher Alexander, Francis Ching form the base of study.

Primary Research The study focuses on the identification of human responses towards this asset. Visiting different terraces, in slums, offices, various architects’ innovations helped in observing and recording inferences which further helped to form a direction of analysis and approach of study.

Selection of Case studies The study is not limited to a particular type of building.

Three cases have been considered having similar climatic conditions but differing in period of construction, utility, scale and context within the limits of accessibility. These terraces have been considered for these differences to maximize understanding of the subject in different situations. Existing drawings were used directly or indirectly to produce the base drawings for analysis. Most of the pictures have been self taken.

Observations made during the visit helped forming a framework of analysis.

Sequence of study For the purpose of clarity the study is divided in 3 parts Part 1 is based on deep understanding of the subject, its situational responses and attributes and then classifying and organizing into categories. It further includes categorization and character of the elements which make up the space.

Part 2 consists of examples from Indian traditional architecture and approaches of various architects.

Part 3 has the selected case studies and analysis of the same based on the same aspects and then concluding from it.

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CHAPTER 1- TERRACE AS A PHENOMENA 1.1 Terrace as roof 1.2 Attributes of terraces 1.2.1 Horizontal plane 1.2.2 Receiver of climate 1.2.3 Expanded views 1.2.4 Topmost Plane 1.2.5 Private space 1.2.6 Immediate outdoor space 1.3 Role of terraces 1.3.1 Terrace as another ground 1.3.2 Terrace as garden 1.3.3 Terrace as identity of a building 1.3.4 Terrace as usable space 1.3.5 Terrace as livable space

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1.1 TERRACE AS ROOF Roof is the covering on the top of a building. The construction of roof began in order to protect humans from wild beasts and savages and sheltering from the adverse climatic conditions such as rain, snow, sunlight, wind, and extremes of temperature. It signifies a shelter denoting space and implying volume. It is placed such that it becomes the sky for all the entities residing under it and defines the volume of space. It is one of the major elements of space making.

Roofs have been constructed in a wide variety of formsflat, pitched, vaulted, domed, or in combinations as dictated by technical, economic, or aesthetic considerations.

Material properties, climate conditions, social and cultural needs of people have determined to an extent the roof form itself. Spanning techniques, through developments overcoming the restraints, have determined primarily the evolution of the roof form.

The earliest roofs constructed by man were probably thatched roofs that were made of straw, leaves, branches, or reeds; they were usually set at a slope, or pitch, so that rain could drain off them. Conical thatched roofs are a good example of this type and are still widely used in the rural areas of Africa and elsewhere. Thicker branches and timbers eventually came to be used to span a roof, with clay or some other relatively impermeable substance pressed into the interstices between them.

Gabled and flat roofs were possible with these materials.

With the invention of brick and cut stone for building, the basic roof forms of the dome and vault appeared.

It transformed from weighted massive roofs to thinner planes. Wooden beams were transformed to trusses spanning large distances and then to steel truss to shell, space frame, geodesic dome , tensile and pneumatic structures.

Roof acting as an envelope satisfies physical and psychological needs of human beings and allows us to differentiate between an interior and an exterior space.

It is an interactive plane between sky and us. Its form assures the sense of being inside. The character of space is modulated by it and also it act as an identity of the space from outside.

Roof (outer skin) and ceiling (inner face) are two potentially different aspects of an overhead plane. The ceiling determines the perceptible volume and scale within and therefore should become a space modulator, while the roof imparts first visual clue and image/ identity externally and should be explored such.

Characteristics of a roof depend on the design purpose of the building or structure that protects, but also the local geography. Thereby local traditions, existing

materials, practices and local laws are limitations that determine the architectural design and construction itself.

Evolution of flat roofs (terraces) has depended largely on the environment in which the building was built (climate area) but also on the materials and technology used. The flat roof has historically been widely used in the Middle East, the American Southwest, and anywhere else where the climate is arid and the drainage of water off the roof is thus of secondary importance. Flat roofs came into widespread use in Europe and the Americas in the 19th century, when new waterproof roofing materials and the use of structural steel and concrete made them more practical. Flat roofs soon became the most commonly used type to cover warehouses, office buildings, and other commercial buildings, as well as many residential structures.

One of the first flat roof (Fig. 1.1) was made from earth which had shaded work place and separate areas for drying flax, farm produce, textile, etc. It was partly shaded by matting or a tent like superstructure.

Difference between terrace and roof Roof can only modulate light and volume of inside space but terrace can modulate light and volume of the inside space as well as outside space.

Roof does not provide accessibility to a common person whereas a terrace does. Roof acts as an artificial sky where as terrace lets one to be in contact of the natural sky.

Roof is intended to be visible from outside whereas a terrace plane is mostly hidden by parapets or walls bounding it.

Fig. 1.1 village house, Palestine, 1st century

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1.2 ATTRIBUTES OF TERRACES 1.2.1 Horizontal Plane Flatness is an inherent property of a terrace. Roof can be curved, pitched and flat roofs. The terraces or the flat roofs allow us to walk on it and experience the feeling of being on a horizontal elevated surface. A roof can be called flat if the pitch is less than 15 degrees and this flat roof is terrace. The horizontality allows the user to indulge in different kinds of activities such as sleeping, sitting, dining, gathering, etc. The flat surface has the grip for all human posture and hence terrace is a stable form.

1.2.2 Receiver Of Climate Climate is a fundamental and unchanging force. Life in a warm climate makes use of a much wider range of physical conditions than it does in a cold one. Terrace, being a roof acts as an overhead plane protecting the spaces underneath from the climatic conditions and itself receiving all.

Terrace is open to sun, rain, wind, etc. and allows human to be in contact of the same hence though it is man-made but operated by nature. In Indian context terraces are being used for drying clothes, papad, raw materials for pickle and solar cooking since long time.

Terrace is the receiver of sun, wind, rain, etc. and hence is used for utilization of these resources like solar panels are installed, rainwater is harvested, etc.

Fig. 1.2 Drying amla on terrace of Neel’s house

The reason of the great amount of outdoor space is need for open space for various activities as well as response to the hot and humid climate. Therefore, the terrace has become as important for living as the internal spaces, such as the bedrooms and kitchen.

In fig. 1.2, 1.3 and 1.4 various uses of terraces during summer season in the city of Ahmedabad have been shown.

During day, when the sun is overhead, people dry clothes, papad, spices, mango, etc. And hence summer is the season of drying. During nights when it is hot inside, terraces become sleeping places due to pleasant environment and. In some places, communal sleeping is common where people chat, gossip, etc. before going to sleep.

Fig. 1.3 Drying clothes on terrace of a house in slums

Fig. 1.4 Sleeping on an apartments’ terrace during summer nights

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1.2.3 Expanded Views A terrace is a space that allows the person standing in it to view up, down and in all directions in the same plane. This might change with the change in kind of terrace but it remains an elevated plane. It has direct connection to the sky and surroundings. The visibility to sun, stars and birds is accessible through this plane.

Fig. 1.5 Shiv Niwas terrace giving a view of lake pichola, Jagnivas palace and hills surrounding the lake

It is away from regular life of the ground and lets us enjoy viewing the same from far. One can sight the happenings and events of the lower planes, which cannot be seen by being in them. The image of the surroundings can be seen from the terrace. A terrace at a relatively good height can even give a good view of the entire city just like a mountain top gives the view of entire valley.

Shiv Niwas Palace (Fig. 1.5) now serves as a luxurious hotel. The terrace of Shiv Niwas Palace gives the view of lake, the Jagnivas palace and the hills in the background due to its location bringing in the entire landscape of the city.

Fig. 1.6 A view from the Centre Georges Pompidou towards 9th, 10th and 18th arrondissements with Sacre Coeur and Paris roofs

Centre Georges Pompidou is relatively higher than the rest of the buildings in Paris and hence give view of the city and the hill where Sacre Coeur is situated from one terrace and Eiffel tower from the other. Fig. 1.6 shows the view from one terrace.

1.2.4 Topmost Plane Just as the plinth is the base plane from where a building rises, the terrace is the topmost plane, which make us realize that the building ends there. It forms the external most surface of the building, which is maximum, affected by the climate and hence determines its use.

Since it is the topmost plane it serves as an immediate plane to safeguard people living on upper floors at times of natural calamities like earthquake, floods, etc.

Most of the buildings which have flat roof whether high or low, single or clustered can make use of this place in different ways. At this level the volume of the building ends.

Fig. 1.7 Aerial shot over Manhattan

The image (Fig. 1.7) shows the terrace as the topmost plane of the buildings and the different ways of using it.

The terraces become a living space for the people using the spaces related to it.

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1.2.5 Private space The terrace is not good only for public activities but also for personal use. One can spend time with oneself or their dear ones without any interruption. As it is away from ground, there is no disturbance from surrounding environment. With high-perforated walls this terrace space acts as an outdoor room and can even provide space for romance depending on the situation of the same.

The terrace (Fig. 1.8) here becomes a personal space for a couple sharing happy moments together and spending time with each other being away from the rest of the activities and people during night. The pavilion allows to hide behind it or in it to further ensure privacy.

Fig. 1.8 Radha and Krishna romancing on terrace as seen in a miniature painting

1.2.6 Immediate Outdoor Space Terrace is the part of the building, which acts as floor without roof. Pleasures of being outside the box can be enjoyed through it at the closest distance and is free from hindrances such as noise from traffic. It can provide an additional private space or act as an extension to living space. These spaces are the ideal place for living activities. The terrace, which is open to the sky, may still get some shade from surrounding trees and from nearby buildings, is the ideal place of more active functions, such as enjoying fresh air and cold wind, as a play area for children, getting sunlight for planting, cloth drying, preparing food and handicrafts. Originally it came to be used for sleeping at nights, celebrations mainly because of climatic factors. Climate governs the use of terrace. It’s a kind of luxury to the people living in the places of hot and dry climate in evening and night (to receive breeze) and those living in cold climate during day (to receive sun).

Fig. 1.9 shows the immediate terrace that occurs outside the dining space of the penthouse. It is the nearest open space that is used by the family where the ground is ten floors below.

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Fig. 1.9 Penthouse, Indraprastha 8, Frangipani, Ahmedabad

1.3 ROLES OF TERRACES 1.3.1 Terrace as another Ground

Fig. 1.10 Villa Sarabhai, Ahmedabad

Since there is only one ground humans tried to add grounds to the upper floors by adding terraces and not just adding but placing it in such a way that it forms a courtyard, becomes an extension, serves as an immediate outdoor space, etc. It can serve as a manmade ground in natural conditions. It might resemble other elements of building such as courtyard, balcony, ground, room, etc. Many daily activities often occur outside the dwelling. For example, children’s play, adult socializing and various forms of outdoor recreation.

In higher- density housing where exterior facilities on ground cannot be provided, or is difficult to access, because most spaces on ground are used for parking and covered by the building structure, these activities often on roof decks. A well designed terrace can provide an outdoor environment that may have features similar to those found at the ground level, such as lawn, garden and leisure area, with more privacy, views and ventilation.

The terrace of Villa Sarabhai (Fig. 1.10) is a garden on first floor without parapets and merging with the landscape and just being outside the closed living spaces. Here terrace becomes another ground just like a garden below, people enjoy sitting and socializing here.

Fig. 1.11 Barsati, Vastrapur slums

In a barsati (Fig. 1.11), the activities such as cycling which are generally on ground are performed on the terrace. It is also used for storage, drying and spending maximum time of the day outside.

1.3.2 Terrace as garden Terrace, being flat allows cultivation on its surface.

Green roofs are descended from vernacular architecture of various countries in all parts of the globe, whereas roof gardens are known as luxury items of the affluent since the famous (Fig. 1.12)hanging gardens of Babylon (600 BC).

Fig. 1.12 Hanging Gardens of Babylon

In the beginning of the 20th century, roof gardens experienced renaissance through the modernist movement. The invention of the flat roof was seen as an opportunity to inhabit a new healthy outdoor space by all levels of society. At the end of twentieth century, the green roof gained renewed relevance through environmentalism when its varied benefits were recognized as useful for alleviating problems of heavily urbanized areas. Only in the past couple of years has the US experienced an increase in the number of green roofs with the technology imported from Europe.

The breakthrough of flat roof technology at the end of 19th century triggered the idea to build roof gardens

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and terraces in mass to fulfill the demand of “light, air and sun”. In 1930 the German landscape architect Harry Massz predicted a metropolis where “man will store from roof garden to roof garden which will continuously crown the top of our cities as the sunlight and flowering paradises”.

Minimal type of ‘roof greening’ was found. The thin coatings retained and cleaned rainwater, cooled and humidified the surrounding air, filtered dust, reduced noise levels, insulated against heat, provided habitat for flora and fauna, and prolonged the life expectancy of roof. The technology was widely implemented as a remedy against many problems of urban density, such as frequent flooding, water and air pollution and highenergy consumption.

Throughout Europe each roofs were commonly used for their insulating effect on cultivation structures. Le Corbusier introduced the concept of roof gardens as his one of the five points of architecture. Fig. 1.13 and 1.14 show the terrace gardens implemented in his buildings.

Brenneisen states that “there is no other comparable area type in urban spaces with so little competition for its use.” He later continues, “if rooftop space is not used by the occupiers of a building it can be returned to nature.”

Fig. 1.13 Le Corbusier’s house terrace

Fig. 1.14 La Tourette

1.3.3 Terrace as identity of a building The terrace acts as the crown of the building. It contributes in the skyline of the city and the roof-scape silhouettes. The elements that make up a terrace give it and the building an identity through its articulation.

These elements follow the language of the facade from outside and provide enclosure to the terrace.

It can become an identity of a place or part of name of the project for example, terrace housing. It can become a typology in particular building whether residential, commercial, etc.

The articulation of terrace in Casa Batlo (Fig. 1.15) is inspired by sea life and the turrets coming out along with the facade wall enclosing terrace create a distinguished image of the house. Jal Mahal (Fig.16) without the chhatris and pavilions adorning its terrace would not have created such unique identity of the palace.

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Fig. 1.15 Casa Batlo, Barcelona

Fig. 1.16 Jal Mahal, Jaipur

1.3.4 Terrace as usable space

Fig. 1.17 Painting showing Karva chauth

Fig. 1.18 Uttarayan celebration, Ahmedabad

We all need a real habitat that allows us to live with our own mythic imagery, dreams and aspirations. For our habitat is not created in vacuum-it is the compulsive expression of beliefs and aspirations (implicit and explicit) that are central to our lives. India consists of an incredibly rich reservoir of images and beliefs, like the transparent layers of a palimpsest-with all the colors and all the patterns equally vivid-starting with the models of cosmos and continuing down to our time. And it is the continuing presence of these layers in our lives that creates the pluralism of our contemporary society. One of them is culture-which is like a great reservoir, calm and continuous, changing only very gradually.

In India architecture is shaped by the social patterns and the cultural ethos. Terraces are used in many festivals like uttarayan, karva chauth, sharad purnima, gettogethers, parties, large scale celebrations, etc. due to blowing breeze and contact with the moon. Sometimes terraces are connected which helps in socializing and sharing.

Terraces being flat, open to sky and sun allow cultivation by adding a layer of soil to its surface acting as closest green space and at the same time growing edible crops and fruits. They are also used as storage spaces to store hay for cattle in slum, mobile towers on apartments’ terraces and various small built spaces to store things.

Fig. 1.19 Holi celebration, Chandigarh

Fig. 1.20 Rice cultivation, Chitra Vishwanath residence

Fig 1.17 demonstrates the festival of Karva chauth celebrated in North India where women fast till Moon rise and then see the moon through sieve and drink water to break the fast, wishing longer lives for their husbands. Fig. 1.18 shows celebration of Uttarayan where people get on their terraces with food and music from morning to evening to fly kites, celebrate and socialize. Fig. 1.19 shows celebration of Holi, a very important Indian festival on terrace which usually happens on ground. With lots of colors and water people play holi, and celebrate. This shows how people use the terrace as another ground and without worrying about cleanliness of the space. Fig. 1.20 shows rice growing on the terrace of Chitra Vishwanath’s residence showing terrace as a cultivable platform. The terrace of the old city has various things of regular as well as less used, stored on its terrace.

Fig. 1.21 Pol house, Lakha Patel pol,Old City, Ahmedabad

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1.3.5 Terrace as a livable space In a developing country like India, we simply cannot afford to squander the kind of resources required to air-conditioning a glass tower under a tropical sun.

And this, of course, is an advantage. It means that the building itself must, through its very form, create the ‘controls’ the user needs. For centuries now people all over India- in villages and places- have intended wonderful combinations of the kind of spaces (from closed box to open-to-sky). At the same time, they developed the kind of lifestyles, which allowed them to use these different spaces in optimal patterns.

At the red fort at Agra; in the early morning of summer months, a velvet shamiana (i.e., canopy) is stretched over the top of courtyards-thus trapping the cold overnight in the lower levels of rooms, where the Mughal emperor spent his day. By evening the shamiana was removed and the emperor and his court came out to the gardens and pavilions at the terrace level. In the cold (but sunny) winter, this nomadic pattern was reversed: the terrace garden being used during the day, and the lower level of rooms at night. In a warm climate, many of a family’s most essential activities (like cooling, sleeping or entertaining friends), do not need to take place within four walls of a box, but occur in these spaces.

To have a similar quality as in nature, like in detached houses, luxurious units are usually located on top of the building such as penthouses, or units near the swimming pool, garden, or large outdoor open spaces.

A large private terrace can create a special atmosphere of extended space to the living or dinning room that gives a feeling of being in more open and flexible space, and also the possibility to move readily in or outside the interior space. What interior spaces lack in both, lower income housing and higher income housing, gets fulfilled by terraces and can serve both recreational and utilitarian activities.

The terrace of the Pol house (Fig. 1.22) is used to dry papad and fulfill their basic needs by selling them.

Skyline residence (Fig. 1.23), Los Angeles is a luxurious house situated on a hilltop giving a view of downtown where the users spend their leisurely time.

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Fig. 1.22 Pol house, Lakha Patel ni Pol, Old city, Ahmedabad

Fig. 1.23 Skyline residence, Los Angeles, CA

Inferences A terrace is an outdoor space at a height. It is a roof that can be walked upon. It can exist at any level or all levels of a building resulting in defining the form of the building.

Views become more extended with increase in height of the level of the terrace being dependent on its location.

Possibilities and uses of a terrace make it a more widely used space in different types of buildings and buildings of varying nature.

The flexibility of space maximize the use of it during the day and during the year, with change in use with change of season or time of day.

Levels away from the ground got a chance to have their own grounds with the coming up of terraces and they become the nearest open to sky space for people living on floors other than the ground. Now a days when people are suffering from various health issues open spaces with natural breeze and green spaces help in healing them.

In Indian context the attribute of height and vastness of the area was made use of to celebrate culture and various festivals on this plane.

Greening of space or gardening on terrace made the users happy by giving them their own gardens and bringing them close to nature.

Many buildings are identified due to the elements of the facade which hide the terrace or the way the terraces are placed. Locating a building becomes easy with the articulation of terrace walls and parapets.

Although all the attributes cannot be seen in a single terrace, a lot of them can be inculcated to make it a better living space. Situational attributes make every terrace unique in itself. Human responses and initiatives have made it a space of utility and will continue to remain so with similar attempts. The different attributes support and benefit from other attributes as explained in the chapter.

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CHAPTER 2- CLASSIFICATION OF TERRACES 2.1 Classification of terraces on the basis of its form 2.2 Classification of terraces on the basis of its situation in the building 2.3 Classification of terraces on the basis of its accessibility 2.4 Classification of terraces on the basis of its use

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The terraces are of different types which can be classified based on similarities and differences of their characteristics, potential and their role in a building. Classification will help to organize and compare terraces based on one factor.

The categorization and grouping makes it easy to understand and sort information and hence to communicate.

Classification of Terraces

On the basis of Form

On the basis of situation in the building

On the basis of accesibility

On the basis of its use

Planar

Topmost plane

Individual

Multipurpose plane

Subtractive

Elevated slab

Group

Cultivation

clustered

Datum/ Passage

Public

Energy Generation

Stepped

Extension

Storage

Adjacent spaces

Amusement and ceremonies

Central space/ courtyard

Grouped arrangement

interlocked spaces

Extension of ground

* All classifications are to be read horizontally.

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2.1 CLASSIFICATION OF TERRACES ON THE BASIS OF ITS FORM The form of the building defines the form of the terrace and the form of terrace defines the way it is used and viceversa. Multiple terraces come together to define the form of the building and occurrence of terraces. Classification of terraces based on form can happen in the following categories.

Planar form

When a terrace is just a plane of any shape it will fall in this category.. Here the area of terrace is equal to the footprint of the building. The path of the terrace remains continuous but it can change direction, form curves, etc. Jahaz Mahal terrace is a rectilinear form with pavilions. There are many skyscrapers in New York which have terraces been developed into gardens or outdoor living spaces. Fig. 2.9 is a picture of beautifully detailed high-rise terrace garden in Battery Park City taken over New York.

Subtractive form

When mass is taken out of the perfect geometrical form to have a terrace it becomes a subtracted form.

Courtyard terraces and terraces of penthouses will also fall in this category. Here the area of different terraces is equal to the footprint of building. The terrace of Pompidou accessible from art galleries are a level lower than the topmost roof. The courtyard terrace of Amber fort becomes a terrace due to topography of the site and is overlooked by terraces above.

Clustered form

When many terraces come and get attached together to form a big space will come in this category. The randomness is actually a felt spatial quality but is designed to maximize open spaces maintaining the density of the built. Habitat 67 is stacking of houses but with a stagger or rotation of the next upper unit. In Anatolian villages the houses were built in tiers where many houses had entry from roof terrace which was reached by ladders. Some terraces have holes to reach a house on ground floor.

Stepped form

When terraces occur in steps they would fall in this category. Stepped form can take various opportunities of design. They can be seen as stacking of units with a shift or area getting reduced towards the top of built.

Here terraces may loose privacy by overlooking each others’ terraces but create a comfort and visual between various residents of the same building. The Hanging gardens of Babylonia is the most ancient example of stepped terraces and terrace garden. Taos Pueblo were collective dwellings of Indian tribes of Arizona and New Mexico living in tiered multistory.

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Fig. 2.1 Jahaz Mahal, Mandu offering views in all directions of terrace and surroundings.

Fig. 2.2 Rooftop of a skyscraper, Manhattan by photographer Alex MacLean with various activities

Fig. 2.3 Pompidou Centre, Paris giving views of the city and accommodating functions

Fig 2.4 Zenana, Amber Fort overlooking terraces below being enclosed in itself

Fig. 2.5 Habitat 67, Montreal showing overlooking and private terraces

Fig. 2.6 Catal Huyuk, Anatolia showing overlooking terraces giving access to other terraces

Fig. 2.7 Hanging gardens, Babylonia showing stepped terrace gardens

Fig. 2.8 Taos Pueblo showing overlooking terraces giving access to other terraces

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2.2 CLASSIFICATION OF TERRACES ON THE BASIS OF ITS SITUATION IN THE BUILDING The position of the terrace in a building determines its spatial quality and hence decides its use. It becomes important to critically think about placing a terrace as a topmost plane or extension to a living room to maximize its use. Classification of terraces based on its placement in a building can happen in the following categories.

Topmost plane

A terrace would occur as the topmost plane in most of the high-rise buildings. It is the covering of the topmost floor of the building and becomes roof of the building. The terrace of Unite d’habitation is a plane but comprises of lot of small functions which make the people climb up the terrace. Similarly Marina Bay Sands has a restaurant which attracts tourists to visit and experience the height and the view and becomes an identity of the building.

Elevated slab

An extra floor is built above ground to work as another false ground for different purposes. The roof of a pavilion can also serve as a terrace.

A terrace in a garden is often an elevated slab, as in case of Gaudi’s Park Guell where people enjoy sitting and socializing. The entrance to the Villa Citrohan is through a terrace supported on columns which gives shaded space underneath.

Linking passage

A terrace is also used as a common space between many or to connect different parts of building(s). This terrace can act as a connecting bridge or an open corridor.

In Siddhraj Zori, an office building in Ahmedabad the passage on the top floor has terrace gardens, hard paving and water features which connect different offices and also act as space of recreation. In many havelis of Rajasthan, there are courtyards and the upper floors have a passage open to sky around the courtyard connecting closed spaces. Fig. 2.16 is one such terrace from Bundi.

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Fig. 2.9 Unite d’habitation, Marseille with various activity generators on its terrace for residents

Fig. 2.10 Marina Bay Sands, Singapore holding large scale activities and the expanding views

Fig. 2.11 Park Guell, Barcelona as a public plaza

Fig. 2.12 Villa Citrohan third version, showing terrace as a porch

Fig. 2.13 Siddhraj Zori, Ahmedabad showing terrace as an immediate relaxing space for the employees

Fig. 2.14 Haveli Terrace, Bundi showing terrace overlooking the courtyard while acting as a passage.

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Extension

A terrace occurs to extend spaces like living room or entrance replacing a balcony or verandah. Chidambaram agashiye (Kartikeya Sarabhai Residence) by Banduk Smith studio is an extended terrace built over a garage at the entrance with shade from foliage. Rambag terrace is also at the entrance giving a buffer from the garden to inside in a residence.

Adjacent spaces

Terraces occur as adjacent spaces of two different houses for the purpose of interaction just like verandahs exist side by side on ground. Navalgarh haveli terraces and those of the row houses of Ahmedabad show how the terraces of neighboring houses can be connected. These kind of terraces may or may not have a division in the form of wall or parapet in between demarcating the territory. In the absence of the division it is available completely to a user at the time of need.

Central space/ courtyard

A terrace can occur like a courtyard at a higher level surrounded by different spaces on all four sides serving as a common open to sky room. It can also serve as space within a space. Many Palaces have courtyard terraces due to their positioning on hilltop like Mor chowk, city Palace, Udaipur is a courtyard terrace overlooked by spaces above. The terrace of Villa Savoye is interlocked by the ramp on one side, semi open space on one, living room on the other also gives a sense of courtyard and at the same time allows to view from the slit windows.

Grouped arrangement

Terraces can occur randomly in a cluster creating varied form of spatial qualities within the building.

Many examples of vernacular architecture. Old settlements of Santorini are placed far from shore on the steep cliffs giving rise to various roof terraces which connect to public street or itself become a route to someone’s house. In Spiti valley, situated on the top of hill, houses were built on the slope allowing one to stay connected to street from terrace and to another street through main entrance.

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Fig. 2.15 Kartikeya Sarabhai residence, Ahmedabad showing terrace above the garage

Fig. 2.16 Rambaug, Ahmedabad showing terrace as a porch

Fig. 2.17 Haveli terraces, Navalgarh, Rajasthan showing connected terraces of havelis

Fig. 2.18 Row houses, Prahladnagar, Ahmedabad showing adjacent terraces on intermediate and top floors

Fig. 2.19 Mor chowk, City Palace, Udaipur as a courtyard terrace and a datum

Fig. 2.20 Villa savoye terrace can be seen as a courtyard terrace as it is enclosed by spaces and high walls.

Fig. 2.21 Terraces of Santorini, Greece coming together

Fig. 2.22 Spiti Valley, Himachal Pradesh showing houses with terraces at various levels

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Interlocked spaces

Interlocking of a terrace by two or more spaces in a building give rise to shared terrace. In Mangaldas Haveli, the terrace is between the cafe and the restaurant which divides and connect the two spaces at the same time. The terrace of Villa Savoye is interlocked by the ramp on one side, semi open space on one, living room on the other also gives a sense of courtyard and at the same time allows to view from the slit windows.

Extension of the ground

On a sloping site the ground extends horizontally in the form of a terrace. Bharat Bhavan terrace is on a slope where the entrance is through the terrace and the rest of the spaces are a level below. The step-wells are traditional water structures which were built to fetch water from wells and built underground so their terrace replace the ground from the area and itself become new ground that allow activities to happen. Gandharvav vav terrace is being used by kids to play.

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Fig. 2.23 Mangaldas havleli cafe, Ahmedabad old city showing terrace connecting two spaces

Fig. 2.24 Terrace of Villa savoye showing terrace between the closed spaces

Fig. 2.25 Terrace of Gandharva vav, Saraspur with cutouts to light spaces inside step-well

Fig. 2.26 Terraces of Bharat Bhavan, Bhopal overlooking courtyards and offering views to the public

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2.3 CLASSIFICATION OF TERRACES ON THE BASIS OF ITS ACCESSIBILITY One who owns a terrace has the power to decide the users who can access it depending on the type of building.

Sometimes the terrace is owned by a person but is accessible to public such as malls and restaurants whereas a terrace of a residence is limited to the family members. Classification of terraces based on its accessibility and ownership can happen in the following categories.

Individual

A terrace of a residence belongs to that particular individual. All the examples are of private residences and hence the terraces become private to them. The three examples show very different articulation - one with steps, level differences, one with extending views and one acting as enclosed open space.

Fig. 2.27 Terrace of Casa Mila, Barcelona with its own modulation and landscaping

Group

A terrace is shared by a few people whether they own it or not, becomes accessible to them. The cafe of the institution in Munich is only for the students of architecture department. In Spain many terraces are now used to organize certain events where people can participate who form a group. At Gulbai tekra slums, Ahmedabad kids are taught during evenings on a terrace by NGO so it is accessible to them regularly but owned by an individual.

Fig. 2.30 Rooftop Cafe, Faculty of architecture, TUM with expanded views and furniture to accommodate the strength.

Public

When any person can use a terrace it becomes public, for example shopping malls and restaurants. The terrace of Bharat Bhavan is open to public and so people come strolling and cycling. The terrace of the cafe is open to all who dine though owned privately. The terrace in Park Guell is specially designed for public interaction and socializing.

Fig. 2.33 Terrace of Bharat Bhavan, Bhopal open and inviting to public

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Fig. 2.28 Terraces of Falling Waters offering wide range of views and bringing in nature

Fig. 2.29 Terraces of Villa Savoye, Poissy with extended living space on one and sunbath on the other terrace.

Fig. 2.31 Rooftops used for cultural events in Spain

Fig. 2.32 Slum kids getting education on a terrace by NGO at Gulbai tekra, Ahmedabad

Fig. 2.34 Seva Cafe, Ahmedabad open to public as restaurant terrace

Fig. 2.35 Terrace plaza, Park Guell, Barcelona open to public with tickets

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2.4 CLASSIFICATION OF TERRACES ON THE BASIS OF ITS USE Many terraces have been assigned function and are used for a particular function. Some are left with minimal design and users choose to perform functions as they require and some are designed for various functions integrated in the design. Classification of terraces based on its use can happen in the following categories.

Multi-functional plane

Many times a terrace is left blank and users use it with their convenience at different times of day and year and their need so the terrace serves as a multifunctional plane. A Barsati in vastrapur slums is a place which is used by children to play, all to sleep, dry clothes, work, etc. The terrace of Unite d’habitation has various activities from kids nursery to jogger’s track.

An intermediate terrace in New York has two tennis courts, a dog run, a lawn, a sand volleyball court, and a reflecting pool.

Cultivation

Fig. 2.36 Barsati, Vastrapur slums, Ahmedabad used for different activities throughout the day with just a floor and the parapet

Since long terraces have been used to grow some grasses, paddy, vegetables and other plants and hence serve as a roof garden. Terrace garden at villa Sarabhai is as dense as the garden on the ground with lots of plants and grasses. Chitra Viswanath’s Terrace has rice cultivation using it as an agricultural resource. American Society of Landscape Architects’ terrace does not plant directly on the terrace but create artificial mounds built to hide HVAC ducts.

Fig. 2.39 Terrace garden,Villa Sarabhai amidst trees

Energy generation

Various solar panels or solar dish concentrators are installed on the terrace to generate electricity using sun as a source of energy. Also rainwater falling on terrace is collected and harvested. So terrace contributes towards sustainability.

Storage

Fig. 2.42 The ‘Abode’, in Marianapallya by Chitra Vishwanath with solar panels and water heater

The storage generally takes space. On many terraces there are places to store things without disturbing the usable area. Many terraces in villages and towns are used for storage of hay stock and in cities they serve as storage for air conditioning duct, water tanks, dish antennas, mobile towers, etc. Ranchhodlal Chhotalal haveli terrace has storage space under the staircase which is accessible from terrace and the pol house terrace has its wash converted to storage space.

Fig. 2.45 Mobile tower, terrace of low rise flats, Ahmedabad

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Fig. 2.37 Unite d’habitation, Marseille with various activity generators

Fig. 2.38 Terrace of 4545 centre boulevard, New York being an immediate outside space for residents to fulfill their needs

Fig. 2.40 Rice cultivation, Chitra Vishwanath residence

Fig. 2.41 ASLA roof with grass growing on artificial slopes

Fig. 2.43 Solar bowl on Solar Kitchen terrace, Auroville

Fig. 2.44 Rain water harvesting, Chitra Vishwanath house

Fig. 2.46 Ranchhodlal Chhotalal haveli terrace Ahmedabad with storage space

Fig. 2.47 Pol house, Lakha Patel pol, Old City, Ahmedabad with storage on terrace

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Amusement and ceremonies

Many terraces are used for different kinds of celebrations such as for marriage, festivals, and other activities. So they are designed with lounge, swimming pool, dining space, embellished walls, etc. In Ahmedabad at the time of Uttarayan, terraces are completely occupied to fly kites. Unite d’habitation terrace has features enabling kids to play. A resort at Udaipur has a terrace with a stage where shows and events can happen.

Fig. 2.48 Uttarayan Celebration, Old City, Ahmedabad

Inferences The classification and categorization is to see the multiple situations, attributes, forms of terraces with examples and identify and relate similar terraces. It is done to make study easy and convenient. It allows us to see the existing traits and characteristics of different terraces at a glimpse. The number of categories obtained are not to limit, but are based on self observations.

A terrace can fall in various categories as the classification is based on different aspects. For example, the terrace in Park Guell is a public, planar and an elevated slab where its form is planar, accessibility is planar and situation is of an elevated slab and serves for amusement.

A terrace can even fall in two different categories under the same aspect. For example the terrace of Villa Savoye can be considered as a courtyard or as an interlocked space where as Mangaldas haveli terrace cannot serve as a courtyard because of it proportion and form.

The classification also shows variations within the same category.

The terraces of Jahaz Mahal and the skyscraper of New York are different building types, one being an Indian Palace and another, a modern residential building.

Though planarity remains a common aspect but differ in enclosing edge elements, flooring and the height affecting the views.Pompidou centre is a contemporary example of a subtractive form whereas Amber fort is a traditional one and both are different in nature of use and the way of building. Habitat 67 is a quite refined form of Anatolian village with additional features. A terrace of low rise or high rise can act as the topmost plane of the building but the one of the high rise would offer more privacy and views and a lower terrace would offer easy accessibility and public interaction.

A terrace can be placed at the top of the building , in between or at various levels and the form and use will vary accordingly and depending on the type of building.

Marina Bay Sands is open to temporary residents of

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the hotel whereas Unite d’Habitation is open to its permanent residents and hence the treatment and articulation also vary for the same. Park Guell and Villa Citrohan both have a terrace as an elevated slab but one is public and one is private so the scale and use is different. In Siddhraj Zori the terrace is a place to transport and at the same time serves the purpose of being outside and relax, where as due to small width of terrace in a haveli it might not serve any other purpose than being a passage. Kartikeya Sarabhai’s residence’s terrace is different from Rambaug as one has to pass through the Rambaug’s terrace to enter the house and is a welcoming space whereas the other one is separate from the entrance of the house and serves the family members during mornings and evenings. The scale of Mor chowk and Villa Savoye’s terrace vary a lot just like the building.

In many terraces ownership decides the accessibility and hence limit the number of people using the terrace.

The use of terrace is a primary factor to design it.

Barsati in slums and a terrace of a high-rise both can serve as multi-functional spaces but one is used with the minimum articulation and one with assigned functions. Storage spaces on terraces also vary where some are hidden under staircase and some entirely dedicated to storage.

Fig. 2.49 kids playing on unite d’habitation terrace

Fig. 2.50 Magic show on a resort terrace, Udaipur

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CHAPTER 3 - ELEMENTS OF TERRACES 3.1 Floor 3.1.1 Role of floor in a terrace 3.1.2 Classification of floors 3.2 Edge elements 3.2.1 Role of Edge elements in a terrace 3.2.2 Classification of edge elements 3.3 Shelter Elements 3.3.1 Role of Shelter Elements in a terrace 3.3.2 Classification of Shelter elements

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Like a closed room, a terrace is defined by a base, which is floor and edges which can be parapets, walls, etc.

Shelter elements like pergolas and pavilions provide immediate shade during rain or extreme heat from sunlight and still let us experience the same closely.

Plants, furniture and sculptures are used to enhance its quality based upon use. The combination of these elements decide its utility and vice-versa. The terrace in itself is nothing but organization of these elements which make it a space.

The requirement of physical material to contain a space is fulfilled by these elements. Horizontal and vertical elements together enclose space. A terrace becomes a three dimensional space due to these elements. Also the degree of enclosure can be changed by varying dimensions of these elements. A terrace might share its wall with an adjacent room or a terrace depending on the situation and context.

They together function as a movement guide. Parapet controls the area of floor becoming broader and narrow at places and the floor patterns are used to punctuate pauses, emphasizing movement directions or plainly to generate a place through continuous texture. Variations in level and texture of the horizontal plane and change in height of the vertical plane generates movement pattern.

3.1 FLOOR Floor is the surface under our feet on which we stand, walk, etc.

3.1.1 ROLE OF FLOOR IN A TERRACE Horizontal Element The floor is the horizontal plane which makes up a terrace acting as a resting plane for all the objects in that space. A horizontal surface provides the most secure and stable surface for human habitation where one is able to move around it or place objects on it. It largely remains flat in order to assure versatility and the possibility of movement and thus give terrace stabilizing character, unifying different parts of space.

Opening to Sky A floor of terrace is an element which is in direct conversation with sky, so introduces us to the same.

The sky which itself is indefinite but contains a lot of finite components. The biotic components including birds meet us through this space. The floor of terrace is directly affected by the climatic components such as heat, cold and precipitation. The view of man-made flying components like aircrafts is also possible from here. It also relates us to our own solar system by giving a glimpse of sun, moon, stars, etc.

Defining And Separating Spaces

Fig. 3.1 Floor as horizontal stable plane

Flooring materials are perceived differently through their color, texture rendering, finishes, grain structure, base material, etc. For example, naturally occurring materials like stone, mud and grass register differently than artificially treated materials. This property helps articulate and define the boundaries of space by merely expressing their extent in a graphical manner on a two dimensional footprint. The flooring materials can demarcate the boundaries between a closed space and a terrace; a terrace and a terrace or subspaces within the terrace.

The flooring of Agashiye, Ahmedabad has variations throughout. The image (Fig. 3.2) shows the terrace with natural stone flooring is next to the part with mosaic work to denote the change of space. The part with mosaic work serves as a passage whereas the one with the natural stones is to sit and rest.

Fig. 3.2 Agashiye, Ahmedabad

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The terrace of the Badi Chitrashala (Fig. 3.3) has flooring being changed to diagonal grid pattern from solid black stone flooring in semi open space. There is also a change of floor level from pavilion to the terrace.

Fig. 3.3 Badi Chhatrishala, City Palace, Udaipur

Referential Plane Floor acts as a base for the objects and people on it.

Due to its flatness and the existing gravitational force everything gets placed on it and has its finite reference on the floor plane. It forms a single base for many things acting as a unifying plane. A position of any object on the plane can be determined using the floor as a reference.

The shape, corners, curves of the plane help to fix or change position of a living or non living thing. The floor allows itself to be used as a surface on which rugs and carpets can be placed to create subspaces according to occasion and functional use. It allows various kinds of furniture and plants to complete the experience.

Fig. 3.4 Terrace Lounge, Ahmedabad

Terrace Lounge, Ahmedabad (Fig. 3.4) has planters, permanent seat and temporary benches resting on its floor occupying a corner space.

The floor of upper terrace, Badi Mahal as shown in the miniature painting (Fig. 3.5) has a rug and a bolster for the Maharana.

Flexible plane

Fig. 3.5 Upper terrace, Badi Mahal, City Palace, Udaipur

Just like a blank sheet of paper can be turned into anything by folding or cutting or just painting, a floor can be turned to anything by adding any texture or creating level differences on the same. It allows to put various kinds of flooring according to the functional and aesthetic needs or to extrude a part of it in or out to form another space within a space. Various examples have been shown how texture and pattern have added to the floor and the terrace.

The terrace in Fig. 3.6 shows how a level can be created on a terrace by elevating a part of its floor and then creating a depression in the same for a shallow pool.

Fig. 3.6 A terrace by Arboretum Exteriorisme

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3.1.2 CLASSIFICATION OF FLOORS Floors play an important role in terraces. Different forms and finishes of floor are used in different situations depending upon the need. Hence categorizing them on similarities and differences could help to organize, compare its various kinds.

Classification of floors

On the basis of material treatment

Natural

On the basis of form

modulated

Uniform

On the basis of texture

Rough

Artificial

Depressed

Smooth

Composite

Elevated

Geometric

Multi leveled

Organic

Composite

* All classifications are to be read horizontally.

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3.1.2.1 CLASSIFICATION OF FLOORS ON THE BASIS OF FORM Floors include varying forms, undulations, levels, slope, etc giving rise to subspaces within itself Scooping the surface can lead to modulation. Levels and steps break a single plane different spaces adding to its spatial quality. The floor of the terrace can take different forms to enhance its spatial quality and fulfill user needs and hence can be categorized in following ways.

Uniform

Flat floors with no change in slope or level within the entire plane and forming a single datum are uniform floors. Here, the terrace of a pol house is shown which has a uniform terrace with no modulations. Mor Chowk, City Palace, Udaipur is a uniform terrace with no level difference. The form remains planar throughout .

Depressed

Certain functions or spatial requirements may arise need for the floor to sink or go down from a part of it. The depression can be anywhere on the terrace. The terrace of Badi Mahal, City Palace has a depression in the center which functioned as a pool when it was in use. The depression is further highlighted by the raised parapet around it. The terrace of Unite d’habitation has a depression for swimming pool being used by the kids.

Mostly it is done to create water bodies but can also occur for any other purpose.

Elevated

A part of the terrace may get elevated to become little higher from the rest of the surface. An elevated portion can become a podium and a large crowd can view the same from far. It can be elevated from any part as needed.

Diwan i Aam hall terrace, Amber fort has an elevated part in the center with a parapet making it a separate space where mehfils used to happen for the pleasure of Maharaja. The terrace by Arboretum Exteriorisme has an elevated portion in the corner which serves for a separate function than the entire terrace.

Multi- leveled

A terrace can be split into various levels to separate functions or change spatial quality. These levels are complete within themselves as well and serve together as a single terrace. Terrace gardens of Agashiye are split into various levels from the level of hotel rooms to the level of the restaurant becoming a path with breaks in between. They vary in proportion and hence function.

The millowner’s house in shahibaug also has leveled terraces linking two big terraces. If the next level terrace becomes too high then it functions as a separate terrace.

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Fig. 3.7 Terrace of Pol house, Old city, Ahmedabad without any modulation

Fig. 3.8 Mor chowk, City Palace, Udaipur having pattern on its surface but no modulation in form

Fig. 3.9 Badi Mahal, City Palace, Udaipur with square depression for water body

Fig. 3.10 Unite d’habitation, Marseilles with swimming pool

Fig. 3.11 Diwan i Aam hall terrace, Amber Fort with central elevated platform

Fig. 3.12 A terrace by Arboretum Exteriorisme with corner elevated space

Fig. 3.13 House of CG terrace garden (Agashiye), Ahmedabad having levels and steps

Fig. 3.14 A millowner’s house, Ahmedabad having levels

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3.1.2.2 CLASSIFICATION OF FLOORS ON THE BASIS OF MATERIAL TREATMENT A floor becomes significant by the finish put on it to give it identity. A natural material tries to replicate the natural beauty of the earth whereas an artificial material can be a different means of enhancing aesthetics of a space. It acts like a permanent carpet over the floor. They can be broadly classified in these categories.

Natural

Natural flooring consists of natural material which is used as it is without treatment, maintaining its original texture and feel. Vegetation cover, soil, natural stone, sand, water are generally used to cover the floor. Villa Sarabhai, Ahmedabad has terrace garden with natural grass and various plants growing on it. The terrace of agashiye shown is covered with small stones giving a feel of beach. Terrace of Park Guell has sand as a floor finish creating an artificial ground above the pavilion.

Fig. 3.15 Terrace of Villa Sarabhai, Ahmedabad with grass floor

Artificial

Artificial flooring includes material which are treated to perform well when laid on the flooring. Materials such as dressed stone, timber, ceramic, glass, concrete, etc fall in this category. In agashiye the terrace becomes narrow and the tiled flooring tries to diminish the line between the floor and the wall and at the same time borders the path. The haveli terrace has mosaic as its finish having central and corner motifs. The terrace of penthouse has a laminated timber flooring which is different from the other two examples.

Fig. 3.18 Terrace at Agashiye, Ahmedabad with tiled and mosaic flooring

Composite

The terrace floor can be a combination of natural and artificial materials. In a terrace garden at Agashiye, Ahmedabad the floor remains of grass with bricks in between showing path to the users. The terrace by Arboretum Exteriorisme has grass as soft flooring and wood panels as hard flooring around it. In Unite d’habitation, the terrace has swimming pool, so the flooring is replaced by water in that area becoming composite in nature.

Fig. 3.21 Terrace garden, Agashiye, Ahmedabad with floor of grass and brick

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Fig. 3.16 Terrace of Agashiye, Ahmedabad with the flooring of natural stone

Fig. 3.17 Terrace of plaza,Park Guell, Barcelona with sand as flooring

Fig. 3.19 Terrace of Ranchhodlal Chhotalal Haveli terrace, Ahmedabad with mosaic flooring

Fig. 3.20 Terrace of penthouse at Indraprastha 8, Frangipani, Ahmedabad with artificial flooring

Fig. 3.22 Terrace by Arboretum Exteriorism with grass and wooden panels

Fig. 3.23 Unite d’habitation, Marseilles with swimming pool, water replacing the flooring

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3.1.2.3 CLASSIFICATION OF FLOORS ON THE BASIS OF TEXTURE AND PATTERN Texture is a matter of roughness as opposed to smoothness, conceptions which are basically formed by feeling with our hands. We can associate to texture through our visual sensations and not touching. A texture may appear flat from a distance but can be perceived differently on coming near. It becomes pattern when it increases in scale and actual shapes become identifiable and are repeated. A pattern may be composed of geometric shapes or symbols associated to religion, culture, etc. Juxtaposition or repetition of geometric shapes result in a pattern. It can be classified into following categories on the basis of texture and pattern.

Rough

The visibility of minute shadows in between the floor finish asserts the roughness of it. The terrace of Agashiye shown here has natural stone flooring which gives a very evident texture to the floor. The mosaic floor of Ranchhodlal Chhotalal flooring has a texture which is not visible from far. It becomes invisible but the pattern is seen from far. Indraprastha 10, Palm court terrace has a permanent carpet on its terrace which has texture of grass and sand. All three have different textures which make the surface look rough.

Fig. 3.24 Terrace of Agashiye, Ahmedabad depicting rough texture using natural stone

Smooth

When the floor together reflects and appears as a single surface it is seen as a smooth surface. The terrace of ATMA, Ahmedabad is the exposed RCC surface smoothly finished. The entrance terrace of Agashiye is finished with smooth tiles where the gap between the tiles is not as significant as the tiles together. Similarly the terrace Lounge has smoothly finished tiles covering the entire surface of the floor.

Fig. 3.27 Smooth RCC flooring at Ahmedabad Textile Mill-owner’s Association, Ahmedabad

Geometric

When a shape is used repeatedly in a particular way to achieve a pattern, it can be seen as geometric in nature.

The terrace of Mangaldas Haveli has a grid layout of tiles covering the floor. Chidambaram agashiye has a linear pattern generated by the placing of wooden planks. The terrace of City Palace, udaipur follows the pattern around the pool composed of circular motifs in a rectangle which are repeated inside, having similar shaped pits for planting trees.

Fig. 3.30 Grid of square tiles of terrace at Mangaldas Haveli, Ahmedabad

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Fig. 3.25 Terrace of Kashish’s house, Ahmedabad depicting rough texture using mosaic

Fig. 3.26 Rough texture using carpet grass or terrace at Indraprastha 10, Palmcourt, Ahmedabad

Fig. 3.28 Smooth tiled finish of terrace at Agashiye, Ahmedabad

Fig. 3.29 Smooth floor finish of Terrace Lounge, Ahmedabad

Fig. 3.31 Visible lines of flooring, Chidambaram Agashiye, Ahmedabad

Fig. 3.32 Cocentric pattern followed for flooring, Badi Mahal, City Palace, Udaipur (miniature painting)

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Organic

The motifs or pattern on a terrace can communicate to user or visitors. Along with the texture or pattern, additional elements are added to enhance spatial quality. The spiral water channels on the terrace of Jahaz Mahal gives an aesthetic expression to the floor as well as carry water to the pool. The terrace of Rambaug depicts life in sea as well as on ground and sky in a single composition. A story is said through the medium of terrace floor. The pattern bordering the entrance terrace of agashiye marks the end of one space and the beginning of the next.

Fig. 3.33 Spiral water channel creating pattern on terrace floor at Jahaz Mahal, Mandu

Composite

The terrace floor may contain more than one kind of texture or pattern depending on the utilitarian and aesthetic needs. The terrace garden of Agashiye has a path from one staircase to other indicated by the bricks pattern and the rest of it has grass. Siddhraj zori has gardens in the center and the sides are filled with roughly finished stone tiles and in between laminated mats. The resort terrace has exposed concrete flooring with sand in the center.

Fig. 3.36 Grid pattern of tiles changing to mosaic waves on terrace floor at Agashiye, Ahmedabad

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Fig. 3.34 The scene of life in water covers the terrace floor of Rambag, Ahmedabad

Fig. 3.35 Floral pattern created using mosaic at Ranchhodlal Chhotalal Haveli terrace, Ahmedabad

Fig. 3.37 Variations in flooring at Siddhraj Zori, Ahmedabad

Fig. 3.38 Use of different textures on terrace floor at a resort at Udaipur

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3.2 EDGE ELEMENTS The sight where the floor ends becomes and an edge and when the edge protrudes vertically it becomes visible and is called an edge element. The edge elements may include a jali, a wall, a parapet, a row of plants, a bench, etc to make it multi-functional.

3.2.1 ROLE OF EDGE ELEMENTS IN A TERRACE Vertical Element An edge element can be considered as an extrusion of a line in z-axis to generate a vertical plane. With this attribute, they naturally emerge as baffles or barriers.

The height and length define its planarity. The surface can be articulated and punctured according to the need.

Being planer it acts as a defense element.

The safety of a terrace is dependent on this element. In ancient times most palaces and forts had battlements surrounding the main palace, from where when attacked, soldiers used to fight. Their safety was ensured by height of the parapet and gaps in between from where they could attack.

Generally, security from falling is the most important reason for the construction of parapets. A flat roof becomes a usable terrace due to its presence.

Fig. 3.39 Penthouse, Indraprastha 8, Frangipani, Ahmedabad

In Fig. 3.39, the terrace of penthouse has a metal framed parapet which encloses the terrace from one side and allows to view the surroundings and at the same time protects the users.

The gap between the solid wall parapet of the Great wall of China (Fig. 3.40) allows to attack and then hide again.

Fig. 3.40 The great Wall of China

Enclosing Volume They command volume and the attribute of planarity helps contain this in. Two angularly placed wall planes can contain the floor to make it a terrace through their physical or implied corners, while more than two wall panes bind the volume within them. While containing the space within, it also evokes notions associated with within and without.

In Fig. 3.41, the low rise parapet demarcates the volume of the terrace which can be occupied by the users.

Fig. 3.41 Ranchhodlal Chhotalal Haveli terrace, Ahmedabad

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The high wall parapets or jali screens enclose the space more evidently making the space like an outdoor room.

(Fig. 3.42)

Fig. 3.42 Ranchhodlal Chhotalal Haveli terrace, Ahmedabad

Demarcating Territory An edge element defines the extent of the horizontal surface. With opacity, it becomes a termination of realms. Breaks in the parapet may occur to include an element otherwise is a continuous plane wrapping the horizontal plane. Based on different kinds of activity patterns and requirements large spaces need to be subdivided into smaller pockets, performing specific roles. These elements subdivide and modulate space.

Fig. 3.43 Haveli terraces, Navalgarh, Rajasthan

The parapet of terrace at Navalgarh Haveli divides the territory of neighbours which otherwise could have been a single terrace. (Fig. 3.43). In a single terrace the parapet demarcates the area upto which we can walk

Facade Modulator These elements of the terrace helps in composing the image of the building. They can control the upper edge of the facade by modulating themselves. In the absence of a floor above, they are free to change height and form as and when required and give building its unique identity. Hence, helping to form a profile of the built. It may or may not distinguish the terrace from the rest of the building.

Fig. 3.44 National Institute of Immunology, New Delhi

The terraces of National Institute of Immunology create their identity in the facade with the openings and slits in the parapet wall. (Fig. 3.44) The articulation of the wave like element which itself is a space in Casa Batlo (Fig. 3.45)is inspired by sea life enclosing terrace create a distinguished image of the house.

Fig. 3.45 Casa Batlo, Barcelona

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Edge to edge condition When two elements like wall or parapet meet at an angle they form a corner which actually gives shape to the terrace and can be treated in different ways. The corners can be sharp or curved. Sometimes corners are blurred by placing objects or plants.

The two elements might not connect and leave a passage without forming a corner to other space in the same terrace or the other terrace depending upon the situation. Though the primary purpose of the element is to describe the floor but it may be used on the floor to break or modulate spaces.

The diagrams shown in Fig. 3.46 are the mainly used conditions.

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a.

b.

c.

d.

Fig. 3.46 Different edge to edge conditions

3.2.2 CLASSIFICATION OF EDGE ELEMENTS Different kinds of elements varying in height, opacity, volume, construct, etc. enclose the floor of terrace. They are designed in response to human needs. Hence categorizing them on the basis of similarities and differences could help to organize, compare the various kinds.

Classification of Edge elements On the basis of material treatment

On the basis of height

On the basis of its volumetric use

On the basis of mass and void

Natural

Suggestive element

inclined

Solid

Artificial

Below eye level

widened

Porous

Composite

Above eye level

Recessed

Hollowed out

Extended

Extended

Framed

Composite

Composite

* All classifications are to be read horizontally.

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3.2.2.1 CLASSIFICATION OF EDGE ELEMENTS ON THE BASIS OF MATERIAL TREATMENT An edge element becomes significant by the kind of material used to make it to give it identity. A natural material tries to replicate the natural beauty of the earth whereas an artificial material can be a different means of enhancing aesthetics of a space. A natural material can be grown and the artificial is created once to stay for long. They can be broadly classified in these categories.

Natural

A row of plants growing near the edge or stones becomes a zone preventing one to go near the edge. Sometimes foliage of trees coming up become an element of enclosure naturally. The edges of Villa Sarabhai are a row of plants growing on the terrace, or the foliage of trees with a line of stones.

Fig. 3.47 Row of plants at the edge of Terrace garden, Villa Sarabhai, Ahmedabad

Artificial

Most of the terraces which are much higher than the ground don’t have an opportunity of growing trees around and a permanent edge element becomes a necessity. So these are designed part of the terrace and the building. Also a permanent constructed element is more protective than the natural. The edge element of terrace of Asian Games village is a parapet changing its height. The wave like structure of Casa Batllo is an enclosing edge and serves as a space in itself. The high wall of terrace at Amber Fort encloses it with jali and niches.

Fig. 3.49 Connected terraces with connected edges, Asian games village, New Delhi

Composite At times, an edge is formed with a combination of natural and artificial material together. The terrace at Malay Doshi’s house is enclosed with the rows of plants, bench and creepers woven between the vertical pergola.

The perforated edge gives privacy as well as connects to nature outside. The terrace of penthouse, Indraprastha 8, Frangipani is enclosed by a glass railing to which a row of plants become a second enclosure. The terrace of Agashiye has Bougainvillea coming on the terrace grown on the ground. Here the edge is a low rise parapet to ensure safety and above is the foliage.

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Fig. 3.52 The edge element with bench, plants and vertical pergola of terrace, Malay Doshi’s house, Shilaj, Ahmedabad

Fig. 3.48 Row of stones and foliage of tree as edge element, Terrace garden, Villa Sarabhai, Ahmedabad

Fig. 3.50 Volumetric edge of Terrace , Casa Batllo, Barcelona

Fig. 3.51 High wall with niches and jali as edge element of terrace, Amber fort

Fig. 3.53 Rows of plants and the transparent glass edge, terrace of Penthouse, Indraprastha 8, Frangipani

Fig. 3.54 Foliage of Bougainvilia and the parapet with fence above as edge element, Entrance terrace, Agashiye, Ahmedabad

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3.2.2.2 CLASSIFICATION OF EDGE ELEMENTS ON THE BASIS OF HEIGHT The height of a an edge element plays an important role for ensuring the safety of the users and controls the visibility to the surroundings. People are often scared of being at height known as acrophobia, hence the height of edge elements play an important role to make the users comfortable. These may include parapets, walls etc.

Suggestive element

If the height of the edge element from the floor is to low to act as a protective element but it suggests of being the end of the space its a suggestive barrier. If a height of the terrace from the ground is low, a terrace can have a suggestive element. It feels safer when away from the edge but near the edge might give feeling of discomfort.

The upper terrace of Badi Mahal allows the user to view the lower terrace easily and a person on lower terrace may also notice the other person. The terrace of Naoshima Contemporary Art Museum, Kagawa has a low edge element to the garden giving it the feeling of ground.

Below eye level

When the height of the edge element to provide rest to the human arm while standing and at the same time allows to view outside it becomes a parapet. An edge element like a bench can also fall in this category. The terrace garden of Agashiye has light metal railing which does not delete the view from the area it occupies but reduces it and at the same time feels safe. The parapet of terrace at ATMA deletes the view from the area it occupies but allows to stand close to it to view the surroundings.

Above eye level

When the edge element is higher than eye level it may break the interaction of user with its surroundings or visually connect them at places but enclose the user completely. They can be wall, jali, etc. They can be porous or solid depending on the need. These elements are required to give privacy, enclosure, etc. The terrace of Badi Chhatrishala, City Palace, Udaipur has jali wall to maintain privacy and still offer view outside. Villa Savoye has a wall with slit windows in place of parapet for the same purpose. The space behaves as an outdoor room.

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Fig. 3.55 Edge element of Upper terrace of Badi Mahal, City Palace, Udaipur

Fig. 3.56 The edge element of terrace at Naoshima Contemporary Art Museum, Kagawa

Fig. 3.57 Railing enclosing terrace at Agashiye, Ahmedabad

Fig. 3.58 The enclosing edge of terrace at Ahmedabad Textile Mill-owner’s Association, Ahmedabad

Fig. 3.59 Enclosing edge element of Badi Chhatrishali, City Palace, Udaipur

Fig. 3.60 The wall with openings enclosing the edge of terrace,Villa Savoye, Poissy

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Extended

Sometimes an edge element is longer than a wall of one floor extended with the walls or parapets of upper floors.

The edge element at Badi Chitrashali consisting of row of columns and arches between them is extended with the parapet and the wall of the upper terrace. Similarly the semi open space of agashiye is extended with the parapet of upper terrace.

Composite There are edge elements which vary in height for aesthetic or spatial needs. The connected terraces in Asian village show increase in the heights of the parapet at the junction changing the enclosure of the space.

The dining terrace at Agashiye has a composite edge element where it modulates the facade as well as tries to give enclosure to the guests, leaving a small gap for them to lookout.

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Fig. 3.61 Enclosing edge of Badi Chitrashali, City Palace, Udaipur

Fig. 3.62 Semi open space enclosing terrace at Agashiye, Ahmedabad

Fig. 3.63 Edge element varying in height, enclosing terrace of Asian games village, New Delhi

Fig. 3.64 Enclosing edge element of terrace Dining at Agashiye, Ahmedabad

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3.2.2.3 CLASSIFICATION OF EDGE ELEMENTS ON THE BASIS OF ITS VOLUMETRIC USE Since Edge elements can be solid and have width, their volume can be made use of or they may change shape or size for their volumetric use. Their mass can be carved out or added to make these elements, objects of utility. Hence they can be categorized in following ways.

Inclined

When a vertical plane is inclined it consumes more volume in space and also increase the space of the terrace. The volume of the terrace is not suddenly ended but gradually introduces to the outside. The upper terrace of Badi Mahal has inclined low parapet to allow maximum view to the user. The inclined plane in Unite d’habitation is very different. It is meant to be used by kids as play area. The edge becomes a zone instead of a sudden ending.

Widened

An edge element becomes wide for the user to feel comfortable and increase the area before an image of surrounding environment begins. The parapet of Ahmedabad Textile Mill-owner’s Association terrace is wide but mass is reduced and gives inclined resting slab. The terrace of Skyline Residence has metal railing fencing the terrace which is widened using a line of bushes along giving a feel of natural habitat and increasing comfort.

Recessed

The elements such as thick walls, can have depressed elements such as niches, alcoves and shelves within them, which can be used to display and store things.

The Chidambaram agashiye has an edge element which is made of marble slabs with racks for displaying and storing things. The terrace of Amber fort has high walls comprising of niches at the same level with jali allowing storing, displaying or viewing outside.

Extended

The edge element may extend itself and consume more surface area to prevent the user from looking down directly or make the terrace inward looking, etc becoming a zone. The edge of terrace at Agashiye is extended with small and large plants changing its shape.

The terrace of Indraprastha 10, Palm court is extended both horizontally and vertically. The planters extend its width and border the entire terrace. The terrace of Park Guell is curved in and out and along with it is the bench changing its direction and allowing people to sit alone and in groups.

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Fig. 3.71 Plants extending the edge of Terrace garden, Villa Sarabhai, Ahmedabad

Fig. 3.65 The inclined edge element of Upper Terrace, Badi Mahal, City Palace, Udaipur

Fig. 3.66 Inclination to make edge playful for kids, Unite d’habitation, Marseilles

Fig. 3.67 Widened edge of terrace, Ahmedabad Textile Mill-owner’s Association, Ahmedabad

Fig. 3.68 Terrace partially enclosed with edge element consisting of both natural and artificial material, Skyline Residence, Los Angeles, CA

Fig. 3.69 Storage racks as edge element of Chidambaram Agashiye, Ahmedabad

Fig. 3.70 Niches in the edge element enclosing a terrace of Amber fort

Fig. 3.72 Undulating bench enclosing terrace of plaza, Park Guell, Barcelona

Fig. 3.73 Row of plants extending the built edge of terrace, Indraprastha 10, Palm Court, Ahmedabad

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3.2.2.4 CLASSIFICATION OF EDGE ELEMENTS ON THE BASIS OF MASS AND VOID An edge element may be completely solid or mass can be reduced by introducing voids. A solid one may reduce the view to surroundings from far but provide more security and stability, at the same time the framed elements reduce safety when on height but makes the space open to views all the time.

Solid

An edge element with no opening is a solid element.

The parapet of a penthouse is a solid element of normal height allowing to view after it ends. It exists probably for the safety of kids. Similarly is the parapet of Villa La Roche but with an extrusion throughout. Casa Batlo has a high solid wall which ends like a wave and has a sculpted art in the center becoming an element of aesthetic.

Fig. 3.74 Continuous edge element of Kashish’s Penthouse, Indraprasth, Ahmedabad

Porous

An element becomes porous with the introduction of pores/ holes of any shape. It is done to reduce mass and maintain strength and stability. The parapet of haveli at Navalgarh has holes in between running in a line and changing positions in alternate lines to maintain the strength of the material and at the same time maximize number of holes. The upper terrace of Badi Mahal has carved jali to increase aesthetic quality, allow users to see out and receive patterned shadows. The terrace garden of villa sarabhai has a no built parapet but tree foliage acts as a porous edge element.

Fig. 3.77 Perforated parapet of Haveli terrace, Navalgarh

Hollowed out

When the pores become large they become useful to look out and can even act as windows in walls they can be seen as edge elements which are hollowed out. The edge element of Marwari haveli has arched openings between the parapet varying in width behaving as windows for the user inside. The Great wall of China has gaps in between to attack and then hide behind the solid part like other battlements. Villa Savoye terrace has a window in a solid wall Fig. 3.80 Hollowed out arched openings in edge element of terrace of Marwari Haveli, Pokhran

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Fig. 3.75 Edge element of terrace with views of surroundings visible above it,Villa La Roche, Paris

Fig. 3.76 The high articulated wall enclosing terrace of Casa Batlo, Barcelona

Fig. 3.78 Jali above eye level enclosing Upper terrace of Badi Mahal, City Palace, Udaipur

Fig. 3.79 Porous edge defined by foliage of trees coming up, Terrace garden, Villa Sarabhai, Ahmedabad

Fig. 3.81 The battlement wall enclosing the terrace of The great Wall of China

Fig. 3.82 Enclosing edge of Salon terrace consisting of opening between solid wall, Villa Savoye, Poissy

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Framed

With new materials and techniques coming up, these elements were designed using less material but same strength. The terrace of Patwa haveli has railing whose members are made of yellow sandstone. Siddhraj Zori has delicate glass railing supported by steel members which gives a formal look to an office building.

Chidambaram Agashiye has metal balusters and handrail. The horizontal members seems invisible from far as they are very thin cables probably for safety.

Fig. 3.83 The railing of terrace, Patwa Haveli, Jaisalmer

Composite

An edge element may be a combination of two or more of the above categories. The one in National Institute of Immunology is porous as well as hollowed out. The parapet of Central Institute of Education Technology is solid from the central part porous towards the sides.

Both of them modulate the facade as well as the terrace space. Upper terrace of Badi Mahal has a seat in between jali wall which breaks the continuity of the parapet and maintain the axiality ( seen in case study).

Fig. 3.86 Enclosing edge elements of terrace visible in facade of National Institute of Immunology, New Delhi

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Fig. 3.84 Enclosing edge of terrace at Siddhraj Zori consisting of metal frame along with glass , Ahmedabad

Fig. 3.85 Metal railing and cables forming the edge element of Chidambaram Agashiye, Ahmedabad

Fig. 3.87 The enclosing edge of terrace at Central Institute of Education Technology, New Delhi

Fig. 3.88 Jali with seat in between enclosing the edge of Upper terrace of Badi Mahal, City Palace, Udaipur

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3.3 SHELTER ELEMENTS The terrace is complete with the floor and the parapet but there are various ways of making it user friendly and attractive. The elements of shelter or shading devices are a way enhancing the quality of a terrace. These elements include pavilions, pergolas and canopies.

3.3.1 ROLE OF SHELTER ELEMENTS IN A TERRACE Defining Subspace within terrace A pergola or pavilion becomes a space in itself on a terrace whether dependent or independent on terrace for vertical support. Also it stands on the base, which is floor of terrace. Users intend to move towards it to spend time under the covered space and yet enjoy the being on a terrace. They automatically become a user’s choice to sit, rest, etc at certain times of the day and the earth. Fig. 3.89 shows how a pergola defines its own space on terrace in Siddhraj Zori, Ahmedabad. The character of terrace changes due to its presence.

Fig. 3.89 Siddhraj Zori, Ahmedabad

Closest place of shade On a vast terrace these elements are the closest shaded spaces to go into as and when required. They not only enclose a terrace but becomes an enclosure in itself with a roof on top shading the users at the time of need.

Fig. 3.90 shows how terrace of Jahaz Mahal becomes an important space due to the presence of pavilions on all sides giving shade on terrace.

Fig. 3.90 Jahaz Mahal, Mandu

Generates activities Many times when the climatic conditions are not favorable a shelter element provides a place to hide and at the same time allows to enjoy pleasures of being on terrace. Sitting on a terrace during the sunny afternoon or a rainy day becomes possible due to presence of these elements. What a terrace lacks is substituted by the elements of shelter. Thus, encouraging more activities and people on terrace. They sometimes become an enclosing edge to ensure the satisfaction of user.

Fig. 3.91 shows how a canopy on terrace defines a space and allows people to put their furniture and rest in the space.

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Fig. 3.91 Terrace by Arboretum Exteriorisme

Physical Identity of the building Like the edge elements, the shelter elements placed at the corner or near the edge play an important role in defining the physical identity of the building. Terrace being at height make these elements visible to people coming towards the building.

Fig. 3.92 shows how the chhatris on the terrace of Jahangiri Mahal becomes its identity.

Fig. 3.92 Front entrance, Jehangir Mahal

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3.3.2 CLASSIFICATION OF SHELTER ELEMENTS The shelter elements are mainly of three types: The pavilion is an elementary form of shelter. It is an independent structure formed by the base, roof and supporting structure. It creates space within, space through and space around. With the minimum supporting vertical structure it becomes porous enough to give a 360 degree view. The basic four columned modules with a roof generates variations in its own form and character.

In traditional Indian structure these pavilions exaggerated quality of space and gave a distinct spatial character.

When placed at higher level, the architectural element itself becomes important as well as the importance of the building increases. Pavilions on terraces overlooking landscapes and lakes provided the most ideal setting for the pleasure pursuits of the king and his lover. Mughal and Rajput palaces were plentifully provided with pavilions on upper levels of palaces, serving as retreats, gaining maximum amount of privacy and expansion of views at the highest end of the palaces.

Pavilion The chhatris, domed pavilion adorned the terraces of Indian palaces. The terrace of Indraprastha 10, Palm court has two pavilions with hipped roof standing on four posts having space for people to sit under it.

Rani Rupmati mahal, Mandu has two chhatris on its terrace with arches in between columns serving as a rectangular pleasure pavilion. Diwan i khas of Amber fort has chhatris on all its corners much smaller in scale than the former.

Fig. 3.93 Pavilion on terrace of Indraprastha 10, Palm Court, Ahmedabad

Pergola The pergola of Siddhraj Zori occur frequently along the path at getting support from the structure itself and having thick primary members and gaps filled by bamboo. The 2’ X 2’ terrace has an entire lattice structure placed on the floor becoming a separate space with sparsely placed beams and rods supporting artificial light. Terrace lounge has a double volume two dimensional pergola supported on posts. The difference in scale, enclosed volume and technique of using pergola is significant from the examples.

Fig. 3.96 Pergolas on terrace of Siddhraj Zori, Ahmedabad

Canopy The canopy (tent) at Agashiye near the entrance terrace is quite huge and serves as waiting area and sometimes dining. It does not allow to see the rest of the terrace.

The miniature painting shows Amar singh smoking hookah under shamiana on the terrace. Terrace by Arboretum Exteriorism has gaps between the stretched fabric to partly cover the space. The difference in scale, enclosed volume and technique of using canopy is significant from the examples.

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Fig. 3.99 Canopy breaking the continuous space in Agashiye, Ahmedabad

Pergolas are various beams running close to each other in a direction or both , supported on the wall of posts which provide some shade from the sun. The beams can change their angle according to the direction of the sun to provide maximum shade. They can be covered with woody vines or foliage. They define the space and become separate subspace on the terrace like pavilion.

A canopy is an overhead roof or else a structure over which a fabric or metal covering is attached, able to provide shade or shelter. A canopy can also be a tent, generally without a floor. They also provide protection from weather conditions. They can be permanent or temporary depending on the need.

There can be more variations under this category which can be used on the terrace to provide shelter and at the same time enjoy the environment at near distance.

Fig. 3.94 Chhatri on terrace of Rani Rupmati Mahal, Mandu

Fig. 3.95 Chhatris on corners adorning the terrace of Diwan i khas, Fatehpur Sikri

Fig. 3.97 Pergola forming subspace on 2’ X 2’ Terrace, Ahmedabad

Fig. 3.98 Terrace Lounge, Ahmedabad wit pergola creating double volume subspace

Fig. 3.100 Shamiana or the canopy giving shelter to maharana Palace terrace, Udaipur

Fig. 3.101 Stretched fabric giving shade at spaces on Terrace by Arboretum Exteriorisme

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Inferences Like classification of terraces, the variations in form, and use can be seen in the elements that make up a terrace. The need of the user determines the design of the edge elements and the floor.

The floor and the edge elements together determine the character of the space, define the space, guide the user to move in the space.

A floor is the surface but the flooring gives it identity.

The form, material and texture of this surface can modulate to give it desired spatial quality. A floor can be made use of its flexibility to achieve all it has to offer.

Classification of floors help us to study the properties better and make use of them appropriately. A floor can fall in more than one category. Differentiating spaces in the same floor is possible by varying the floor finishes, or creating levels.

An edge element is a three dimensional fence which defines the terrace. Classification of edge elements help us to study the properties better and make use of them appropriately.

An edge element whether a parapet or a wall largely controls the view, privacy and safety of the users. A terrace allows to interact with sky and surroundings.

Edge element, if go high and become a wall, only lets us to interact with sky but if some perforations or openings are carved out from the same can allow to see outside and at the same time maintain privacy. All the parapets which are opaque replace a part of the view when seen from far, but when looked standing close to it, introduces to all vistas. In case of framed or transparent parapets views are clear from far as well. When widened or extended the cone of vision gets reduced even when one stand close to it as the gap between the viewer and the view increases. A thoughtful combination of two or more kinds of parapets make the space interesting and appealing to the users.

The topmost surface of the edge element on all sides forms an imaginary plane creating a three dimensional space out of a planar element.

Elements of shade and shelter are optional to use but if used can create space of its own as well as enclose a terrace.

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CHAPTER 4 - OVERVIEW OF TERRACES IN INDIAN TRADITIONAL ARCHITECTURE 4.1 Study of life on terraces through Miniature Paintings 4.2 Terraces in Forts and Palaces 4.3 Terraces in Havelis

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4.1 STUDY OF LIFE ON TERRACES THROUGH MINIATURE PAINTINGS Miniature paintings are the visual documents acting as an evidence of life in palaces and of important people in ancient times. The tradition of miniature painting can be traced from the 9th – 10th century, which came into vogue after the introduction of paper in 12th century India. The full flowering of miniature painting began when India came into direct contact with the civilization of Islam initially having a Persian influence but soon got Indian originality. They were small-scale, highly detailed pictorial compositions, often providing a true record of the social and cultural life of that time. Miniature paintings executed at the Mughal and Rajput courts gives a good idea of the erotic life of the court. They show different kinds of activities people were engaged in while being at different parts of palaces. It also depicts various events and celebrations held in those spaces. Elements of space which could have existed but are not seen now can be seen in these paintings. Miniature paintings have been used to study function, mood, spatial organization and components and human responses towards a terrace.

Maharana Jawan Singh at a recitation of Bhagavata Purana in the Amar Vilas by Ghasi between 1835-36.

Fig. 4.1 Maharana Jawan Singh at a recitation of Bhagavata Purana in the Amar Vilas by Ghasi between 1835-36.

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Function and mood Jawan Singh was attending the Saptah- parayan ceremony in the Amar Vilas, The event shown is probably the week long recitation of the Bhagavata Purana performed by Baba Hanuman Das in Bhadrapada of 1835. A huge throng of nobles, courtiers and sants, Mahants and pujaris is compressed into a greatly enlarged and elongated Amar Vilas.

The colors, red and green are used widely to depict the sacred happening and the structure remains white.

Spatial organization and components The terrace is having the pool as the central element and the cloister around it supporting upper terrace.

The painting (Fig. 1a) focuses on the symmetry of the terrace. The pond, the terrace seat occurring between the jaali parapet and the bangladar pavilion on the upper terrace lie on the axis in and around which the event is depicted. There was railing around the pool separating spaces and creating accesses to the central part from the center of all the sides. Flooring pattern outside follows the circular cavities left to grow plants and trees which is visible from the painting.

Human responses The presence of only men depicts the use of terrace by a particular group (Fig. 1b). The interior part of Amar Vilas accommodates more than 100 people and some resting out in the open terrace, which depicts that, the space allows the gathering of many as well as individuals and groups of 2 or 3 people. So the proportion of the space can be seen well through the painting. On the occasion the columns are decorated with palm leaves and the torans and wall hanging between the columns.

The closed parts and the upper terrace has carpet laid on it and all the pavilions and beam bottoms give space to decorate with religious hangings ( Fig. 1c and 1d).

Fig. 4.1a Spatial organization and components

Fig. 4.1b People on terrace

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Fig. 4.1d Decorating the upper terrace

Fig. 4.1c Decorating the lower terrace

Maharana Sarup Singh and sardars bathing in the Amar Vilas by Tara in 1853

Fig 4.2 Maharana Sarup Singh and sardars bathing in the Amar Vilas by Tara in 1853

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Function and mood In the painting, the bathing scene round the central pool in the garden courtyard is competently observed, with the dye shown running from the bathers’ clothing and some blue and white vases appearing among the shrubbery. The composition shows how a terrace is a pleasant space for meetings, relax and stay connected to nature.

Spatial organization and components The painting is an aerial view from a corner of upper terrace of Badi Mahal. It concentrates on the central space as the event is happening at the center. The detail decreases as moved from center towards the columns.

The central pond and trees form a subspace which is highlighted rather than the whole terrace showing its importance.

Fig. 4.2a The upper terrace

It shows a railing around the pool separating spaces and creating accesses to the central part from the center of all the sides. The variety of trees and plants around the pool enhance the quality of space and shows the concern of people in gardening (Fig. 2b).The upper terrace remains empty during the event but bangladar roof pavilion shown in center as it has become identity of the terrace. It has a small carpet forming a subspace in front of the pavilion.

Human response Around 9 people in pool, and 20 around including both men and women shows the occupying ability of the space (Fig. 2c). The color on the floor shows the level up to which it is used roughly and after which the cleaning is maintained. The presence of the lamps and ceramic pots in between the landscape shows the way it is used by people.

Fig. 4.2b Landscape on terrace

Fig. 4.2c People on lower terrace

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Maharana Amar Singh II smoking on a terrace, with his hounds, Udaipur, c. 1708 Function and mood Rana Amar Singh is smoking a jeweled hookah on a terrace, attended by his hounds. He is seated on a floral carpet with colorful cushions and Shamiana, and cypresses coming up from the back.

Spatial organization and components The floor and the low height parapet have been shown in the painting against which Rana sits. Cypress trees coming up shows the terrace is much higher than ground. Unlike previous paintings it shows part of the terrace with the fountain and the garden. The railing at the back is transparent, allowing the surroundings to be visible from the gaps in the same.

Human responses

Fig. 4.3 Maharana Amar Singh II smoking on a terrace, with his hounds, Udaipur, c. 1708

Fig. 4.3a Rana with four hounds

The terrace allows to put own temporary shelter element i.e. shamiana. Rana choses to sit at the edge of the terrace with a bolster at the back. The terrace allows the hounds to stay in the place with Rana providing them ground like setting with the garden and the fountain.

These four hounds and Rana occupy terrace space. The floor of the terrace allows layers of carpets and cushions above it. Rana does not sit under the shamiana but exactly where it ends to smoke the embellished hookah.

The terrace provides an open space where the smoke can be blown in the air. Hence becomes an important pleasure space.

Fig. 4.3b Additional elements

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Pahari Painting- Guru Nanak with Bala and Mardana in first quarter of 20th century

Fig. 4.4 Pahari Painting- Guru Nanak with Bala and Mardana in first quarter of 20th century

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Function and mood Guru Nanak is seated in the open terrace and in the background is the part of the interior of his cottage.

Seated next to Guru Nanak are Mardana and Bala holding a marchhal – peacock feather fan and facing the guru is a devotee with folded hands. The composition shows terrace as a pleasant space to sit, meet people, listen to music and stay close to nature.

Spatial organization and components The terrace floor and the cottage in the background are the only architectural components shown here. The wall of the cottage gives a back to Guru Nanak and view on the opposite side. The trees are coming up from the back covering one edge of the terrace and along with a facade of cottage become a backdrop for the people sitting on it. The surface of the floor allows various objects to rest on it.

Human response Fig. 4.4a Plants and animals on terrace

Three hosts, a guest and a dog occupy the terrace which helps to understand how the terrace is sufficient for interaction between a group although the end of terrace is not shown. Guru Nanak is having pleasure sitting in the outside space on a small carpet with a bolster showing the tradition of sitting on the floor (Fig. 3b).

A lot of temporary objects such as clay pots occupy the space for convenience to sit for long. There is no permanent furniture showing that it is a place of use as and when required(Fig. 3c).

Fig. 4.4b People on terrace

Fig. 4.4c Additional elements on terrace

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Pahari folkstyle- Portrait of Guru Gobind Singh with his favorite falcon seated on his finger in late 18th century Function and mood The damaged painting must have been a very fine portrait when painted. Guru Gobind Singh is seated in the open terrace with his favorite falcon resting on his finger. The Falcon is a symbol of sovereign power and the feeling of both spiritual and temporal power is generated in the portrait through the medium of interaction between the two beings of different habitat.

Spatial organization and components The painting shows the tradition of taking pleasure of being on terrace by the Sikh gurus. The terrace is a place of man’s interaction with nature; this is repeatedly shown through these paintings. The floor and the parapet of small height are shown here which constitute a terrace. Vastness of sky shows how important it is.

Human Response Guru Gobind Singh ji sit against the bolster which shows how terrace allows to use the space by putting things of comfort. It seems the time is evening when a bird can easily approach. Sitting alone is possible on a terrace to spend time with oneself. He sits against the view just to be with the falcon.

Fig. 4.5b Elements of terrace

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Fig. 4.5a Pahari folkstyle- Portrait of Guru Gobind Singh with his favourite falcon seated on his finger in late 18th century

Fig. 4.5c Guru gobind singh and Falcon

Pahari style-Portrait of a Vaishnava Mahant with devotees in the first quarter of 19th century Function and mood The burnt portion of the painting, a part of the main Kartar Singh collection which got partially destroyed in a fire, indicates to the Nurpur origin where the rulers were followers of Damthal establishment, a seat of Vaishnava Mahants. Vaishnava Mahant is seated with his devotees to have discussion.

Spatial organization and components Fig. 4.6 Pahari style-Portrait of a Vaishnava Mahant with devotees in the first quarter of 19th century

A low parapet along the floor form the terrace parallel to which sits the Mahant on one side and the devotees on the other facing each other. The proportion of terrace remains unknown as the event becomes more important. Connection with sky remains constant for any terrace.

Human response Mahant is seated on a carpet against a big bolster in the open terrace. Facing him are the devotees – an old bearded nobleman and a young royal figure who could be the ruler of Nurpur. The bolster and the carpet forms the temporary furniture. Fruits and a jug are kept on the floor for the Mahant. Eating and discussing seems important activities on the terrace.

Fig. 4.6a Spatial elements of the terrace

Fig. 4.6b Mahant sitting with two devotees on terrace

Fig. 4.6c Essential objects used on terrace

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A folio from Rasikapriya in late 17th century, Malwa, Central India- I Function and mood Radha and Krishna are dancing in the central panel and around them are the lady musicians holding their respective musical instruments. The rain god Indra is riding on his airavata, in the midst of rain clouds. On the terrace are the peacocks and in the foreground of the pavilion is the lake with blossoming lotuses. The whole atmosphere is of amusement on the arrival of rain. The colors are vibrant contrast. The painter places the lovers in a red colored chamber; lively and joyous mood is evoked by with the birds perching playfully on the terrace, and the rich coloring.

Spatial organization and components The terrace is shown with the pavilion in which Radha and Krishna are there. A pavilion at the centre and a high wall with chhatris at the back constitute the space. It connects to various elements of nature such as peacocks, lotuses and other birds. The sight of the lake and Indra passing by makes it more interesting.

All these occurrences make the scene vibrant, which cannot be observed from any other space than a terrace.

Fig. 4.7 A folio from Rasikapriya in late 17th century, Malwa, Central India- I

Human Response The painting shows how an open space becomes a space of enjoyment in rainy season where divine couple, Radha and Krishna chooses to dance under the pavilion on the music played by the lady attendants which allow them to be in their own space. A shelter element here, becomes important being part of the terrace.

Fig. 4.7a Elements of nature other than human beings

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Fig. 4.7b Spatial elements of terrace

Fig. 4.7c Human beings on terrace

A folio from a Rasikpriya in late century, Malwa, Central India- II

Fig. 4.8 A folio from a Rasikpriya in late century, Malwa, Central India- II

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Function and mood On the terrace, in a pavilion Radha and Krishna are seen in dalliance. The lady attendant holding the lamp indicates night. Pleasant environment and open space and the time of night give Radha and Krishna a chance to spend time together and share special moments. For the occasion the location and the views become less important.

Spatial Organization and components The high walls and pavilions constitute the space. The terrace has direct connection with the sky and trees.

The arches and articulation of walls enhance the quality of the space. The wall of the pavilion acts as a back for the couple. High walls bordering the terrace make it a private space and as an outdoor room. The part of trees seen from the terrace allow us to feel the height of the terrace from the ground Human Response The couple and the lady attendants occupy the space. The terrace here is used as a private space. The temporary tent and decorations are added to the built spaces. The bolster and the embellished seat are used to sit on by the couple which can be taken in and out as and when required.

Fig. 4.8b People on terrace

Fig. 4.8a Spatial organization and elements

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Fig. 4.8c Additional elements on terrace

The feast of the king of Yemen by Aqa Riza, in 1592 Function and mood The painting shows a much used Persian setting, an open terrace outside an arched portico in a garden.

Three musicians one playing a pan-pipe, provide music. Drinks are served in profusion. The celebration is taking place in the open on the terrace marking its importance.

Spatial Organization and components The terrace with the wall at the back and trees coming up from the sides along with the floor make the space.

The king sits against the wall and the rest around him.

The wall becomes significant like the royal seat in darbar to give importance to the throne.

Human Response Details like carpets of gorgeous floral design, the white back wall decorated with conventional landscape scenes and animals in intricate ornaments on the wall convey about the traditions followed by the people of that time. People sit closely together and enjoy drinking and listening to the music. The carpet hides the blank flooring of the carpet and forms its own subspace.

Fig. 4.9 The feast of the king of Yemen by Aqa Riza, in 1592

Fig. 4.9a People on terrace

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Fig. 4.9b Spatial organization and components

There have been many references to ‘ atari ‘ in hindi poetry and literature.

Raskhan in his poem ‘ writes the following line.

‘

He says that milkmaids are unhappy with krishna, and won’t forgive him even if he tries to cheer them by playng flute on the terrace.

Sarveshwar Dayal Sharma in his poem ‘ Megh aaye’ states He is describing the scene of rainy day when from the terrace, the sight of darkness replacing the light is seen and the lightening is also visible.

This shows how terrace has been an important place for Indians to celebrate, be with nature, or perform any activity in the pleasant environment.

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4.2 FORTS AND PALACES Indian palace architecture has always been one of the most enriched and magnificent amongst other types of architectural works. They are most elaborately built structures built during any time period. Developed to provide the highest level of security, most effective administration and most exclusive retreat to the royal family. Indian palaces have passed through time with immensely varied cultures and styles. These cultures, styles, time periods, political conditions provided major guideline for palace building.

Zenanas were divided into apartments, so each queen could be separately accommodated. Walled gardens and rooftop terraces in these residences permitted them to move about freely in the open without being noticed.

Here, most of the terraces were occupied by chhatris or bangladar roof pavilions and jharokhas and high parapets. The motif of sun was used on the royal throne and important walls and ceilings to gain heavenly blessings of the gods. Animals and birds represented the forces of nature. The chhatri or umbrella over the kings throne represented celestial power and heavenly protection.

Gateways were usually constructed significantly and rose higher than fort walls. They contained a few chambers for guards and were sometimes treated as towers with chhatris on terraces and lavishly decorated, claiming the importance of the entrance. They were a statement of royalty enriched with motifs containing animals, birds, symbols of power, etc. The terraces of these gates was roofed with small domes or chhatris to accommodate drums and other instruments for announcement on occasions. The same battlemented walls and gateways with chhatris are found in the architecture of the sultans, as may be seen in the royal complexes in Delhi and Mandu (capital of Malwa) dating back to the 14th and 15th centuries, pointing to a shared military architectural tradition that was common across much of north India.

Lookout stations or towered pavilions also played an important role to guard and watch approaches to the palace. Sited at the summit of towers and often projecting out from citadel walls, these watch areas are a form of chhatris supported by slender columns. A series of these chhatris shaped delicate skylines rising over massive stone masonry.

Performances of music and dance represented another aspect of courtly life. Whenever time permitted, the ruler and his companions retreated to an inner court, or one of the upper terraces of the palace to attend the evening entertainment. Most palaces had a protrusion terraces, intended as lookout points from where the maharana, his family members and courtiers could gaze out over the landscaped surroundings. Designed to catch the breeze, these provided much needed relief from the scorching desert heat.

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Jahaz Mahal, Mandu Jahaz Mahal stands in the middle of two lakes, Kapur Talao and Munj Talao on a narrow strip of land. It is a rectangular structure resembling a ship.

The terrace commands an excellent view of the plateau of Mandu and the Songarh hill. The uppermost terrace gives the glimpse of the water tanks with the trees of luxuriant foliage.

On the terrace are built various pavilions adding an essence to the terrace and image of the Mahal. The terrace has two identical pavilions at each end with three arched openings towards north and south and one towards east and west. The pavilions have hexagonal vaults on the extremes and dome at the center from inside and pyramids on the extremes and a dome at the center from outside. From the western side of the terrace a square pavilion projects out having domical roof and enamel decoration and windows for light and ventilation. Opposite this pavilion, is a chhatri, rectangular in plan , hexagonal ceiling and pyramidal roof. These pavilions occupy entire width of the terrace providing a complete enclosure and the two pavilions on the east west axis break the symmetry along the other direction being different from each other. Hence the terrace here is an example of having pavilions varying in scale, proportion and geometry.

Beyond the pavilions, at each end (north and south) is a rectangular room. The room towards south has terrace with spiral water channel which seems to be connected to the aqueduct at the south end of the building. From the back of the western colonnade of the bath there are some old steps leading to the terrace. Along the front of the terrace is a water channel, which starts from water lift built near the south east angle of the southern pavilion and goes to the open bath at the northern end of the roof. The water channels and the tank both acquire a different shape representative of their culture and creativity.

Fig. 4.10a Axonometric view of Jahaz Mahal Mandu

Fig. 4.10b Axonometric view of Jahaz Mahal Mandu

Fig. 4.10c Water channel and tank

The terrace with water channels and water tank for bathing add to the texture of flooring as well as behave as an activity generator. At the same time pavilions provide views under the shade and modulate the enclosing edges of the terrace.

Fig. 4.10d View of terrace pavilions

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Fig. 4.10e Longitudinal section through the palace

Fig. 4.10f Terrace plan

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Amber Fort, Amber This palace is a blend of Hindu and Muslim architecture consisting of both residential and administrative quarters.

It is strategically located on the highest point of the valley surrounded by mountains of the Aravalli range, keeping in mind the security as well as its location in relation to the town. At the base of the palace, on the east is the Maota lake.

Fig. 4.11b View of Diwan-i-aam hall terrace

The palace is a sequential linear organization of terraced courtyards from the most public to private in North-South axis. The terraces at the highest point are most private. Here topography has been utilized along with the traditional elements of Indian architecture like courtyards, pavilions and elements of transition.

The palace is mainly divided into four courtyards which become terraces due to their height namely Jaleb Chowk, Diwan-i-aam, Diwan-i-Khas and Zenana.

All these courts are surrounded by built spaces with terraces on top. All the eastern terraces give the view of the Maota Lake and the island garden.

Fig. 4.11c Jess mandir and terrace outside

The entrance gate is the Suraj pol which itself has chhatris on its terrace and takes to Jaleb Chowk through which Diwan-i-aam or hall of public audiences is accessed.

The terrace of Diwan-i-aam hall has an elevated part in the center where mehfils used to take place for the pleasure of the king. It has high jaali walls as parapets on three sides. The adjoining terrace above the dalan (offices) becomes a linear terrace with high wall on one side and a jaali wall on the other.

The next is Diwan-i-khas which has Sheesh mahal

Fig. 4.11a Aerial view of Amber Fort

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Fig. 4.11d Section through Jess Mandir and Sukh Mandir

divided into two parts- Jai Mandir on lower level and Jess Mandir on upper level. The Jess Mandir stands on the terrace formed by the roof of the Jagmandir, following a well-established Rajput practice. It has a private chamber of the king and the terrace outside was for the king and the queen. All around the court are terraces - a terrace courtyard, a linear terrace or a planar terrace. The higher terraces overlook lower ones and high level walkways link the pavilions; and the better perspectives are obtained from these vantage points.

The Jess Mandir is placed at the edge of the palace so that its outer wall is flush with the fortification wall and the terrace in front of it has low jaali parapets. It ensures that the pavilion’s openings and domes provide a decorative fringe on the top of the grim of the fort walls when seen from outside. The terraces and chhatris on the either sides of Jess Mandir was where king use to meet his queens.

Fig. 4.11e View of terrace right of Jess Mandir

The Zenana court is accessed through the narrow passage from Diwan-i-Khas. The terraces on the upper level were used as meeting spaces for small groups of queens where as the central courtyard were used for large meeting; such as cultural events at night. The topmost terraces were used for sleeping at night.

Eastern terraces of ranivas allow to watch the procession and perform welcoming rituals without being seen from outside, being in purdah. The purdah system also influenced the architecture to a great extent.

Fig. 4.11f View of terrace left of Jess Mandir

Fig. 4.11g Section through Zenana

Fig. 4.11h Axonometric drawing, Amber fort 1. Suraj pol (Entrance gate), 2. Jaleb Chowk, 3. Diwan-i-aam court, 4. Diwan-i-Khas court, 5. Zenana, 6. Diwan-i-aam hall, 7. Jai Mandir and Jess Mandir, 8. Sukh Mandir, 9. Baradari, 10. Queen’s quarters

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Agra Fort Agra fort was the preferred residence of Akbar during his early years as emperor laid on the west bank of Yamuna. But most of the structures belong to his successors Jehangir and Shah Jahan. The fort is protected by massive walls and there are two gates to reach inside, Delhi Darwaza on west and Akbari Darwaza on south.

On entering from south, after Amar Singh Mahal and ruins of Akbari Mahal is the Jahangiri Mahal.

The Jahangiri Mahal is located in the southernmost quadrant of the fort. It consists of series of interconnected courts surrounded by halls and chambers on two levels and terraces and pavilions above. The terraces are linear with breaks and voids in between. The corners have projecting octagonal towers crowned with domed chhatris. The riverside bastions have multi-storeyed towers crowned by chhatris. The parapet has been raised as to provide a curtain wall for the ladies on the terrace. The chhatris are at the corners of the outer edge visible in the facade elevation and the inner edge is broken by the chhatris at the center of each edge and a single chhatri rises out of a facade. Two grand pavilions with a rectangular plan and pyramidal roofs and with exquisite carving work in the interior as well as on the

Fig. 4.12b Terrace plan, Jehangiri Mahal, Agra Fort 1. Terrace, 2. Badshah’s Chamber, 3. courtyard terrace, 4. Rooftop pavilion, 5. Chhatri, 6. Octagonal bastion, 7. Fort wall bastions

Fig. 4.12c Section through Jehangiri Mahal, Agra Fort

Fig. 4.12d Front entrance, Jehangir Mahal

Fig. 4.12e Inner court with rooftop pavilion, Jehangir Mahal

Fig. 4.12a Agra Fort 1.Delhi Darwaza, 2. Hathi Pol, 3. Minar Bazaar, 4. Amar Singh Darwaza and Akbari Darwaza, 5.

Akbari Mahal, 6. Jahangiri Mahal, 7. Anguri Bagh, 8. Khass Mahal, 9. Musamman Burj, 10. Diwan-iKhass, 11. Machhi Bhavan, 12. Nagina Masjid, 13. Diwan-i aam 14. Moti Masjid

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Fig. 4.12f Courtyard terrace outside badshah’s pavilion

Fig. 4.12g Terrace of Diwan-i-Khas, Agra fort

Fig. 4.12h Section through Terrace of Diwan-i-Khas, Agra fort

exterior flank of the eastern facade of the terrace. These were probably used as recreational spaces. Four square chhatris overhang the central courtyard. The western facade is flanked by a tower on either side which is crowned by chhatris. The most important feature of the superstructure is the Badshah’s chamber with other set of rooms, situated on the terrace on the west side.

It has an enclosed court open to sky with verandahs on all sides in front of it. The chambers are connected with bastions seen in elevation. The importance of the chamber is indicated by the peacock brackets which are unique to it. An entrance hall with the private quarters of the badshah on top of it dominates the central form of facade.

The chambers on the east court leads to a terrace court with an octagonal pool which overlooks Yamuna river beyond fort walls. Courtyard terraces provided a focal point for residential chambers which open into them. The upper terrace levels and rooftop pavilions were accessed through stairs which were small and hidden in the thick walls reducing the accessibility and maintaining privacy and security of terraces.

The Diwan-i-Khas is on the south end of upper terrace of Machhi Bhavan which consists of an enclosed room and a verandah with fine marble columns. The terrace in front of it has two thrones, one of black and one of white marble. On the east is the view of the river Yamuna. From here prince Jehangir used to watch the elephant fights below on the plains.

Moti Masjid is built out of white marble and it was intended to serve as private worship place for royal members. Three bulbous domes crown the terrace of the mosque. Above the parapet are seven square chhatris, one above each arch. Each chhatri not only supplement the effect of the cusped arch, it also crowns it as effectively as artistic skill can allow. The mosque of Agra owes its beautiful skyline to this feature. At the four angles of the sanctuary and the remaining two corners of the mosque have been placed six proportionate octagonal chhatris or pillared pavilions, which complete the melody of the composition. Variations in pavilions and domes bring uniqueness to its identity.

Fig. 4.12i Moti Masjid, Agra Fort

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Akbar’s Tomb of Sikandra The tomb stands in the center of vast garden . The gateway has two miniature chhatris crowning the pilasters which have been attached to the quoins of the facade. The important feature of this gateway is the introduction of fort from beautiful minarets of white marble which rise from the corners of terrace. Each minaret is circular and tapers as it rises. The four white marble minarets appear here for the first time. They rise gracefully high and stand magnificently over the surroundings. Conventionally chhatris occupied the position of minarets in other tombs.

The tomb is square in plan and has five receding floors.

The tomb terrace has an arcaded lower platform with two storey chhatris projecting at intervals of facade.

Above this is another, smaller platform with a similar arrangement of corner chhatris. Again reduced in area is another layer supporting the white marble screen that encloses the cenotaph which is open to sky. Some of the chhatris have cupolas while others have pyramidal roof of white material. The change in material in the last storey highlights its importance further. The stepped terraces with various forms of pavilions gives an image of important landmark and here shows the importance of Akbar.

Fig. 4.13a Gateway of Akbar’s Tomb

Fig. 4.13b Section through Akbar’s Tomb at Sikandra

Fig. 4.13d View through terrace and pavilions, Akbar’s Tomb at Sikandra

Fig. 4.13c View of Akbar’s Tomb at Sikandra

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Fatehpur Sikri

Fig. 4.14a Axonometric drawing of Fatehpur Sikri 1. Diwan-i-aam 2. Diwan-i-khas 3. Panch Mahal 4. Anup Talao 5. Turkish Sultana house 6. Khwabgah 7. House of Miriam 8. Palace of Jodhabai 9. Caravan Serai 10. Jami Mosque 11. Buland Darwaza

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The building types preferred by Akbar for his imperial residences at Fatehpur Sikri and Agra often have multistoreyed apartments and terraces looking inwards to an enclosed court, in imitation of Rajput Mardana Palaces.

Domed and vaulted pavilions rise upon the terraces, the corners of which are marked by free standing chhatris; jharokhas extend outwards from the walls marking the location of the important chambers within.

Fatehpur Sikri was built on one of the hills of upper Vindhyan mountains. Each building is distinguished by its terrace pavilions and their arrangement.

Fig. 4.14b Diwan i Khas, Fatehpur Sikri

Diwan- e- khas is placed to the north of Mardana having four kiosks on each corner of the roof placed with domes rising from octagonal bases which heightens its importance. To the east is an uninterrupted view of the river, while to the north is the royal hammam. At the center the floor is elevated to form a subspace within the terrace.

Panch Mahal, a pleasure pavilion is a building of five stories, arranged in fanciful pyramidal design with open galleries supported by columns, each floor is setback from one below it. It is just like the Persian ‘badgir’, a wind catcher. It is a whimsical structure with diminishing colonnaded storeys crowned by a single domed chhatri in pyramidal formation. The terraces a t various levels were used by Akbar for relaxation and entertainment purpose. It overlooks Mardana and another story says it was perhaps intended for the ladies of the court and had jaalis originally.

Fig. 4.14c Panch Mahal, Fatehpur Sikri

Elevated above the apartments and colonnades on the south side is a pavilion with sloping roof slabs on four sides, identified as Khwabgah, Akbar’s sleeping chamber creating his private zone away from the activities of ground. It is surrounded by a semi open space before entering the terrace. The terrace would have functioned as a private terrace with high jaali walls enclosing it.

Fig. 4.14d Khwabgah (House of dreams)

Few important buildings of Zenana are house of Miriam and Jodhabai Palace. House of Miriam has a vaulted chhatri with three arched openings on front and back and a single arch on the sides on the terrace. The single pavilion of different type highlights the identity of the building.

Fig. 4.14e House of Miriam

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Fig. 4.14g Jodhabai Palace

Jodhabai’s Palace, very similar to Jehangiri Mahal in Agra, was part of Zenana. Here the upper storey consists of eight chambers separated by roof terraces.

It has projecting terraces with chhatris positioned at either side. Pavilions elevated above apartments have gabled roofs. The corners of the terrace are marked by free standing domed pavilions. The terraces would have functioned as private terraces overlooking the central courtyard.

Near to the corner of the stables, outside the walls of harem are the remains of Ibadatkhana. This structure consisted of a sequence of square terraces with a seat on top where Akbar listened to the learned discourses of theologians and religious leaders.

Fig. 4.14f Buland Darwaza

Buland Darwaza is a most imposing structure which is approached from outside by a steep flight of steps.

The frontal and highest aspect forms the facade with its portal and the rear facade consist of lower portion with openings. It has the terrace edge gallery-kiosks on roof and stylized buckler battlements. The arrangement of chhatris create the identity of the darwaza as well as the mosque behind it.

Caravan Serai was built as a guest-house for important persons and traders. It has rooms with terrace in front and to the right on the upper terrace is a well.

Fig. 4.14h Caravan Serai, Fatehpur Sikri

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4.2 TERRACES IN HAVELIS Havelis are present in majority of North Indian states namely Rajasthan, Gujarat, Delhi, Haryana, Uttar Pradesh, Bihar, parts of Bengal and across the border in Pakistan.

Havelis, or the houses of the nobles and courtiers, lie within the fortified walls of the towns representing characteristics of the lifestyle of owner, family, and relations with rulers, and the colorful diversity of the land and its people. Havelis of Rajpurohits and Brahmins had chhatris and pavilions on the terraces like Palaces and all others had terraces around the courtyards and on varying levels.

Haveli at Jaisalmer As a result of hot-arid desert climate and compactness of site and the availability of building material led to inclusion of terraces in the havelis of Jaisalmer. On summer nights, when the temperature outside is cool these terrace were used by the inhabitants to sleep at night.

The haveli shown here was built by a nobleman belonging to the king’s court in the temple square. The top floor here is the terrace with high parapets above eye level on three sides and low on one side facing the temple. The terrace surrounds the courtyard and forming a void in the floor bordered by the parapet.

The parapet around the courtyard includes a seat facing a high parapet. There is a seat above the stair cabin as well.

The solid high parapets on the three sides prevents the neighbors to overlook the terrace and the low parapet with intricate details on the side of the square gives the view of it. The parapet along courtyard is used to observe the activities happening in the courtyard. The staircase breaks the continuity of the terrace floor.

Thus the terrace provides comfort to the users due to its closeness and at the same time being a pleasant space.

Fig. 4.15a Section AA , Haveli, Temple Square, Jaiselmer

Fig. 4.15b Terrace plan, Haveli, Temple Square, Jaiselmer

Fig. 4.15c View of the terrace , Haveli, Temple Square, Jaiselmer

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Fig. 4.16a View of first floor, Chanderi brahmin Haveli, Bundi

At Bundi, the terraces become an important part of the livelihood of the inhabitants of the haveli. They occur at two levels , the lower terrace and the topmost terrace. The lower terrace is important zone as most of the activities take place here. They accommodate multiple activities of the family and becomes a semi private open space providing space for interaction to women and play area for children. Females spend a lot of time on terrace as the kitchen is placed here and all the secondary activities spill out into terrace. During the winter days and summer nights and evenings, the family spends maximum time on the terrace, carrying out daily chores and interacting with neighbors.

Festivals also bring people on the terrace to celebrate.

Haveli of Brajbihari Dadich (Chanderi Brahmin), Bundi

Fig. 4.16b Section through kotha and terrace, Chanderi brahmin Haveli, Bundi

1

1

Fig. 4.16c Terrace plan, Chanderi brahmin Haveli, Bundi

The haveli has terraces on two levels- one on the first floor used as a primary zone and two as the topmost floors sheltering closed spaces on the first floor. So the topmost terrace overlooks lower terrace and the lower terrace overlooks the courtyards.

The terrace on the first floor is surrounded by kotha, a living room to receive guests, storage space and the kitchen. It has a parandah or the place to store water and a tulsi plant. It shows how the terrace substitutes the loss of ground to these residents. This is used as a major floor to perform activities. The courtyard is covered with grill, relaxing the need of parapet around it and allows to put things over it. It is surrounded by walls with niches which are used to store or display things. Doors of all closed spaces open into the terrace allowing people to freely move on it and spill out there activities. The terrace has low parapets on the side of street giving view of the same to the inhabitants.

The access to the topmost terraces is through the first floor through a staircase which splits in different directions to reach them. The upper terraces have low parapets on all sides probably connected to the neighboring terrace through a common parapet. The overlooking terraces inside the house allow interaction between the residents of the same haveli at different levels.

Fig. 4.16d Second floor plan, Chanderi brahmin Haveli, Bundi 1. Terrace 2. Kotha 3. Storage 4. Kitchen 5. Parandha

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Haveli of Bhagwat Duttji (Nagar Brahmin), Bundi The house belonged to Nagars, a community from Kathiawad, who were nobles in the court of Bundi.

It is part of a cluster that sticks to the fort wall to its North. On the other side lies the Naval Sagar Lake.

It is fragmented and split on various levels. The terrace has fort wall at the back and many levels and seats within the parapets. Some occupy the outer periphery and some overlook the courtyard space.

Terraces of surrounding havelis occur at various heights and interweave with neighboring terraces.

Due to difference in the volumes of the spaces below the terrace has many levels. It is also attributed to the topography and the organic growth of the haveli.

The terrace becomes a passage around the court and the other situation is when it becomes a court itself open to surroundings from one side and the rest sides being enclosed by walls of closed spaces.

The terraces on the second floor are flanked by an additional element chowk or the semi open space before the closed spaces.

Fig. 4.17c Second floor plan, Nagar brahmin Haveli, Bundi

The topmost terrace has gokhda (balcony) and the bathroom. It overlooks the terrace of the haveli, streets as well as neighboring terrace.

Fig. 4.17d Terrace floor plan, Nagar brahmin Haveli, Bundi 1. Terrace, 2. Chowk, 3. Bath, 4. Kitchen 5. kotha 6. Storage 7. Gokhda

Fig. 4.17a View of topmost floor, Nagar brahmin Haveli, Bundi

Fig. 4.17b View of second floor, Nagar brahmin Haveli, Bundi

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Fig. 4.17e Section showing terraces on different levels, Nagar brahmin Haveli, Bundi

Inferences Palaces used more pavilions and chhatris on terraces differing in scale and proportion along with high walls to make it identifiable from far or recognize different building within the same fort wall. Some could accommodate a large group of people like the pavilions at Jahaz Mahal and some were sufficient for one or two persons. They were usually located in the corners of the terrace or in the center of the each edge maintaining symmetry along the axis. Different terraces had different grouping of pavilions and chhatris. They occurred as single on a terrace, in corners, a lot of them covering the edge, etc.

The terraces also accommodated the king’s chamber on it like Jehangiri Mahal and Khwabgah at Fatehpur Sikri.

Harem or the parts of Zenana had terraces on upper levels so that females could see the activities happening in the court without being seen from outside due to high jali walls and jharokhas in between. Terraces took different forms like linear form becoming passage or a planar one, or occurred in steps or as a topmost plane depending on the need and use of he same.

These became places of recreation during evening and night for the king and the queen and sometimes a private romantic space. The large enclosed terraces provided space for public gathering whether a political meeting or a festival celebration .

In haveli, terrace came down a level and combined with the other close utilitarian spaces. Hence the activities started spilling on the terrace and it became a functional plane. Only havelis of rich people had chhatris or pavilions but all sometimes semi open space surrounded it before entering to closed space. If, in a cluster, neighboring terraces could overlook each others’ encouraging interaction between neighbors.

Miniature paintings become evidences of how terraces were part of lives of people belonging to palaces.

Interaction with various elements of nature i.e. sky, plants, birds, animals, etc. was possible in the terrace.

They served as most pleasant place to be in during evening and nights. Their various activities and interactions can be seen through these paintings, hence complimenting their presence in the palaces

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CHAPTER 5- OVERVIEW OF TERRACES IN CONTEMPORARY ARCHITECTURE 5.1 Works of selected Architects 5.1.1 Antonio Gaudi (1852-1926) 5.1.2 Le Corbusier (1887-1965) 5.1.3 Charles Correa (1930- 2015) 5.1.4 Raj Rewal (1934- ) 5.1.5 Moshe Safdie (1938- ) 5.1.6 Chitra Vishwanath

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5.1 Antoni Gaudi Antoni Gaudi was a Spanish Catalan architect who became internationally recognized as one of the most prestigious experts in the discipline. His contribution is exceptionally creative in architectural heritage of modern times in and around Barcelona. His work exhibits important interchange of values closely associated with cultural and artistic currents of his time.

His work was influenced by his passions - architecture, nature and religion.

Fig. 5.1a View of Palau Guell from far

Fig. 5.1b View of terrace, Palau Guell

Gaudi’s architecture is close to reality, “human”, “natural”. Gaudi followed the very patterns of nature and found essence in them. He perfected his personal style through inspiration from organic shapes. The roof terrace was always an important element for Gaudi and he gave his fertile imagination free rein in designing it. All his building terraces had elements of play in the form of sculpted chimneys, changing forms and shapes of parapets, level differences within the floor, etc. He was the man with unwavering sense of form and color. He unwaveringly gave his architectonic fantasies full rein; these are, after all, anything but pure figments of the imagination, based as they are on strict constructional principle. A hallmark of Gaudi’s buildings is that they are incredibly durable, even if they look as fragile as the neat small ornamental turrets on the roofs.

He considered roof is not just the roof but the floor of something else. Indeed, it would seem that the function as a roof is only secondary, for the outer side of the roof serves as the square at the center of the whole park.

Palau Guell (1889) Palau Guell or the Guell Palace is one of the early works of Gaudi. It is situated in the district Raval, a few steps off the Rambla in Barcelona.

Fig. 5.1c Terrace plan, Palau Guell

Fig. 5.1d Section through terrace, Palau Guell

This is a palace with a fairytale garden on the terrace.

The terrace is the topmost plane of the building. The center is a small cupola which rise above and tapers off into a pointed tower orienting the terrace towards it and becoming a source of natural ventilation for the spaces below. Around 20 sculpted chimneys and bizarre turrets which adorned all the chimneys, subsequently bordered the terrace many of which were visible from the street.

Gaudi used small and often twisted formations with additional ornamental points and corners serving as both chimney decorations as well as ventilation ducts.

The elements of play becomes important here to enhance the beauty of the terrace and create an image of the palace from far. The chimneys and the central cupola with pointed tower enclose the terrace space giving views to the city as well as behaving as a protective element.

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Bellesguard (1909) Bellesguard, also known as Casa Figueras, was a house of modernist mayor located at Sarria- Sant Gerrasi district of Barcelona. The building is detached and has a quadratic layout pointing at four cardinal directions.

The building has a double terrace to protect it from the summer heat.

The oddly pyramid shaped roof is robust in design and has a playful feel to it as observed by the user on coming up, from the ethereally lighted interior attic. Its surface is made of undressed stone and resembles a dragon, having variety in its composition and giving it a feel of heavy compact. Above it is an observation deck at the top from which a view of Barcelona can be observed.

Fig. 5.2a View of Bellesguard

The iconic tower, Torre Bellesguard gets out from the corner of the base, adding to the vertical alignment.

It goes quite high and together with the cropped pyramid becomes identity of the building and fits in the landscape.

The higher terraces of the house hence satisfies the meaning of it “a beautiful view� by allowing visitors to move on top. The terrace here in itself becomes an exploration due to its character and the smaller terrace at the top overlooks the lower one and the surroundings.

The terraces and the sculpted roofs together form the space giving views in all directions.

Fig. 5.2b Cropped pyramidal roof resembling dragon, Bellesguard

The battlement like parapet, the iconic tower and the central pyramid shaped roof enclose the terrace, making a terrace like a path just enough to stand and view outside or climb the observation deck.

Fig. 5.2c The terrace, Bellesguard

Fig. 5.2d Top view of terrace, Bellesguard

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Fig. 5.2e Section through terrace, Bellesguard

Fig. 5.2f Plan of terrace, Bellesguard

Casa Batllo (1906) Casa Batllo is located in the heart of Passeig the Gracia, Barcelona. It is a statement of delight and a canvas of marine inspiration. The building has two terraces, an intermediate on the first floor occupying a small area and a large upper terrace on the top.

The terrace at the top is decorated with four chimney stacks which are cleverly designed and finished with the mosaic tiles of different colors. All the staircase shafts are also topped with the similar chimneys.

Fig. 5.3b Upper terrace with shimney stacks, Casa Batllo

The enclosure on the side of the street is a vault like structure changing heights, composed of large scales like that of the fish opening on the other side to the terrace. There is a delightful little ornamental turret on one side like a feather in a cap. This small turret is crowned by what has become Gaudi’s trademark, namely the horizontal cross. It creates a different image of Casa Batllo on the street.

The terrace is a planar form with all these elements popping out enclosing the space and enhancing space quality. The void in the center is for the courtyard allowing at the same time allows to see inside the house from its top.

Fig. 5.3c Terrace plan, Casa Batllo

The terrace on the lower floor is an extension to closed space becoming adjacent open space to it. It is enclosed with the high walls with sculpted graphic in between and patterned flooring.

Fig. 5.3a Intermediate terrace, Casa Batllo

Fig. 5.3d Axonometric view, Casa Batllo

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Park Guell (1914) Park Guell is a public park composed of gardens and architectonic elements located on the Carmel Hill, Gracia district of Barcelona. It is one of the unfinished works of Gaudi. It was initially a project to create a residential garden city and finally became a public park.

The vast plaza standing at the center of the garden with a terrace, half of which stands on the solid ground of the mountain and the other half, the outdoor part is built on top of Greek Doric columns which was intended to be a market place. The plaza was intended as a theatre area for all the residents of the garden city together and watch theatre performances. The spectators could enjoy views of the city with performances.

this way it offers seating space for many people and it is, above all , structured in such a manner that the people- although outdoors and in large numbers- can nevertheless form small intimate groups in which to have a chat, it were. The only enclosing element is the bench here. The terrace due to its vastness and situation in a natural environment behaves as another ground.

The wall surrounding the square not only serves to prevent inquisitive passersby from falling down the steep slope, but was also designed as a long bench.

The endless long bench, decorated with ceramic tile fragments, which runs through the park in the form of a snake. The eye encounters a wealth of bright , garish colors which enrich the landscape. The wall leaves this impression which totals some 50 acres, appears like an alien body. However it hugs close to every twist and turn in the hilly landscape, merely repeating contours of the earth.

The terrace thus also becomes a place to meet people, especially as this “endless bench� did not follow any clear, sober line. It winds its way in innumerable and highly differing curves round the giant terrace. In

Fig. 5.4b Top view of terrace, Park Guell

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Fig. 5.4a View of Park guell terrace from ground

Casa Mila (1910) Casa Mila, also known as La Pedrera is a modernist building in the corner of Passeig de Gracia in Barcelona, Spain. It was built in the period when the art was at its peak. It comprises of two houses having separate courtyards and connected at the ground, facade and the terrace.

Fig. 5.5a Panoramic view of terrace, Casa Mila

Fig. 5.5b Model of Casa Mila from top

The terrace of Casa Mila is a space complete in itself.

The elements of naturalistic nature are structured around two courtyards on the terrace. The terrace gives an overwhelming view of the city. The floor of the terrace comprises of many steps flowing with the outside wave or vice versa. The terrace is called “ the garden of warriors” by poet Gimferror as the levels and staircases make it look like a landscape than a rooftop. It overlooks the courtyards below.

The terrace of Casa Mila sports an imitation of the bench from the Guell Park as well as an ever more impressive series of Bizarre chimney stacks. It sports a humorous landscape of almost surrealist sculptures that are in fact specific architectural functions like skylights, staircase exits, chimneys and air ducts. These are finished with mosaic, stone, marble and ceramics. Like the long writhing bench in Guell Park, the line of waves tops the Casa Mila’s terrace. Here it becomes a moving landscape in the form of undulating stone with ventilation openings.

The sculpted chimneys and shafts along with line of waves with metal railing on top enclose the terrace.

Certain sculptures enclose volume and some exist to check the air flow to the inside spaces. The enclosing elements define the identity of the building.

Fig. 5.5c Elevation of Casa Mila showing sculptures and line of waves enclosing terrace.

Fig. 5.5d View of terrace, Casa Mila

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5.2 Le Corbusier (1887- 1965) Le Corbusier was a Swiss based, French born architect.

Out of his five principles the 5th one talks about roof gardens. He was the mastermind of the movement heroically proclaimed “the conquest of the flat roof ”.

He promised the fulfillment of an age-old dream: ”to climb in one’s roof.”

According to him: Within the true conception of the house the roof garden represents the ”reconquering” of the ground that was lost due to the act of elevating the object on pilotis. It is now the “artificial ground” situated above the rest of the dwelling, the creation of which has been made possible due to modern techniques. On this plane the man-nature relationship is established at yet another level seen in progression from that of the layers below.

Nature is domesticated in the “ finite figure of the roof garden”. From within this architectural landscape, his private piece of nature, the individual experiences the roughness of nature outside. The roof garden becomes the ambiguous place between inside and outside :an ‘outdoor room’. It is also a place where one encounters a juxtaposition of contrasting realities: the city and the domesticated garden, the world of man, of objects, of order and the world of nature, of randomness, of chaos.

Le Corbusier propagated the idea of inhabitable gray roofs, like at the Unite d’ habitation, he also built green roofs in Switzerland. He typically used soils found on site and placed them without much horticulture treatment (no soil amendment, seeding or planting) on his roofs- relying on spontaneous plant colonization.

Already in 1923 he completed a house for his parents with a 10 inch deep earth roof.

Villa Stein - De Monzie (1927) The villa is located in the suburbs of Paris, in Garches and is surrounded by green. The house was a collection of many paintings and artworks. It was intended to be used to showcase the artworks to the guests and to listen to Stein talking about the pictures. It is also called as ‘Les Terraces’ because of terraces connecting to outside. Here all the terraces lie on one side facing the garden to gain maximum contact with the landscape which extended the interaction between the internal and external space.

The house has three entrances, one on the first floor used as an entrance to the living room. Everybody has to pass through this to reach inside the house on First floor. The transition is from open to double height semi open space to single volume semi-open space to closed.

It extends towards the garden through which it was accessed by a stair.

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Fig. 5.6a First Floor Plan, Villa Stein- De Monzie

The other terrace is on the second floor outside the bedroom acting as a Balcony overlooking the terrace below.

Fig. 5.6b Second Floor Plan, Villa Stein- De Monzie

The roof terrace is a terrace garden and has a rooftop studio which further has a terrace on it accessible by spiral staircase. It occupies half the floor area and is seen as the ship deck of ocean liner which gives guests a spectacular view of the nature around. It overlooks the other two terraces on the first and the second floor.

It is enclosed by high walls on two shorter sides closed spaces on one of the longer sides. The fourth side is open to surrounding garden.

Fig. 5.6c Third Floor Plan, Villa Stein- De Monzie

Fig. 5.6d Axonometric view showing terraces, Villa Stein- De Monzie

Fig. 5.6e View from outside showing ship deck like elements on the top terrace, Villa Stein- De Monzie

Fig. 5.6f View of the top terrace, Villa Stein- De Monzie

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Villa Savoye Villa Savoye is situated in the outskirts of Paris in Poissy designed as a private country house. It stands in a vast garden like an object. The first floor has a hanging garden terrace accessed through the living room, private sitting room and the ramp and the staircase connects to the lower spaces and the upper terrace.

The ribbon windows are left out of the long side of the terrace giving a narrow frame for the vista and concrete table projects out from its base. It acts a datum enclosed by high wall with windows, living room, the ramp and a semi open space on the remaining side. The plant boxes emphasize the horiontality and roof lights in them light the garage below. The terrace also becomes part of the view from the living room and the upper terrace.

The terrace above is the roof to the closed spaces of the rooms on this floor. It has the feel of an upper deck of an ocean liner accessed through external ramp. Both ramp, and curving staircase continue to second level, where top level solarium is protected by curving sculptural wind break and wall with punched window, offering a focused view over the Seine valley.

The orientation of sun is opposite to that of the view.

The sun was therefore sought by the free disposition on the level of the hanging garden. There is a continuous spatial contact between the salon, terrace, and the covered terrace. The architect controls the spatial inter penetration by his handling of solids and opaque and transparent planes permitting views through different ways. Each end of the roof terrace screen has a definite termination and edges to this leel are protected by plant containers. The opening frames a distant view.

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Fig. 5.7a First floor plan, Villa Savoye

Fig. 5.7b Axonometric View, Villa Savoye

Fig. 5.7d Solarium and the upper terrace, Villa Savoye

Fig. 5.7e Upper Terrace, Villa Savoye

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Fig. 5.7c Terrace on First floor, Villa Savoye

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Unite D’habitation (1947-52) The architect called the building La Cité Radieuse, or “the radiant city”, and it has successfully accommodated a mix of uses ever since completion including residential apartments, offices, shops, eateries, galleries, hostel and communal spaces.

Fig. 5.8a Axonometric View, Unite d’habitation

The communal aspects are covered by the terrace and not the rest of the building. It spreads horizontally over the landscape. The flat roof is designed as a communal terrace with sculptural ventilation stacks, a running track, a gymnasium, nursing and a shallow paddling pool for children. There is also a children’s art school in the atelier. The roof has unobstructed views of the Mediterranean and Marseille. The terrace seems to be a plane from which sculptural stacks and other elements rise making it resemble a ship deck.

The terrace has a kindergarten. The walls are formed in a series of sections, the irregular openings of which are wittingly distributed in a wall concrete. The colored transparent or translucent glazing, consisting of small panes with accentuated frames, create a subtle plastic play on the exterior the wall is black with white frame in some places, and the colors are reversed in others.

Fig. 5.8b Views of different parts of the terrace, Unite d’habitation

Fig. 5.8c Terrace plan, Unite d’habitation 1. Ventilation shaft 2. Gymnasium 3. Running track 4. Ramp 5. Kindergarten 6. Cafeteria 7. Lift Tower 8. Solarium 9. Swimming pool

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Ahmedabad Textile Millowner’s Association, Ahmedabad (1951) Le Corbusier was commissioned by the president of Millowner’s Association to design the organization’s headquarters. This, perforated cube like structure sits on the west bank of River Sabarmati, overlooking the river and the old city on the other side. The building has accommodation for business, social and cultural activities.

The terrace, accessed by a ramp through second floor, was intended to be a terrace garden meant to be used for evening functions. It also has pavilion and long projecting canopies over the cutouts to protect the areas below. And further to follow the strategy it is provided with roof garden and fan shaped roof over the auditorium with space for vegetation.

The terrace receives the maximum solar radiation so by the use of different elements, mutual shading is achieved to some extent. The terrace has on it pop-ups for the lift shaft and roof of the mezzanine are seen on the terrace. Pavilion connects two spaces on the terrace and sculpted roof provides light and ventilation to the lower spaces.

Fig. 5.9c Views of the terrace, Ahmedabad Textile Millowner’s Association

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Fig. 5.9a Axonometric view, Ahmedabad Textile Millowner’s Association

Fig. 5.9b Section through terrace, mezzanine and staircase, Ahmedabad Textile Millowner’s Association

Villa Sarabhai, Ahmedabad (1955) Villa Sarabhai is a house for Mrs. Manorama Sarabhai and his two sons, is located on a large estate in Shahibaug, the northeast suburbs of Ahmedabad.

Fig. 5.10a First floor plan, Villa Sarabhai

Fig. 5.10b Axonometric view, Villa Sarabhai

Villa Sarabhai has terrace gardens on first as well as second floor where one could stroll freely on the vault. They provide a good evening place and even a space for partying. They also keep the spaces below them cool due to the layer of soil. It is a reflection of the relationship with the specific natural environment which Le Corbusier encountered. It is conceived as an extension of the horizon of the earth. It has a wild finish in response to the surrounding forest and produces the atmosphere of the bungalow. Le Corbusier writes of the roof of the villa Sarabhai as “one attainment”. He describes the terrace garden as having big advertising potential as an international style. “Instead of tile or slate, instead of attic, the more glorious place in the house of air, sun, space.”

As a second earth, the “roof garden” of the Villa Sarabhai spreads horizontally while maintaining continuity with earth. In the absence of parapet and dense plants around, the terrace seems to merge with the landscape and there is no feeling of being above ground. The foliage of trees coming up or the small plants growing on the edge replace a parapet and become a natural enclosure. A lotus pond, raised platform at places and water slide connecting to the ground enhance the quality of terrace.

The first terrace is accessed by a staircase next to the slide, on ground floor and has the bedrooms. The second terrace is accessed by a staircase connecting the two floors. It shelters the rooms on the first floor and overlooks the terrace below. All the garden spaces whether on ground or terrace are connected visually as well as physically.

Fig. 5.10c View of the terrace on second floor, Villa Sarabhai

Fig. 5.10d View of the terrace on first floor, Villa Sarabhai

Fig. 5.10e View of the terrace on first floor, Villa Sarabhai

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Sanskar Kendra (1956) Sanskar Kendra Museum is located in the Paldi area of Ahmedabad. It is a city museum depicting history, art, culture and architecture of Ahmedabad.

On the terrace there are several large basins originally intended as planters. It was assumed that visits to the museum would be made particularly in the evening and night time; they will wind up on the roof which will offer a wonderfully flowered surface formed by more than 45 basins, of 50 m2 each, all filled with water to a depth of 40 cm. This water is protected from the torrid sun by the shade of thick vegetation; each basin is stewn with leaves or blossoms floating on the surface of the water, the ensemble forming a checkerboard of blue, red, green, white, yellow, etc. The water of these basins is nourished by a special powder which induces enormous growth far beyond normal plant size. The idea was first introduced to Le Corbusier by a French professor Mr. Fourneau in 1930, “ ...with four centimeters of water on floor of this room and the powder that I know, I will make tomatoes shoot up in here as large as melons. “ Such design concerns represented the idea of productive culture in context of independent India of 1950’s. The terrace here serves the purpose of thermal insulation of the building by resisting the heat to penetrate into the building.

Fig. 5.11a View of Sanskar Kendra Museum

Fig. 5.11b Section through Sanskar Kendra Museum

Fig. 5.11c View of Sanskar Kendra Museum

Fig. 5.11d Axonometric View of terrace, Sanskar Kendra Museum showing water troughs

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5.3 Charles Correa “...at the deep structure level, climatic conditions, culture and its expression, its rites and ritual. In itself, climate is a source of myth: thus the metaphysical quantities attributed to open to sky spaces in the cultures of India and Mexico are concomitants of the warm climate in which they exist: just as the films of Ingmar Bergman would be inconceivable without the dark brooding Swedish winter. “

Fig. 5.12a Axonometric view of Parekh house

Charles Correa in his book, A place in shade talks about importance of ‘open to sky spaces’ (veranda, terraces and courtyards). In India, sky has affected our relationship to built-form and open space. In a warm climate, the best place to be in during morning and late evening is outdoors. In Asia, the symbol of education has always been the guru sitting under a tree. True enlightenment cannot be achieved in the closed box but under the sky.

The use of terraces in some of his projects include the following

Parekh House, Ahmedabad (1968)

Fig. 5.12b View of Parekh house

Parekh house, situated in an east-west facing site, Ahmedabad was developed from the housing types developed for Cablenagar, which had two pyramidal sections: One, termed the Summer section (to be used in daytime) protects the interior from heat, the other termed Winter Sections (to be used in early mornings and evenings) open up the terraces to the sky.

The plan is composed of three bays, where the summer section is sandwiched between the winter section on one side and the services like kitchen, toilet and circulation on the other.

Fig. 5.12c First floor plan, Parekh house

The terrace is enclosed entirely with pergola on top giving shaded space on the entire terrace during day time. The walls going high support the pergola as well as enclose the terrace. The pergola interferes in the interaction between the user and the sky though gives shade. The two different terraces within the same section interact with each other above the parapets. The upper one overlooks the lower one.

Fig. 5.12d Winter section showing terraces

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Kovalam Beach Resort, Kerala (1974) As the name suggests, the resort sits on the hill overlooking India’s one of the most spectacular beach in Kerala, commissioned by government.

The resort consists of accommodation for 300 guests, yoga and ayurvedic massage centres, water sports, etc.

Overlooking the beach is the main hotel. The resort makes use of the existing contours and each room is placed with a private sundeck on the side of the beach in the form of stepped terraces. The entrance to the resort is from the upper most level of the road and ends at the level of the beach. The stepped form of terraces allow stacking with a shift to the individual suites.

The sun decks are also accommodated within the form, the slope being continued till the end. The walls of terraces are cut diagonally to follow the form and the terraces, in spite of being stepped, focuses on the view of the beach rather than overlooking lower terraces and hence maintaining the privacy of individual suite.

The enclosing element becomes part of the sloping structure of the building widened with row of plants and the bench. The terrace allows extra furniture to be placed on it.

Fig. 5.13a Plan of the hotel on hill slope

Fig. 5.13b Section through the hotel

Fig. 5.13c Individual suite with terrace/ sun-deck

Fig. 5.13dTerrace outside each room

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Bharat Bhavan, Bhopal (1981) Bharat Bhavan is an art centre with a number of galleries for contemporary art, workshops for sculpture and lithography, studio, etc established and funded by government of Madhya Pradesh.

It is located in Shymala hills near Upper lake, Bhopal.

Fig. 5.14a View from terrace gardens, looking across the lake

The natural contours and gently sloping hill have been used to create terraced gardens and voids in between forming courtyards. The slots along the terrace parapets provide light and ventilation to the spaces below. The feeling of open space is an essential part of the experience of visiting Bharat Bhavan. Here, visitors enter the terrace first and then move downwards.

Progressing through terraced gardens and courtyards, one comes across exhibition spaces, workshops and dance theatre, in an easy and casual manner, making them accessible to the citizens of Bhopal. The Bhairang, or the open air amphitheater overlooks the lake.

Every evening, families, on cycles and scooters, come to stroll around in a terrace gardens and perhaps stay on to watch a play, or hear a concert.

Here the terraces surround the courtyard spaces, allowing to move around them and provide views of the lake and the spaces below.

Fig. 5.14b Terraces and Courtyards on the slope of the hill

The flooring of the terrace remains natural being grass, the edge element here is a parapet sometimes widened to grow plants or to become a sitting space, increasing the distance of user from the edge and protecting the user. Flower beds occupy certain places on terrace.

Fig. 5.14c The bhairang with a performance in progress

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MRF Headquarters, Madras (1992) The headquarters of MRF, the leading tyre manufacturer in India is located in Madras, India. It gently follows the curve of the road to create a series of terraced gardens, recalling the waves on the seashore of the Marina along the waterfront of Madras.

This design generates monumentality though a single free standing column rising to support the large pergola that floats above the terraces, protecting them from sun. At the roof terrace level, one emerges on to a large garden with trees and view of buildings of Madras all around. It is hidden due to the large pergola which becomes major attraction in the image.

The rooftop terrace has health club on it. It is enclosed with rows of plants before the built parapet, flooring remains green grass, it being a terrace garden and pergola. Madras being a city of low rise buildings and the terrace being at height, offers widespread views of the city.

Fig. 5.15a The health club

Fig. 5.15b On the roof terrace garden

Fig. 5.15c Longitudinal section through building

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Permanent Mission Of India To The UN, New York (1992) The permanent mission of India to the United Nations, 235 East 43rd Street in New York City, is designed with a double-height penthouse porch that echoes the Indian barsati, which is used for open-air sleeping.

The entrance has a double height terrace with a sculpture installed on it, depicting 7 mythic horses of the Mahabharata, bursting forth from the Chakra(wheel) seen in the Emperor Ashoka’s Column, the official seal of the Government of India. Other than the pergola the terrace is enclosed by walls with openings, on three sides, overlooking into the space and one side is open to connect to immediate surroundings.

Fig. 5.16aThe double height terrace over the main entrance with opening for Hussain sculpture

The building consists of offices for permanent mission of India and an Exhibition gallery located in the four levels of the podium, surmounted by a tower with residential accommodation for five different categories of staff, ranging from the security personnel (15.5 sq. meters each) to the Dy. Consul General (200 sq. meters in a triplex apartment with terrace gardens, at the top of the building).

The tower rises to 27 floors, evaporating at the top into a cube of pergola covered terraces- like traditional towers in the hill town of Yemen. The topmost terrace is enclosed by a structural frame completing the profile of the building and pergola on top. It is split into two levels, giving spatial variations. It gives widespread views including that of United Nations headquarters and the river. The built spaces come in center to leave all sides free to views.

Fig. 5.16b Longitudinal section through site

Fig. 5.16c Topmost terrace looking towards the east river and the UN headquarters

Fig. 5.16d The north facade

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5.4 Raj Rewal Raj Rewal is an Indian architect and his architecture is a combination of multiple traditions and new scientific visions and ideas of enlightenment. He used in his design the wisdom of traditions along with new materials and innovative technologies. His strategies for urban design incorporated human values along with harmonious development.

According to him terraces are an essential component of the lifestyle of North India. In his childhood he used to sleep on terraces during summer months. They provide a welcome outdoor space to savor the cool of night when the interior radiate the heat absorbed during the day. Most of the his housing projects are based on integrating terraces in the design as they also provide extension to living spaces sunny winter days when the interiors are cold.

Satish Gujral House, New Delhi (1971) The house for an artist Satish Gujral, was intended to display paintings and works of art. The house was designed for a corner plot in a South Delhi. The house is splited into different levels to accommodate various functions some of which have access to outdoor terraces at differing levels.

There are three terraces on the first floor accessible through gallery, bedroom and staircases from ground floor. The one accessible only from bedroom and the staircase coming up connects the space directly to the ground. It is covered with plants as shown in the picture and enclosed by concrete pergola and a parapet having voids.

One terrace is between the bedroom and the gallery and hence accessible by them and the other is accessed by a staircase and the gallery. The top of parapet is an arrangement of vertical bricks in a row whereas the rest of the parapet is composed of Flemish bond defining a different element.

Fig. 5.17c View of the terrace above near main entrance, Satish Gujral house

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Fig. 5.17a First floor Plan, Satish Gujral house 1. Gallery 2. Bedroom 3. Dressing 4. Bathroom 5. Terrace 6. Room 7. Bath 8. WC 9. Living room below

Fig. 5.17b View of the terrace on the first floor on side of lawns , Satish Gujral house

National Institute of Immunology (1981) The primary function of the institute is scientific research. It has laboratories, study rooms, a library, auditorium, a director’s house and lodgings for professors and researchers. It is situated on a hilltop site in the campus of Jawaharlal Nehru University, New Delhi. The ancient sites of Delhi and Qutab Minar are visible on a distant horizon.

The central building is an auditorium or the lecture hall complex with numerous terraces on top where residents of the institute gather, relax and view performances. It forms the focal point of the institution. The terrace is enclosed by structural frame, apart from parapets, and pavilions.

The institution is clustering of numerous buildings and then connecting them maintaining the use of same materials and colors of the building. The architect tried to introduce terraces in the dwellings of senior staff and research scholars with families sometimes. The residential units of a cluster have their own terraces around a courtyard focusing social interaction. The central courtyard was intended for children to play and terraces became a space to supervise them.

The terraces in all housing are overlooking or adjacent to each other encouraging interaction. The parapets are hollowed out to reduce the mass occurring. In some situations edge element is high porous wall with an opening to view out giving more enclosure and privacy.

Fig. 5.18b View of lecture hall complex, NII

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Fig. 5.18c View of research scholar’s dwellings, NII

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Fig. 5.18a Partial axonometric drawing of NII 1. Senior staff housing 2. Junior Staff housing 3. Research scholar dwellings 4. Lecture hall complex 5. Housing 6. Essential staff housing 8. Main square

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Fig. 5.18d Plans of two typical floors of senior staff housing showing terraces , NII

Fig. 5.18e Section through senior staff housing showing terraces , NII

Fig. 5.18f View of senior staff housing, NII

Fig. 5.18g Isometric view of essential staff housing complex highlighting terraces, NII

Fig. 5.18h View of essential staff housing complex, NII

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Asian Games Village (1982)

Fig. 5.18a Part view, Asian Games Village

Asian Games complex is located in Siri Fort area, near hauzkhas, New Delhi. India hosted the Asian Olympics games in New Delhi, and the housing for the guests was commissioned by the public authorities which was later sold to middle income families. 500 housing units were designed as a group housing in 35 acres. Units of different types ranging from individual houses to apartments catering to the needs of different classes of the society were built. A relatively wide variety of unit types, from individual houses (type A, B, C) to apartments (type E, F, G) exist with differences in spatial arrangements to satisfy the needs of different income groups. The architect has explored the use of urban patterns from Jaipur and Jaisalmer in his design.

An important character of this place was the use of series of open spaces including terraces. The stacking of units with terraces on different sides give access to terrace to all units. Private roof terraces are an integral component of Asian Games village.

Fig. 5.19b Private terraces, Asian Games Village

Terraces on upper levels are often joined overhead to form gateway like entrances to houses along with pedestrian walkways. The terraces mostly occur as adjacent or overlooking terraces encouraging interaction Most of the parapets enclosing terraces are hollowed out in the form of rectangular openings allowing air flow. They are a unique element of the facade demarcating a terrace. At the same time rise high to give privacy to users.

At the topmost level, the terrace occurs with level differences and partition walls, demarcating territory of the users.

Fig. 5.19c Adjoining terraces becoming gateway, Asian Games Village

The drawings of the unit and cluster, type E show how the units are stacked to have terraces in above units.

Here terraces occur like an extension to bedrooms and living spaces, replacing balcony. The cluster has been formed by mirroring the units along two axes leaving a courtyard at the center.

Fig. 5.19d Floor plans of type E1 and E2, Asian Games village

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Fig. 5.19e Perspective view from top, type E cluster of units around court

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Fig. 5.19f Section through E type cluster, Asian Games Village

SCOPE (Standing Conference of Public Enterprises) office Complex, New Delhi (1989) SCOPE is located in newly developed zone for government offices near the ancient monuments like Humayun’s tomb and the Khan Kanan. The building is massive in form spreading vertically as well as horizontally.

The office complex is designed for a consortium of public enterprises sharing a few common facilities like auditorium, seminar rooms and restaurant. Its a highrise building but does not loose the horizontal character of it. Eight polygonal interlocking blocks are placed around a courtyard with tower columns in corners inspired from fortress. The corner columns become a pavilion on terrace and identity of the building when seen from far.

Fig. 5.20a View of SCOPE office complex from far

Terraces exist at intermediate levels throughout the complex used for various social activities. The building is a city within a city. The terraces have been articulated to accommodate restaurants and observation decks with the box for plants enclosing a terrace, concrete trellises for canvas covers over sun decks and passageways where employers can relax.

There are splendid views of Delhi seen from these terraces including tomb of Humayun seen in far left.

Fig. 5.20b View of courtyard from terrace, SCOPE office complex

Fig. 5.20c Terrace giving panoramic views of Delhi, SCOPE office complex

The cafeterias on top most floors have been covered with ribs with segments of vaults. They are approached through the roof garden by means of open steps.

The higher terraces overlook the lower ones and are enclosed by parapets, sometimes widening themselves with row of plants growing before the edge.

Fig. 5.20d Floor plans of type E1 and E2, Asian Games village

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5.5 Moshe Safdie Moshe Safdie is an Israeli/ Canadian architect and Urban designer. His works are known for geometric patterns and use of green and open spaces within built environment. His philosophy is to mitigate dehumanizing effect of mega scale, and enhance quality of life in cities and neighborhood. He focuses on the issue of dense urbanism neighborhood in cities around the world. According to him, the strength of a design lies in geographic and cultural diversity in which they work. His design is inspired by and woven into, the historic, cultural, and social fabric or the site.

Fig. 5.21a Overall view of Habitat 67

Habitat ‘67, Montreal (1967) Habitat 67 is built on a peninsula which advances proudly in front of the Old Port of Montreal on the side of St. Lawrence river. It was designed as Canadian Pavilion for the world exposition of 1967 originally intended as an experimental solution for high density quality housing in dense urban environment. The project is an example of rethinking apartment building.

Here prefabricated modular units were designed and stacked in different combinations, connected with steel cables, reached through a series of pedestrian streets and bridges. The stacking allowed inclusion of private landscaped terrace for each unit as an extension to closed living spaces.

Fig. 5.21b View of part cluster with outdoor terraces, Habitat 67

Each dwelling in Habitat is, a separate house, recognizable in space, whether on the second or the 12th floor. Houses at all the levels are accessed by outdoor pedestrian streets that widen into play areas for children at numerous places throughout the building. The residences range in size from one bedroom dwellings of 57 square meters to 160 square meter, four bedroom houses. With views in all three directions, each of the 15 different house types opens out to at-least one large garden with irrigated planters on the terrace or roof of the box below.

The setbacks and voids allow the terraces to overlook other terraces and spaces and the view. Standing on a terrace, one is completely surrounded by the city’s lights, the bridges silhouettes, the sound of the river rapids, the smell of the maple trees, oak and poplar trees, the air of the river and the sky. The terraces are enclosed with elements growing plants between them Fig. 5.83 shows how the terrace is used to grow plant, temporary and permanent furniture including the umbrella for shade.

Fig. 5.21c Section showing terraces, Habitat 67

Fig. 5.21d View of lower terrace from upper one, Habitat 67

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Fig. 5.21e Setback of units creating terraces, Habitat 67

Fig. 5.21f Unit plans, Habitat 67 (representing a modular unit and combination which is used to create one to four BHK units)

Esplanade Apartments, Cambridge, Massachusetts (1989) Esplanade apartments are located at the edge of Charles River in east Cambridge, on one of the waterfront sides.

It is a 206 unit luxury condominium development.

The housing system is based on flexible modules, which could be assembled in different configurations based on local conditions. Outdoor green spaces is the highlight of the design. The complex design of two L-shaped towers steps back from the river from a three story base, creating landscaped canopied terraces. The terraces occur on south creating sunlight gardens on terrace. These terraces extend the closed living spaces of a residence.

Fig. 5.22a View of Esplanade apartments from riverside

Fig. 5.22b Section through Esplanade apartments

By orienting the units diversely with respect to views, layouts and circulation, 35 different unit types, ranging from 1 BHK to 4 BHK, offer residents a wide spectrum of choice. The terraces descend in both horizontal and vertical directions resembling a hillside.

Constructed of white precast concrete panels, layered roof terraces descend towards the river’s edge with southern exposures and panoramic views of Beacon hill and downtown Boston. Residents have the opportunity to enjoy spectacular river and skyline views, as well as greenery of Eliot park and the Front park. A terrace always remains enclosed withs walls containing openings on two sides and parapets on the other two giving the view and a lower one is always overlooked by the upper terraces.

Fig. 5.22c View of the terrace and from the terrace, Esplanade apartments

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Marina Bay Sands, Singapore (2009) Marina Bay Sands, located on the Marina Bay waterfront, is a 16 hectare mixed use integrated resort.

It combines world class convention and exhibition facilities; three 56-storey hotel towers consisting of 2600 rooms and outdoor amenities for the hotel, an iconic Arts and science museum, two state of the art theaters, a casino a wide range of dining and shopping outlets and an outdoor event plaza. The three towers are capped with1 hectare sky park offering 360 degree views of the city and the sea.

The Sky-Park accommodates a public observatory, gardens, a 495 ft. (151 m) long swimming pool, restaurants and jogging paths, and offers sweeping panoramic views, a valuable resource in a dense city like Singapore. Shielded from the winds and lavishly planted with hundreds of trees, the Sky-Park celebrates the original vision of Marina Bay Sands as the Garden City. The lush green gardens here include many trees reaching a height of about 8 meters and lots of plants spreading on the terrace.

Fig. 5.23a View of Marina Bay Sands

Fig. 5.23b Skypark, Marina Bay Sands

The sky- park is cantilevered about 65 meters outside the hotel tower. The scale of terrace can be seen in the sections. It is enough to park four and a half A380 Jumbo Jets and its length is more than the height of the Eiffel tower maximum width being 40 meters.

Various canopies and trees act as shading elements on terrace. The edge elements are high enough to protect users and at the same time offers views. The glass gives complete transparency to views and at the same time encloses the user. The floor changes its level to accommodate various activities. The vertical elements occur in between the terraces to demarcate spaces.

Fig. 5.23c Section through Skypark, Marina Bay Sands

Fig. 5.23d Section through Skypark, Marina Bay Sands

Fig. 5.23e Views from Skypark, Marina Bay Sands

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5.6 Chitra Vishwanath

Fig. 5.24a Rice growing on terrace, Chitra and Vishwanath house

Chitra Vishwanath is a Bangalore based architect who builds using environmentally sound and costeffective materials. Her projects aim at conserving and recycling energy of sun, wind and water. Response to climate, conserving and using natural resources judiciously, and eliminating waste streams are sought to be consciously built in to each project. Mud forms the basic element in her architectural designs in view of its easy availability, labor intensiveness, and ease of construction,incorporating water, energy and land-use processes. According to her Eco-friendliness is a way of life and not just a statement and at the same time aesthetics are in place. The philosophy followed is to employ local resources in an optimized way, to plan considering the natural elements, passively and actively, and to render the social impact of construction positive, improving lifestyle quality of both, the doers and the users. Terraces and roofs receive maximum heat and sun, rainwater, and a lot of birds, which remain grey, and dark when not in use, so its important to convert them into green. In her projects, terraces have been used to grow plants, install solar panels to conserve solar energy and to harvest rainwater.

Chitra Vishwanath’s Residence Fig. 5.24b Harvesting of rice, Chitra and Vishwanath house

Fig. 5.24c Rainwater harvesting, Chitra and Vishwanath house

Fig. 5.24d Use of solar energy in the form of panels, cooker and water heater, Chitra and Vishwanath house

Chitra Vishwanath’s house lies in the outskirts of Bangalore, Karnataka. She built a home that is environmentally sound and cost-effective—with no ACs, no fans and unplastered walls made of mud bricks.

The terrace is highlight of the house.

A part of the terrace is covered with a vegetable patch where they used to grow rice and vegetables in a much larger space which keeps the inside spaces cooler by 8 degrees. The terrace is also the seat of Vishwanath’s many ecological experiments, including a wastewater recycling unit that recycles bathwater for the garden, a model of waterless toilet, ecosan. The waste from toilet is used as fertilizer in vegetation on the same surface, hence human being becoming a resource. Solar energy in the form of photovoltaics, a solar cooker to cook rice and dal and a solar water heater is used to fulfill daily needs. cement trough with water-plants growing in it.

The terrace also has rain water harvesting setup which harvests 90,000 liters of rainwater (20,000 from the neighbors) which is more than 70 percent of requirement, collected, stored and treated on terrace itself. The terrace is used to treat greywater through plants and the water so treated is used for flushing and the terrace garden.

The terrace thus provides food security, by helping us grow our own food including rice, vegetables, bananas, etc. It provides water security by treating wastewater

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and collection of rainwater, energy security by keeping the house cool, ecological security by providing habitat to sparrows. The spatial use of terrace consists of cultivation, energy generation, storage,etc. The closed boxes for ecosan and the parapets act as the enclosing elements. Some shade is required to grow rice. The purpose of the terrace becomes utilitarian rather than a leisure space.

Fig. 5.24e Section rhrough Chitra and Vishwanath house

Fig. 5.24f Model of terrace with all activities, Chitra and Vishwanath house

Residence For Ms & Mr Renu & Skylie (2014) The house is located in Arkere, in South Bangalore on an east facing plot. The approach to house includes a recharge well on the ground. The terrace of the house is used to generate energy from sun, rain and recycling.

The terrace is used to collect water which is used to recharge the well on the ground. All of its grey water is then treated on terrace itself with help of stepped planted filter system and reuses it for flushing in toilets and gardening. With reduced water consumption and rain water harvesting they can be self sufficient in terms of their water demand for 2/3rd part of the year. Recharge well is also yielding water now. The solar water heater is used to heat the water that is pumped.

Fig. 5.25a Elevation , Residence for Mr. and Mrs Renu and Skylie

The terrace does not seem to be appealing in appearance but solves the purpose of its existence by saving energy and using natural resources for daily needs.

Fig. 5.25b Terrace, Residence for Mr. and Mrs Renu and Skylie

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Eapens Residence (2013) The Abode’, in Marianapallya, North Bangalore is a 1700 sft, G+1 structure designed for this family of four. Energy is redefined in the house by well crafted ecological solutions.

Fig. 5.26a Eapens’ Residence

Flat terrace here has a special character; it hosts a variety of eco-friendly measures. One part houses the reed bed system. Another part is home to a set of 8 solar photo-voltaic panels. A third part is installed with solar thermal panels, that ensure that the water coursing in the pipe is warm.

The photo-voltaic panels sponge on the sun’s energy by day, feeding the electrical appliances in use and charging a set of batteries that kick in at night to provide the required power. The family could reduce the electricity bill to less than half by using these alternatives.

Fig. 5.26b Solar panels and heater on terrace, Eapens’ Residence

The Eapens’ roof area provides a healthy 42 sqm and an additional 83 of paved spaces. Every surface is exploited for rainfall; the 8000 litre underground sump tank is receptacle of the rain that falls on the terrace and the additional 2000 litre one contains what runs off the paved ground. Though a recharge well was contemplated, the idea was quashed on the premise that the expenditure could be channelized into this additional tank. With all this water, wisely collected and stored, the family has stayed afloat, without contributing a penny to the coffers of private water tanker suppliers for the past six months. Hence, this house is a shining example that goes to show that the roof above one’s head, can not only provide shelter, but can also ensure water and energy security.

The terrace here is used as storage space for the solar panels and the reed bed, but at the same time satisfies other attributes of the terrace, receiving shade from the surrounding buildings and trees. It is also enclosed by a solid parapet, which also separates spaces on terrace.

Fig. 5.26c Reed bed system on terrace, Eapens’ Residence

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Inferences The projects studied in the chapter range from 1889 to 2014. In the span of 125 years similarities and differences can be seen in the works of various architects.

Gaudi uses organic forms to enclose terraces and to modulate surface. The sculpted elements like enclosure of staircase shafts or towers created unique identity of the building. Corbusier introduces terraces at intermediate levels, mostly overlooked by the upper ones and due to location of the building and the terrace at the uppermost terrace remains private. The edge elements he uses range from high walls to elements just suggestive of the ending of the surface. Correa uses terraces in different forms like barsati, topmost enclosed plane, stepped configuration, as extension of the ground depending on the function of the building and the geographical location. Raj Rewal’s work being influenced by Indian traditional architecture use terrace at multiple levels to create open spaces in not just private houses but also institutions. Overlooking and adjacent terraces have been used in various situations to enhance humanhuman and human-nature interaction. The enclosing elements include hollowed out parapets and walls, extension of structural beams and columns, pavilions and rows of plants between the built structure. Moshe Safdie in his works uses terraces as a major element in housing schemes opening to views and interaction in stepped configuration or as topmost plane. The edge elements vary in height and form depending on the need. Terraces create identity of the buildings whether its the topmost plane or used as multiple occurring spaces. Chitra Vishwanath uses terrace as a resource to harness energy and a source to cultivate.

The common ideas among various projects, in different situations, is view to existing landscape and surroundings, to the spaces of the building itself such as the courtyard or the other terrace. A combination of specific enclosing elements make the space livable. A terrace can be designed for single or multiple functions.

The form of the terraces define the form of the building and vice-versa.

There are multiple ways of responding to the same situation or fulfill same demand. For example overlooking terraces could be stacked, stepped or random. Similarly cultivation on terrace could be partial or complete, could be grass or vegetation. An enclosing surface could be a wall, a parapet or just rows of plants or foliage of trees. Spaces on terraces can be defined with change in material of the flooring, creating levels or breaking spaces with vertical elements. But there also exist choices within the same. The character of the terrace changes with grass growing on it or vegetables growing on it. A stepped terrace would repeat the situation for each terrace whereas random terraces could have varying characteristics and so on.

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CASE STUDIES Chapter 6- Case study I- City palace, Udaipur ( Rajya Angan, Lakhu Gokhda, Badi Mahal, Badi Chha-

trishali, Mor Chowk)

Chapter 7- Case study II - Pent house, Indraprastha 8- Frangipani, Ahmedabad Chapter 8- Case study III- Agashiye- the house of MG, Ahmedabad

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Framework of Analysis In order to understand the spatial resolution and human responses towards a terrace following framework has been followed:

Terrace

Environmental Aspects

Topography

Organization

Movement and Axiality

Spatial Aspects

Notional and Functional Aspects

Enclosure

Landscape and water elements

Qualitative Aspects

Scale and Proportion

Views

Landscape

Floor Modulation

Safety and Security

Climate

Edge elements

Noise control

Shelter elements

Territoriality

Criteria for selecting case studies The criteria for selecting case studies is to get diverse approaches of using terraces from different periods of time having certain similar conditions.

Sr. Case study no.

Built in year

Built by

1

City Palace, Udaipur

16th century

2

Indraprastha 8, Frangipani, Ahmedabad

3

Agashiye, Ahmedabad

Situation of Building

Building type

Type of Architecture

Started by Rana On the hill top Udai Singh and overlooking lake extended by his successors.

Palace (Residential and Administrative)

Rajput (Traditional)

2013

Hiren Patel Architects and Deep Builders

Next to street in urban area. (Not a major used street)

Residential Apartments

Contemporary

1920’s

Abhay Mangaldas

Edge of the old city Urban heritage visible far from Restaurant and bridge in a highly Hotel used area

A mix of traditional and contemporary

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CHAPTER 6- CASE STUDY I- CITY PALACE, UDAIPUR Strategically located on the crest of a ridge, the city palace complex, Udaipur overlooks Lake Pichola on the west, and the city on the eastern edge. It is centered on spectacular landscapes of lakes and mountains in the Girwa valley.

The city palace complex is a monumental site with an ensemble of built form and courtyard spaces at varying levels built on the original hill during different time periods thus acting as terraces. The various additions to the city palace complex are harmoniously juxtaposed with the natural setting, creating an arresting architectural ensemble with the natural backdrop of the Aravallis. The Rajput rulers were Suryavanshis and thus all main spaces open up towards east to welcome the rays of morning sun.

There are two main areas within the complex and subsidiary spaces develop around them- the Mardana and the Zenana. There are many courtyard terraces within the palace which become settings for social and cultural traditions to take place. Each courtyard terrace has a definite meaning and functions. The palace establishes connection with the city and the surrounding landscape through openings like jharokhas, verandahs, courtyards and terraces.

Fig. 6.1 Location of City Palace, Udaipur

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The ground plane is effectively modified to express cultural symbolism and political and social hierarchy.

The landscape came first and the palace grew from it. It was composed in such a way that it revealed the landscape features. The chhajjas (protective slabs) and chhatris (small pavilions) impart to the construct its Rajput identity. The built form is an intricate maze of built and unbuilt spaces, where living spaces are grouped around a number of small courtyards.

Protruding balconies and jharokhas (projecting spaces) overlook courts from the upper floors. The terraces become external, yet private living spaces with tall parapet walls, and chhatris are effectively used in the evenings and nights as they are pleasantly cool even during the harsh summers, especially due to presence of lakes.

This hilly terrain has influenced the organization of its planning in terms of its vertical growth, distribution and expansion of spaces over a number of interconnected levels following the natural contours. These levels are connected and accessed by narrow, steep and winding stairs, which once again primarily serve the defense intentions as well.

The important terraces of Mardana have been studied in detail.

Fig. 6.2 Palace and its surroundings

Fig. 6.3 Axonometric view of Mardana and Zenana, City Palace highlighting terraces in Mardana

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6.1 ENVIRONMENTAL ASPECTS 6.1.1. Topography The topography of the site has helped the maximum for the palace complex to execute its form which we see today. The palace is positioned on the hill with lakes on the west and steep cliffs on the east. The combination of palatial forms and existing topography give a great synthesis. The top surface of the hill becomes a terrace and the fort walls cover the hill from sides giving an illusion of it being a building entirely. The entire palace is developed in such a way that different contours give terraces at different levels varying in function and use.

Since the palace is at height it offers views of the entire city and the lake.

Fig. 6.4 The then existing topography of Udaipur

Fig. 6.5 Extended section of the palace comlex showing the use of existing topography

6.1.2. Landscape The existing landscape is considered while building the palace complex. All the habitable spaces along with terraces are kept on the side of the lake. The terraces thus provide the views of the hills and the lake. Hence the

Fig. 6.6 Use of existing Landscape

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location plays an important role. Also the existing trees have been taken advantage of and terrace courts have been made around them giving pleasant environment inside the palace.

6.1.3. Climate Udaipur city has particularly a tropical climate. The three main seasons, summer, monsoon and winter respectively, dominate the city of Udaipur. Situated at an altitude of 598m above sea level, moreover in a desert area, Udaipur has sultry type of Climate. However, Udaipur is the only place in Rajasthan that has quite moderate climate throughout the year. In summers, the scorching sun makes the city hot whereas in winters the weather is pleasant.

Being located near the desert lands of Rajasthan, the climate and weather of Udaipur is usually hot. The summer season runs from Mid-March to June and touches the temperature of 38°C. Monsoons arrive in the month of July heralded by dust and thunderstorms.

The city annually receives around 637 mm of rainfall.

This scanty amount of rainfall makes Udaipur more humid. The humidity reaches to the extent of 90 % during the months of Monsoons.

In Udaipur, winters are comparatively cooler than summers but not cold at all. The winter season prevails from the month of October till the month of March. Humidity, which prevails during monsoons, diminishes at the arrival of winters. The city observes pleasant sunny days and enjoyable cool nights. The temperature falls to the level of 11.6°C in the nights.

In response to hot climate the Palace architecture has a lot of courtyard terraces to draw in light and air and provide with nearest open spaces receiving shade to perform various activities during winter days and summer evenings and nights. The perforated high walls (jali) , jharokhas and the pavilions on upper terraces also satisfy the climatic needs. The location of the palace near the lake gets in breeze even during the afternoons thus making it pleasant habitat.

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6.2 SITUATION AND CONTEXT OF ALL TERRACES Name Of Terrace

Location Plan

6.2.1.Rajya Aangan

5 1

4

2

3

Fig. 6.7 First floor plan 1. Rajya Angan 2. Mor Chowk 3. Manek Mahal 4. Surya chopar 5. Ganesh Deodhi

6.2.2. Lakhu Gokhda 13 1 10 2

11 12

Fig. 6.9 Third floor plan 1. Rajya Angan 10. Badi Mahal 11. Badi Chatrashali 12. Dilkhush Mahal and kanch ki burj 13. Chandra Mahal and Lakhu Gokhra

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Context

6

1

2 8

7 9

Fig. 6.8 Second Floor Plan 1. Rajya Angan 2. Mor Chowk 6. Nau Chowki Dhuni Mata 7. Daulat khana 8. Surya Prakash 9. Moti Mahal

Rajya Angan, the royal court, is surrounded by living spaces on the east and west and walls along the north and south. The eastern zone is a royal arrival court while the western zone consists of a shrine of the deity Dhunimata, facing the east.

The straight movement is stopped here and after a due pause one is guided to the left where winding stairs lead to the Chandra Mahal with jharokhas overlooking the lower Rajyangan court.

Being sited on a hill, the further spaces of the citadel are added at the upper levels, automatically changing the privacy levels and the hierarchy of spaces A narrow staircase from the Nav Chowki Mahal side leads up to a small terrace; there is Lakhu Gokhda on one side and Chandra Mahal on the other. Chandra Mahal is located directly above Nav Chowki Mahal and was built during Rana Karan Singh’s reign. This level is connected to the Badi Mahal by a passage and a few steps.

Fig. 6.10 View and Elevation of Lakhu Gokhra

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Name Of Terrace

Location Plan

6.2.3. Badi Mahal

13 1 10 2

11 12

Fig. 6.11 Third floor plan 1. Rajya Angan 10. Badi Mahal 11. Badi Chatrashali 12. Dilkhush Mahal and kanch ki burj 13. Chandra Mahal and Lakhu Gokhra

6.2.4. Badi Chatrashali

13 1 10 2

11 12

Fig. 6.13 Third floor plan 1. Rajya Angan 10. Badi Mahal 11. Badi Chaturshali 12. Dilkhush Mahal and kanch ki burj 13. Chandra Mahal and Lakhu Gokhra

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Location Section

Context

10

11 2

It is the largest single addition made by Maharana Amar Singh II (1698-1710).Amar Vilas, or Badi Mahal, was built on top of this rise or small hill, and the sides of the hill were enclosed and hidden by walls. A flight of stairs connects the Chandra Mahal to this space. It is the highest natural plinth of the palace standing on the original ground of the mountain.

Fig. 6.12 Longitudinal section 2. Mor Chowk 10. Badi Mahal 11. Badi Chatrashali

10

The Badi Chitrashali is the outdoor terrace pavilion reached after Dilkhush Mahal(cladded with colrful mosaic on the walls and ceilings), Kanch ki burj and Krishna nivas (decorated with wall paintings). Walls surround it on three sides and a pavilion overlooking the city form the fourth side.

11 2

Fig. 6.14 Longitudinal section 2. Mor Chowk 10. Badi Mahal 11. Badi Chatrashali

It was first conceived as a terrace to the Dilkhush Mahal and afterwards a few rooms and verandahs were added.

The arches and columns are embellished with glass work and mosaic. The tiles are brought from China by Portuguese Sangramsingh II built in 1735 AD.

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Name Of Terrace

Location Plan

6.2.5. Mor Chowk

5 1

4

2

3

Fig. 6.15 First floor plan 1. Rajya Angan 2. Mor Chowk 3. Manek Mahal 4. Surya chopar 5. Ganesh Deodhi

6

1

2 8

7 9

Fig. 6.17 Second Floor Plan 1. Rajya Angan 2. Mor Chowk 6. Nau Chowki Dhuni Mata 7. Daulat khana 8. Surya Prakash 9. Moti Mahal

140

Location Section

Context

10

11 2

The second area of the palace to be developed in the course of the seventeenth century is the area above the Sabha and the Mardana Deodhi. A new court, Mor chowk, was formed on the roof of the Sabha , with the Verandah overlooking the eastern terrace. It is flanked by the Manak Mahal to the north and the Surya Chopar to the south. These two chambers are throne rooms, the Surya Chopar containing the Surya Gokhra from which the Rana greeted his divine ancestor, the sun, and it rose.

Fig. 6.16 Longitudinal section 2. Mor Chowk 10. Badi Mahal 11. Badi Chatrashali

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6.3 SPATIAL ASPECTS 6.3.1. Rajya Angan

Fig. 6.18 Sectional elevation looking west

Fig. 6.19 First level plan

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Fig. 6.20 Sectional elevation looking north

Fig. 6.21 Second level plan

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Fig. 6.22 Sectional elevation looking South

Fig. 6.23 Third level plan

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A. Organization The terrace is surrounded by semi open and closed spaces around it. The quality of the semi open spaces vary. The semi open spaces are not very welcoming but guide towards the next courtyard terrace of the palace.

Fig. 6.24 View towards North, Rajya Angan

Fig. 6.27 organization of spaces in Rajya Angan Fig. 6.25 View towards West, Rajya Angan

B. Axiality And Movement All the spaces around the terrace are accessible through the terrace itself. Though the spaces on each side are not entirely symmetrical but through transition of space from center intends to maintain symmetry.

Fig. 6.26 View towards North east, Rajya Angan

PLANES OF MOVEMENT ON TERRACE AROUND TERRACE

Fig. 6.28 Axialty and Movement in Rajya Angan

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C. Enclosure • Floor Modulation

c

The flooring pattern is not a regular grid but evolves as a new pattern using the grid , simultaneously manipulating the black and white colored tiles. The pattern tries to go vertically up as shown in picture to continue the space and not give a sudden end as shown in Fig. 6.. The semi-covered space next to terrace has different pattern of flooring changing the character of the space.

a d

b

Fig. 6.29 Flooring Pattern in Rajya Angan

Terrace

Classification of floor on the basis of material treatment

Classification of floor on the basis of form

Classification of floor on the basis of texture and pattern

Rajya Angan

Artificial (Black and white colored tiles)

Uniform ( Modulation in floor is only through its pattern)

Geometric ( A grid has been used to create pattern )

Fig. 6.30 Transition of space from terrace to inside looking south towards entrance.

Fig. 6.31 Transition of space from terrace to inside looking west towards Nau Choki Dhuni Mata

Fig. 6.32 Row of columns forming the first level of enclosure and transition towards closed spaces from terrace towards north

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• Edge Elements The vertical enclosure on all sides vary. The row of columns on a raised plinth form enclosure on one side continued with walls with openings for the other two floors. The other two sides are triple height walls with openings overlooking terrace and the fourth side is the entrance to the space and the Mardana of palace forming a single height wall.

Fig. 6.33 Edge a (a part)

•Shelter Elements

Fig. 6.34 Edge b

The semi open space around Rajya Angan act as the shelter elements allowing the user to view the terrace and the sky with the shade overhead. It lies outside Nikka ki Chaupad. The level difference and the columns on both sides define the space which connects the inside and the outside i.e. terrace. ( Fig. 6.24 and 6.33) The western side which serves as entrance to the Chandra Mahal has a small semi open space which has the terrace on one side and a chamber with deity on the other and hence becomes an in between space. (Fig. 6.25)

Fig. 6.35 Edge c

Fig. 6.37 The semi open space between Nikka ki Chaupad and Rajya Angan

Fig. 6.36 Edge d

147

Rajya Angan

Edge a

Classification of edge element on the basis of material treatment Artificial The material used is stone in all the walls

Edge b

Artificial

Edge c

Artificial

Edge d

Artificial

148

Classification of edge on the basis of height

Classification of edge element on the basis of volumetric use

Classification of edge element on the basis of mass and void

Above eye level The wall can be seen as a composite edge with varying height being smaller at the entrance. It is the only edge which allows to view the surrounding parts of palace and other surroundings when standing far from it affecting the visibility from the space.

Extended The wall is of triple height and hence separates the user from the surroundings and itself become the surroundings.

All the edge elements are high enough to act as a protective element.

Extended The immediate surrounding is the row of columns with wall above allowing the user to interact with the surrounding part of the palace.

Widened Various elements like the Jharokha and the parapet of the steps on the upper floor protrude out to increase the volume of the edge element

Hollowed out The mass has been removed from the wall to give access doors to the space and the top of the wall is carved out. The openings let the movement through the terrace.

Recessed and Widened The recessed part lies on the immediate floor with a recess for the semi open space leading to inside . The chhajas and jharokhas come out to make it wide.

Hollowed out The wall is a combination of openings in the form of semi open space or the jharokhas looking into the space making it visible from inside spaces.

Framed and Hollowed out The row of columns on the floor of the terrace forms the framed edge which becomes solid wall on upper walls with openings for ventilation.

Composite The openings on all floors are a result of taking the mass out of the surface. It is hollowed out at the bottom and becomes solid as it goes up.

Extended The structural elements i.e. arches and columns with openings enclose the terrace on the same floor.

The wall with openings on upper floors become the upper edge. The edge itself become the surrounding.

Recessed and Widened The row of columns on the same floor and the wall on upper floors show the recess in the element. The Jharokha and the chhajja protrude out which widen the surface.

Widened The structural elements like the arches and the columns protrude out from the wall and the chhajjas of upper floors widen the element

D. Scale and Proportion The volume of terrace here is defined by the surrounding walls and hence it can be called a triple volume terrace.

As one goes towards closed space the scale changes to too small.

Fig. 6.38 Scale and Proportion of Rajya Angan

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6.3.2 Badi Mahal

Fig. 6.39 Upper Terrace plan, Badi Mahal

Fig. 6.40 Terrace floor plan, Badi Mahal

150

Fig. 6.41 Sectional Elevation looking south

Fig. 6.43 Sectional Elevation looking West

151

Fig. 6.42 Sectional Elevation looking North

Fig. 6.44 Axonometric View of Badi Mahal terraces

152

A. Organization This consists of a large open-to-sky courtyard terrace with a garden and large trees in the middle. The vegetated court is surrounded by arcaded semi covered veranda spaces on three sides and a living pavilion with its own water pond adorning the fourth northern side.

Fig. 6.45 View of the landscape at Badi Mahal

The upper terrace is along the periphery of the lower terrace overlooking it. It has pavilions breaking its corners and at the center of the edge. The upper terrace in itself is divided into three terraces by the two closed spaces in between connecting different parts of the same terrace.

Fig. 6.46 View of the terrace from semi open space

Fig. 6.49 Organization of spaces in Badi Mahal

Fig. 6.47 View of the upper terrace above Badi Mahal closed space

Fig. 6.50 Organization of spaces in upper terrace of Badi Mahal

B. Axiality And Movement The pond and trees in the center define movement around it on terrace and the presence of semi-covered veranda defines movement around the terrace. The movement on the upper terrace becomes linear, around the lower terrace.

Fig. 6.48 View of the upper terrace above Badi Mahal semi open sides

The central axis becomes important for both the upper and the lower terrace defining symmetry of the structure.

153

C. Enclosure The exploded diagram shows various layers of enclosure on the terrace.

The columns in a row define the first level of enclosure indicating the end of the open space and then finally wall defines the complete space.

On the upper level of the terrace parapets play an important role in defining the terrace and at the same time connecting it to outside.

Fig. 6.51 Axiality and movement in and around Badi Mahal

The jharokhas, and pavilions such as bangladar roof and chhatri occur at all corners as well as in between giving shade at parts of terrace and break the monotony.

The openings in the walls fencing the terrace connect to the outside and those on the inside edge of upper terrace connect to the inside.

Fig. 6.51 Axiality and movement in and around upper terrace, Badi Mahal

Fig. 6.52 Exploded view showing various levels of enclosure

154

•Floor Modulation The diagram shows the level changes and landscape due to which floor modulates itself.

The floor level changes as the kind of space changes.

It changes from the water body to its parapet to open terrace to the shaded veranda to accommodate the required function.

The upper terrace forms a linear path around the terrace below and above the verandah where the inside edge has short parapet and the outer edge has shelter element along with the small parapet or jali wall. The height of the jali wall is more than human height giving privacy and the porosity encourages play of light and shadow and allows the wind to blow.

Colored glass in the jali enhances its character.

The water body is the depression on the plane around which there are trees for which the circular holes are left to grow in a manner that the flooring pattern and the circular holes replicate one another.

Between the jali wall a bench, acting as a permanent furniture element is introduced on the inside edge of the terrace which overlooks the terrace on the floor below. Also, placed at center it defines the axis through the space.

The upper terrace has tiles as flooring which is visible in few parts. The flooring here continues through the closed space and guiding user to the next space.

The edge elements here consist of semi open spaces and pavilions extending the space, high jali walls, low inclined parapets categorized in table.

d

c

a

b

Fig. 6.55 Row of columns in Badi Mahal

Fig. 6.53 Modulation in floor levels and patterns in Badi Mahal

g h

f e m o p n

Fig. 6.56 Transition of space from terrace to closed space

i l

j

k

Fig. 6.54 Modulation in floor levels and patterns in upper terrace, Badi Mahal

•Edge Elements The rows of columns form the first level of enclosure on the three sides and then are the high walls with niches and openings at certain places. Only one side is a solid wall through which the space is entered.

Fig. 6.57 Jali on upper terrace, Badi Mahal

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Fig. 6.58 Bench in between jali wall, upper terrace, Badi Mahal

•Shelter Elements The terrace of Badi Mahal is has semi open space on three sides, two being similar and one extended as shown in figure 6.55 and 6.56.

Jharokhas with small opening become sheltered space for a person to look out without being seen from outside.

Many chhatris ( another type of pavilion ) occupy the upper terrace of Badi Mahal giving a place to rest , view outside and under the shade.

Bangladar roof pavilion becomes another element providing shade on an open terrace and frames the views of the city.

Fig. 6.60 A bangladar pavilion, A chhatri and a jharokha (from left to right)

156

Fig. 6.59 Extended pavilion on the edge, Badi Mahal

Edge a

Edge b

Edge d Edge c

Center

Edge h

Edge p

Edge g

Edge e

Edge k

Edge o

Edge j

Edge n (from inside and outside)

Fig. 6.61 Images of all edge elements

157

Terrace

Classification of floor on the basis of material treatment

Classification of floor on the basis of form

Classification of floor on the basis of texture and pattern

Badi Mahal

Composite The growing trees and plants become a natural floor finish whereas the pool and the pattern created forms the artificial flooring.

Artificial No surface finish is seen now but the floor of stone.

Depressed The floor is depressed from the center to form the pool.

Geometric The pattern of puncture in floor for growing plants is replicated in the flooring and it guides movement through floor.

Rough The floor is not finished with any tiles or mosaic but left with the rough stone surface.

Upper Terrace, Badi Mahal

Badi Mahal

Uniform

Classification of edge element on the basis of material treatment Artificial The material used is stone in all the walls

Classification of edge on the basis of height

Classification of edge element on the basis of volumetric use

Classification of edge element on the basis of mass and void

Extended The edge is the row of columns connecting the semi open space to the terrace with the jali parapet on top. The edge is the last thing to see before the sky. Hence it does not allow to view surroundings of palace.

Widened Various elements like the Jharokha seat above and the chhajja protrude to widen the edge element. The central jharokha seat is an eye catching element from the terrace though it lies above eye level.

Edge b,d

Artificial

Widened The edge is widened due to the presence of Chhajja below the upper terrace parapet.

Edge c

Artificial

Extended These two edges are a row of columns with a solid inclined parapet above giving the view of the pavilion and jali wall at the back on the terrace above, from the opposite edge.

Extended The double height wall surrounds the terrace from southern edge which also functions as the entrance providing the view of the terrace.

Center

Natural (The trees and plants growing around the pool)

Framed The row of columns provide a framed edge to the terrace which when goes up turns into chhajja and jaali wall. It allows to view the change in the direction of wall at the back and the openings in it.

Framed The row of columns becoming the immediate edge of the terrace, makes the wall at the back with niches, visible to the user.

Solid The wall has no opening into the terrace hence providing an opaque edge to the space separating it from the surroundings completely.

Porous The trees growing around the pool allow and obstruct the view of the opposite part of the terrace.

Edge a

158

Composite The trees and plants of varied height grow around the pool providing shade and enclosure to the space.

Recessed The niches, setback in wall and the recess for the access door make it a recessed element.

Upper Terrace, Badi Mahal

Classification of edge on the basis of height

Classification of edge element on the basis of volumetric use

Classification of edge element on the basis of mass and void

Edge e,i

Suggestive element The edge is a parapet of very low height enough to suggest the presence of the edge of terrace.

Above eye level The three arches filled with jaali forms the edge with a carved top border and enclose the terrace. It does not restrict the view beyond due to presence of jaali.

Above eye level These elements have an opening to the closed space, which divide a terrace into three parts.

Inclined The inclined parapet makes the space feel free in spite of narrow width of the terrace.

The small carvings and jaali pattern form shadows but no recess becomes a substance of use.

Solid The parapet is thin and opaque maintaining its strength.

Edge h,l

Edge f,j

Edge g

Above eye level The edge is a continuous jaali wall with a break to enter a chhatri. It separates user from surroundings which become visible on coming near.

Edge k

Above eye level The edge is a zig zag jaali wall with a break to enter a bangladar roof pavilion.

It separates user from surroundings which become visible on coming near.

Above eye level The edge is a wall with arched openings or niches at places and a carved border on top.

The terrace being at height allows interaction with sky but separates from immediate surroundings Above eye level The edge is an undulating wall becoming jali at the back and an entrance to the closed space from its center.

Above eye level The edge is a jaali wall with a jharokha seat at the center. It allows to see the terrace of Badi Mahal below from this opening though being a high wall.

Edge m,n

Edge o

Edge p

Porous The pores or holes of the jaali allow to see the other part of palace from here.

Hollowed out The wall has an opening into the terrace hence providing an interactive edge between two different spaces.

The volume of edge Porous element is not important The continuous jaali makes it here porous element. It allows the user to see outside without being seen from outside. The jaali patterns cast shadow on floor and allow breeze to flow.

The volume of edge Porous element is not important The continuous jaali makes it here porous element. It allows the user to see outside without being seen from outside. The jaali patterns cast shadow on floor and allow breeze to flow.

Recessed Composite The continuous wall has The edge is a combination of arched openings or niches solid wall and openings at places at places and a jharokha in deleting mass from that space the center forming recesses allowing to view outside from in between. particular spots.

The volume of edge element is not important here

Extended The wall going back and forth create an alcove on the sides becoming a volumetric element.

Recessed The jharokha seat is a recess in the wall and also an opening.

Composite The edge is a jaali at the back and a different jaali when it becomes an enclosure of closed space with an opening reducing the mass.

Composite The edge is a jaali wall with a carved border at the top. The central jharokha seat is the only opening which reduces the mass completely from the space it occupies

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D. Landscape And Water Features The landscape which existed before the palace was built and it was preserved and utilized to form an important element of the terrace.

The trees along with water body in the center played an important role to make the terrace a pleasant space.

The water body served for communal bathing which is clear from the miniature paintings.

Fig. 6.62 Preservation of the landscape amidst the terrace

E. Scale And Proportion Though a terrace height can be defined as infinity, the volume of it can be defined by the surrounding built area. Here the terrace is in the form of courtyard accessible from three shaded spaces and one side has the entry to the Badi Mahal.

The scale changes throughout the space. The transition from the covered spaces surrounding spaces to the terrace is defined by change in volume and change of level. The terrace forms another space within the space by subracting the mass from the centre.

The lower terrace behaves as an open to sky introvert room with the landscape elements in the center with

Fig. 6.63 Sectional axonometric view showing the proportion of built and open

160

openings in the walls to provide the view of outside. It is highly enclosed.

The upper terrace overlooks the lower terrace and connects to both the inside and the outside. It has varied shelter elements providing enclosure in the open space.

Fig. 6.64 Section through the terrace showing the human scale at various points to show the change in scale

161

6.3.3 Badi Chhatrashali

Fig. 6.65 plan, Badi Chitrashali

Fig. 6.66 Sectional elevation looking south

162

Fig. 6.67 Sectional elevation towards lake (west)

Fig. 6.68 View of terrace towards west, Badi Chhatrashali

Fig. 6.69 View of terrace towards east, Badi Chhatrashali

163

A. Organization The terrace is surrounded by semi-open and closed spaces around it. The quality of the semi open spaces vary. To the east is the pavilion overlooking the city. The entrance to the terrace is from north.

to maintain symmetry. One has to come to terrace to go to any other surrounding spaces. There is no continuous movement plane around the terrace unlike Badi Mahal.

C. Enclosure •Floor Modulation The flooring pattern changes as the level and the kind of space changes. The diagonal checkered flooring on the terrace again continues towards the end of the eastern pavilion. The semi covered space next to terrace has different pattern of flooring changing the character of the space. d

a

b

Fig. 6.70 Organization of spaces in and around terrace c

B. Axiality And Movement The light filtering through the cutouts along the eastern face of this pavilion and the adornment of bright blue ceramic tiles draws the onlooker towards the perpendicular axis of the movement. The corresponding arched openings and chhatri pavilions on the opposite walls further emphasize this east-west axis. Though the spaces on each side are not entirely symmetrical but transition of space from center intends

Fig. 6.72 Movement in and around terrace

•Edge elements The cusped arches form the first level of enclosure on two sides which is then followed by solid wall. Wall with openings (jharokhas), and pavilion on the side of the lake form the other enclosing edges.

PLANES OF MOVEMENT ON TERRACE AROUND TERRACE

Fig. 6.71 Movement in and around terrace

164

Fig. 6.73 Transition of space from terrace to its west

Fig. 6.74 Transition of space on the east side

Edge a

•Shelter elements Pavilion is placed on the eastern side overlooking the city of Udaipur. There is change of level inside the pavilion to define the space surrounding the terrace.

Semi open spaces enclose the terrace at northern and the southern sides. The level drop and cusped arches define change of space. It allow the user to interact with the terrace and also provide an immediate place of shade.

Edge b

Fig. 6.74 Eastern pavilion bordering terrace from one side Edge c

Edge d Fig. 6.75 Eastern pavilion bordering terrace from one side

Fig. 6.76 Eastern pavilion bordering terrace from one side

165

Terrace

Classification of floor on the basis of material treatment

Classification of floor on the basis of form

Classification of floor on the basis of texture and pattern

Badi Chhatrashali

Artificial Black and white colored tiles have been used as floor finish.

Uniform Modulation in floor is only through its pattern.

Geometric A diagonal grid has been used to create pattern which seems continuous even at the edges.

Badi Chhatrashali

Edge a,b

Edge c

Edge d

166

Classification of edge element on the basis of material treatment Artificial The material used is stone in all the edges.

Classification of edge on the basis of height

Classification of edge element on the basis of volumetric use

Extended The wall can be seen as a series of arches varying in width with the parapet of the upper terrace continuing it on top. The wall of the chamber above with a jharokha also extends the edge. It separates the terrace from its surroundings.

Widened Various elements like the Jharokha and the chhajja protrude out to increase the volume of the edge element.

The edge encloses the terrace as well as the semi open space.

Classification of edge element on the basis of mass and void

Composite The mass has been removed from the wall in the form of arched openings. As it goes up it becomes solid and hollow at places.

The openings let the movement through the terrace to the semi open space. The wall at the back is visible from the terrace.

Artificial Extended Extended Framed The columns The immediate The chhajja is the only The row of columns on and arches are surrounding is the element which increases the floor of the terrace covered with row of columns and the volume of the edge. forms the framed mosaic of tiles arches of the pavilion The pavilion acts as edge which is further and mirrors. with the parapet and an extension of the continued by the edge of edge of pavilion above edge introducing to the pavilion. extending it. Being an immediate surroundings edge of a pavilion allows in and outside palace. to view outside.

Artificial Extended Widened Composite The wall has The edge is a wall with The terrace on top The openings on this paintings of three jharokhas as is supported on the floor is a result of taking Radha and lookout stations and brackets giving shade the mass out of the Krishna on it. on the top the arched below. The parapet and surface. The jharokhas edge of Bangladar roof the pavilion edge on the allow to view the lake pavilion continues at the upper terrace protrude and Aravalli range. center. The low height out increasing the inclined parapet lies volume of the edge.

The top terrace edge is a on its sides. So, the jali combination of framed walls at the back on the edge of pavilion and top terrace on the sides solid parapet on its sides. of the pavilion is visible from here.

D. Scale And Proportion The volume of the terrace here is defined by the high edge elements including row of columns, high walls with openings and pavilions and parapet of the terrace above. It is accessible through three shaded spaces, one of them being an entrance to the space. The scale of the space changes as the floor level goes up and down as seen in figure 6.77. The transition from the covered spaces surrounding spaces to the terrace is defined by change in volume and change of level. The proportion of the terrace is such that it allows it to behave as an open to sky room. The upper terrace allows to overlook the lower terrace and due to low height parapet, vice-a-versa is also possible. The scale changes from pavilion to terrace to terrace below.

Fig. 6.77 Scale and proportion in Badi Chhatrashali

167

6.3.4 Mor Chowk

Fig. 6.78 Third level plan, Mor chowk

Fig. 6.79 Second level plan, Mor chowk

Fig. 6.80 First level plan, Mor chowk

168

Fig. 6.81 North facing elevation, Mor chowk

Fig. 6.82 East facing Section, Mor chowk

Fig. 6.83 View of terrace towards north, Mor chowk

Fig. 6.84 View of terrace towards east, Mor chowk

169

A. Organization

C. Enclosure

The rectangular terrace is surrounded by semi open and closed spaces around it. The quality of the semi open spaces vary. The two semi open spaces on the opposite side form mirror image.

•Floor Modulation The flooring pattern is the same on the open terrace and the semi open spaces. The black and white diagonal grid is ended with a border on all sides. The levels are distinctly bordered highlighting different planes.

c

b

a

d

Fig. 6.85 Organization of spaces in and around Mor Chowk

Fig. 6.87 Flooring pattern in Mor Chowk

B. Axiality And Movement

•Edge Elements

Though the spaces on each side are not entirely symmetrical but through transition of space through center intends to maintain symmetry. One has to come to terrace to go to any other surrounding spaces. There is no continuous movement plane around the terrace unlike Badi Mahal.

The terrace is enclosed by edge elements varying in height and porosity, and therefore differing in character. All upper floors overlook terrace, making it open to public. The semi-open spaces of terraces such as Badi Chhatrashali also provide space to overlook Mor Chowk.

PLANES OF MOVEMENT ON TERRACE AROUND TERRACE

Fig. 6.86 Axiality and movement in Mor Chowk

170

Fig. 6.88 Transition of spaces from terrace to inside in north-south direction, Mor Chowk

•Shelter elements The northern and southern edges are semi open spaces being similar in nature connecting terrace to close spaces on the same floor. Above these are the semi open spaces with arches and pillars allowing users to overlook the space. The jharokhas on the upper floors are for the same purpose but reduces the number of users to use them being small in size. The jharokha on the eastern wall is decorated with intricate glass inlay work which enhances the quality of the terrace.

Edge a

Fig. 6.89 Northern semi open space above and below

Edge b

Fig. 6.90 Decorated jharokha and the wall outside

Edge c

Edge d Fig. 6.91 Edge elements, Mor Chowk

171

Terrace

Classification of floor on the basis of material treatment

Classification of floor on the basis of form

Classification of floor on the basis of texture and pattern

Mor Chowk

Artificial Black and white colored tiles have been used as floor finish.

Uniform Modulation in floor is only through its pattern.

Geometric A diagonal grid has been used to create pattern which seems continuous and are bordered by different pattern at the edges.

Mor Chowk

Classification of edge element on the basis of material treatment Artificial The material used is stone in all the edges. It is finished with glass inlay work on the lowermost floor.

Classification of edge on the basis of height

Classification of edge Classification of edge element on the basis element on the basis of of volumetric use mass and void

Extended The wall is four floors high and has various openings in the form of jharokhas, jali, etc on the levels above to view the happenings here.

Widened Various elements like the Jharokha and the chhajja protrude out to increase the volume of the edge element.

Edge b

Artificial The material used is stone in all the edges. It is finished with glass inlay work on the lowermost floor.

Extended The wall is three floors high and has various openings in the form of jharokhas, jali, etc on the levels above to view the happenings here.

Edge c

Artificial

Edge a

Edge d

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Extended The double height wall with two entrances to the space makes the edge. It separates the space from its surroundings.

Artificial Extended It has a richly The double height wall decorated which justifies the name jharokha with ‘mor chowk’ is this glass inlay element. It has three work. peacocks finished with blue glass and mirrors with the ornate columns coming out.

Composite The mass has been removed from the wall in the form of arched openings on the same floor as terrace. On the next floor is a framed edge with jharokha at center. The next floor has it in solid form with a major opening. The topmost part is a jali becoming a porous edge. So it is combination of all.

Widened Composite Various elements like The mass has been removed the Jharokha and from the wall in the form the chhajja protrude of arched openings on the out to increase the same floor as terrace. On volume of the edge the next floor is a framed element. edge with jharokha at center. The topmost part is a jali becoming a porous edge.

Widened The columns and the beam protrude out of the wall showing the structure.

Solid Other than the two doors the wall remains a solid opaque element.

Widened Along with the jharokha and the chhajja, the peacock murals widen the edge element becoming an element of display on the terrace.

Composite The solid wall becomes hollowed out from the center on the top floor providing aa lookout station to the space.

D. Scale And Proportion The volume of the terrace here is defined by the high edge elements including row of columns, high walls with openings. It is accessible through three edge elements, one of them being a solid wall and the other two being semi open spaces. The scale of the terrace is much bigger than the inside overlooking and surrounding spaces as seen in figure 6.90. The proportion of the space is defined by the edge elements ranging from being of double height or equal to the height of four floors. The low height walls on opposite sides allow the user to feel comfortable and not trapped because of enclosure.

Fig. 6.92 Scale and proportion of terrace, Mor chowk

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6.4 NOTIONAL AND FUNCTIONAL ASPECTS 6.4.1 Rajya Angan Rajya angan is the most important courtyard terrace depicting this style, where a perfect square space binds together the surrounding chambers. It has strong cultural value as it was the space where the king’s coronation took place, and served as diwan-e-khas or court of ministers and the king in the early phase of the palace structure. This is the first courtyard constructed and has historic value, which is expressed by the shrine located to the west of the courtyard. Judicial decisions and activities were held by the king here as it served as an entrance to Mardana Mahal.

6.4.2 Lakhu Gokhda It has a ‘Gokhda’ sort of balcony from where the Maharana shows himself to the public overlooking Rajya Angan through a jharokha. It also gives panoramic view of Lake Pichola. Rana Sangram Singh II (1710-1734) added the Lakhu Kund in the Chandra Mahal. The Kund is carved from one block of marble.

After the coronation of the king this basin was filled with one lakh (100.000) silver coins. One fourth of the coins were squandered to the general public collected down below in the courtyard and the rest were used for giving alms to the poor.

6.4.3 Badi Mahal Badi Mahal is the place of repose and entertainment for the Maharana during festivals. The terrace is with few chambers and jharokhas overlooking the city and lake below. The garden, pavilions, verandahs, water channels and the animated flooring patterns enhance the festive mood. Terraces in tropical climate allowed people to spend summer evenings and nights on them satisfying the psychology of being in pleasant and private environment.

(Miniature Paintings have been used as a proof to see how the terraces were used in palace)

174

A. Jawan Singh playing holi at Amar vilas by Ghasi in 1830

Fig. 6.93 Jawan Singh playing holi at Amar vilas by Ghasi in 1830

175

Function and mood Rana is seen playing holi with his courtiers and nobles on terrace. The rana appears thrice, among a throng of sardars and male relations. Firstly seated or standing waist deep in a tank of red water, secondly, wielding a water syringe charged with yellow or red liquid, and then drinking and smoking afterwards with the assembled company. This shows the sequence of celebration and use of different parts of the place.

Spatial organization and components The focal point of the painting is the central pool filled with red colored water. The floor around it is also red due to presence of color and the rest of the walls and floor show same texture highlighting the central part around which the festival is being celebrated. The difference between the colored and cleaned part of the floor suggests the use of levels on the terrace where the upper one is clean but shows the colored prints of the limbs and the closed part is absolutely clean with carpet is laid for the royal woman to sit. The semi open space is used by women. Hence the terrace elements in and around play an important role in enhancing spatial richness of the space. The arches were decorated differently to suit the occasion suggesting that the architecture of that time had space to fulfill their social and cultural needs.

Fig. 6.93a Spatial organization and components

Human response Only men are on the terrace whereas all women are in the interior suggesting the culture and beliefs of that time where the space for women was confined but they could view the happenings at the same time. The terrace is suitable for large gatherings as it accommodates more than 100 people at once as shown in the painting, which also helps to sense the proportion of the space.

Fig. 6.93c Additional elements enriching the spatial components

176

Fig. 6.93b People on terrace

B. Ari Singh performing puja in the Amar Vilas, dated 1765 attended by the nobles and musicians.

Fig. 6.94 Ari Singh performing puja in the Amar Vilas , dated 1765 attended by the nobles and musicians.

177

Function and mood The puja is being performed by Rana and he sits near the opening with the nobles at the back. Though the event takes place in the covered space, people come out on terrace including the musicians, and two ladies spreading the smoke from the burnt lamps or incense sticks. The open space provides comfort to the large gathering. The painting shows how different parts in and around terrace are brought to use during a religious event.

Fig. 6.94a Spatial organization and components in upper terrace

Spatial organization and components The painting shows the event is being held on the lower terrace inside the covered space bounded by cusped arches and columns. The central pool and the landscape occupy the center in the composition also.

The pattern around the central space has its importance demarcating space between the center and the semi open spaces on sides. Additional elements like the carpet and the baluster on the upper terrace suggests the position where Rana would sit. The railing around the pool makes it a space in itself. Hence terrace along with additional elements fulfilled social and cultural needs of people at that time.

Fig. 6.94b Additional elements on upper terrace

Human response The space is occupied by mostly men suggesting the use of terrace being restricted to a particular group.

It also suggests the culture and beliefs of that time where the space for women was confined. The terrace is suitable for gatherings as it accommodates more than 40 people, around 25 being in closed space, as shown in the painting, which also helps to sense the proportion of the space.

Fig. 6.94c Additional elements on upper terrace

Fig. 6.94d People on terrace

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C. Maharana Amar Singh and his courtiers on Badi Mahal terrace

Fig. 6.95 Maharana Amar Singh and his courtiers on terrace

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Function and mood The painting shows Maharana Amar Singh and his courtiers on Badi Mahal terrace where Amar Singh is smoking hookah and discussing with them. The open space provide pleasant atmosphere during night. A small portion of the terrace is shown here where Rana and his courtiers sit.

Spatial organization and components Rana choses to smoke on the terrace due to its openness.

Relaxing and having a discussion with his courtiers.

They sit between the cloister and the landscape and not inside the badi mahal. Rana sits uses his own cushions and bolster to sit in the space and a man with peacock fan takes care of him. The semi open space at the back with its arches and columns at front and niches at the back allows to hang wall hangings and curtain.

The railing controls the movement in the space. The landscape elements add to the environmental richness.

Fig. 6.95a People on terrace

Human response The space is occupied by four men suggesting the use of terrace by a small group. They chose to sit between the semi open space and the center during night to smoke. The discussion is happening due to the pleasant atmosphere on the terrace

Fig. 6.95b Spatial organization and components

Fig. 6.95d Additional elements

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Fig. 6.95c Landscape and water features on terrace

6.4.4. Badi Chhatrashali The arched openings and chhatri pavilions on the opposite walls frame the views of Udaipur City towards the east and the Lake Palace on the west respectively. The space was used for Musical evenings and celebrations of Royal family.

A. Maharana Ari Singh in durbar at night in the tiled Chhatrashali courtyard above Surya Mahal, Udaipur by Bhakta in 1765

Fig. 6.96 Maharana Ari Singh in durbar at night in the tiled Chhatrashali courtyard above Surya Mahal, Udaipur by Bhakta in 1765

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Function and mood Maharana is seen at a durbar at night in Badi Chhatrashali with courtiers, nobles and attendants. The scene becomes playful during night due to ceramic tiles in the background. Rana sits to that side of the central faรงade, which has filled arches with white and blue tile work and openings between them, the surya remains behind his head.

Spatial organization and components The composition shows the symmetry along the axis.

The red color of the central parapet opening and the jharokha highlighting it. The terrace is shown with the context below and above it i.e. Surya Mahal and the sky respectively. The parapet wall height gives privacy and comfort for the night event. The painting shows how the open terrace become an important space at night with all the people out with the hookahs and music spending their leisure time. The hookahs, lamps, bolster and carpet are the additional elements used in the space

Fig. 6.96a Spatial organization and components

Human response They prefer to sit in the open rather than the covered veranda. The form of the terrace allows courtiers and maharana to place themselves in such a way that they can see everyone from any position. At this occasion about 30 people occupy the space but it has place for more.

Fig. 6.96b People on terrace

6.4.5. Mor Chowk Mor chowk is separated from each of the flanking chambers by a small cloister. From the inner sides of the colonades of these cloisters, it is clear that their original design was thoroughly conservative, with temple columns and corbel capitals supporting lintels.

This redevelopment therefore represents an extension of the ceremonial, public region of the palace. Mor chowk was used for darbars. The courtyard terrace was used to host dinner banquets for the guests of the Royal family.

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A. Maharana Fateh Singh receives Prince Albert Victor in Durbar in Mor Chowk. Udaipur by Sivalal in 1890

Fig. 6.97 Maharana Fateh Singh receives Prince Albert Victor in Durbar in Mor Chowk. Udaipur by Sivalal in 1890

Function and mood The painting depicts Fateh Singh receiving Prince Albert Victor and his entourage in 1890 in the Mor Chowk, now gaudily redecorated with glass-in-lay work including the prominent peacocks in niches. The courtyard with its flowered and lozenged carpet, recedes in a perspective view. The Rana seated centrally, has the ancestral solar symbol of the Surya Mahal just behind him. Fork- bearded Mewar sardars holding swords and sober British officials with topees on their laps sit together on for the event.

Fig. 6.97a People on terrace

Spatial organization and components The painting emphasizes the cuboidal volume of the terrace formed as a result of surrounding high walls and spaces looking into it. The treatment of floor and walls distinguishes it from other terraces of the same palace, walls filled with murals floor surface covered with carpet entirely. It replaces an indoor darbar by just removing the ceiling plane. The terrace allows laying of chairs for a formal gathering whereas in other paintings people mostly prefer to sit on the floor.

Human response

Fig. 6.97a People on terrace

Just like other settings, Rana sits at the center with surya behind his head and the courtiers and guests forming a C- shaped sitting with all the vertical elements like row of columns and high jail parapets acting as back rest for about 70 people using the space.

The terrace serves as a space for formal meeting in this painting where Prince Albert and his ministers sit on one side and Rana’s courtiers on the other side.

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6.5 QUALITATIVE ASPECTS 6.5.1 Views Rajya angan and Mor Chowk are more contained, so do not give varied views to the surroundings whereas Badi Mahal, Badi Chhatrishali and Lakhu Gokhda give spectacular views of the city, lake and the Palace itself.

Fig. 6.98a View of the lake from a small arched opening towards west from Lakhu Gokhda

Fig. 6.98b View of the city and the tripolia gate from the opening of Badi Mahal towards north

Fig. 6.98d View of the lake from the other side of upper terrace, Badi Mahal Fig. 6.98c View of the city and the hills from the upper terrace of Badi Mahal

Fig. 6.98e The terrace itself becomes a view due to its landscaping from the colonade.

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Fig. 6.98f View of the lake and the palace from the western jharokhas of Badi Chhatrashali

Fig. 6.98g View of the city and the palace from the eastern pavilion of Badi Chhatrashali

Fig. 6.98h View of the city, the palace and hills from the eastern pavilion of Badi Chhatrashali

6.5.2 Safety And Security The palace was built at a height to protect it from the enemy attacks. All the chowks and courtyards occur as terraces with decreasing accessibility and increasing safety due to control of its use. All terraces are entered through narrow staircases hidden in wide walls.

6.5.3 Noise Control The palace is located at a height away from the streets and so remains away from the traffic noise and other disturbances from the market.

6.5.4 Territoriality Badi Mahal and Badi Chhatrishali were higgher terrace restricting the use by only family members and courtiers. It was used and decorated for special occasions and political meetings as it accommodated a large number of people and at the same time maintaining privacy.

The terraces of Rajya Angan and Mor Chowk were comparatively lower and so allowed more people, being used for administrative purposes, overlooked from other spaces.

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6.5.5 Image Maker The chhatris and Bangladar roof pavilions adorning the terraces of City Palace, Udaipur not only differentiates the palace from its surroundings but create its identity. This factor along with its location on height attributes to its visibility and identification from far.

Fig. 6.99 View of Palace from far

Classification of terraces Sr. Name of terrace No.

Classification of terrace on the basis of its form

Classification of terrace on the basis of its situation in building

Classification of terrace on the basis of its accessibility

Classification of terrace on the basis of its use

1

Rajya Aangan

Subtractive

Courtyard

Public

Multi-functional plane

2

Lakhu Gokhda

Subtractive

Interlocked space

Group

Multi-functional plane

3

Badi Mahal

Subtractive

Courtyard

Group

Amusement and ceremonies

4

Badi Chitrashali

Subtractive

Courtyard

Group

Amusement and ceremonies

5

Mor Chowk

Subtractive

Courtyard

Public

Administrative gatherings

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CHAPTER 7- CASE STUDY II-INDRAPRASTHA 8, FRANGIPANI

Indraprasth 8 Frangipani, built by Deep group builders and designed by Hiren Patel Architects, are luxurious residential apartments located in thaltej near surdhara circle in Ahmedabad. It consists of 2 storey club house and five blocks consisting of 3BHK, 4 BHK apartments and penthouses. It is surrounded by AUDA Sports complex and Tulip bungalows.

Frangipani is a tropical American tree or shrub with clusters of fragrant white, pink, or yellow flowers which are use in many perfumes due to there sweet smell.

According to the architect Hiren Patel , Indraprasth Frangipani is about involving oneself with the senses which make luxury. It is indeed a place to taste, smell, touch, see and feel luxury everywhere, just like living with ultra sophistication and pure refinement. Private veranda with planters will bestow a feeling of garden inside the house. When the nature blossoms around home, when the distance from your arm chair to your resort like private infinity Pool covered with Frangipani clusters, it is easy to forget that you are living in the center of bustling city.

SG HIGHWAY

A penthouse is usually a state of the art; humongous apartment based on the top floor of a residential building and possesses luxurious features and amenities which are not available in other variants of apartments.

A cutting edge penthouse makes a statement that you have finally arrived.

It is the topmost residence in a building generally occupying more than one floor. The term originally referred to a separate house that was constructed on the roof of the building. In addition to the features of other apartments it has private terrace and more built space and that is why considered luxurious. Just like bungalows have ground, penthouses have terraces as asset. This allows them to be in direct contact of nature and easy access to the open spaces fulfilling the social and psychological needs. Since it creates a change in a monotonous flat terrace it can define the skyline of a building and redefine a facade.

AUDA SPORTS COMPLEX TULIP BUNGALOWS

INDRAPRASTHA 8, FRANGIPANI

SURDHARA CIRCLE

Fig. 7.1 Location of Indraprastha 8, Frangipani

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Fig. 7.2 View of the society highlighting the E block

For the purpose of study E block terraces have been taken for simplicity. The block consists of 22 apartments, 2 on each floor. The uppermost two apartments have terraces and occupy two floors serving as penthouses.

So there are 7 terraces in a block , 6 of them working as private terraces of the two penthouses and 1 large common terrace for all the residents of the block.

The terrace 1 is placed next to the living area and accessible from dining on the lower floor of penthouse.

The terrace 2 is placed on the upper floor accessible from the bedroom. The terrace 3 is placed on the upper floor accessible from the TV room. There is a lift inside the penthouse for the elderly to reach the next floor.

The terrace 4 is a common terrace for the residents of all the apartments of the block accessed through the common staircase and lift.

Terrace 1

Terrace 2

Terrace 3

Terrace 4

Fig. 7.3 View of the terraces of a penthouse, E block, Indraprastha 8, Frangipani

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7.1 ENVIRONMENTAL ASPECTS

A. Topography The topography of the site has helped for the apartment to grow in a way it overviews the view of the city. The terrain is flat with low rise buildings and lots of green lands around it. The terraces of the building are placed at such a height to benefit the user through the views it offer.

The combination of the location and existing topography gives a great synthesis. The high building is visible from far and can be distinguished from its surrounding.

Fig. 7.4 Indraprastha 8, Frangipani and the existing topography

Fig. 7.5 View of Indraprastha 8, frangipani from far

B. Landscape The existing landscape and the landscaping of the society is considered while building the apartments.

All the terraces are placed at the edges and the closed spaces inside to give the terrace maximum experience of being outside. All the terraces are placed in such a way that they get the view of surrounding landscape or the landscaping in the society. The terraces thus provide the views of the AUDA sports complex , various bungalows and the city. Hence the location plays an important role.

C. Climate Ahmedabad has a hot and semi- arid climate with longer summer season from March to June and winter season from November to February, and monsoon from Mid june to Mid September.

The driest month is february with 0 mm of rain. Most of the precipitation here falls in July averaging 271 mm.

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May is the warmst month of the year. The temperature in May averages 33.4 oC. January is the coldest month with temperatures averaging 20.1 oC. There is a difference of 271 mm of precipitation between the driest and wettest months. Throughout the year temperatures vary by 13.3 0C In response to hot climate the architecture of the society has a lot of terraces to draw in light and air and provide with nearest open spaces recieving shade to perform various activities during winter days and summer evenings and nights. The high walls and adjacent semi open spaces and making less part of terrace completely exposed to sun satisfy climatic needs.The location of the terraces in the penthouse and the top near the lowrise built and open grounds gets in breeze even during the afternoons thus making it pleasant habitat.

7.2 SITUATION AND CONTEXT OF ALL TERRACES Plans Showing The Location Of Terraces

4

Fig. 7.6 Terrace floor plan

2

3

2

3

Fig. 7.7 12th floor plan

1

1

Fig. 7.8 11th floor plan

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Enlarged Plans Of The Penthouse

Fig. 7.9 12th floor plan

Fig. 7.10 11th floor plan

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Fig.7.11 Section BB through terrace 2 and terrace 3

Fig. 7.12 Section AA through terrace 1

Fig. 7.13 Section CC through terrace 1

Fig. 7.14 Section DD through terrace 3

Fig. 7.15 Section EE through terrace 2

The common terrace is visible in all the sections

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Fig. 7.16 Axonometric view highlighting terraces 2, 3 and the common terrace

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Fig. 7.17 Axonometric view highlighting terraces 1 and the common terrace

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7.3 SPATIAL ASPECTS

C. Movement

A. Organization

All the terraces have been placed separately according to the functional needs and to reach one terrace one has to pass through internal spaces depending on the accessibility.

It consists of open to sky terraces in the penthouse and a common terrace as the topmost plane of the building whose area gets reduced as the terraces start to happen below. Terrace 1 is a double volume terrace approached through a sliding door, with pergola on top centrally located on the lower floor of the penthouse completely open on one side. Terrace 2 is on the upper floor approached through a semi covered space completely open on two sides. Terrace 3 also on upper floor is approached through a fully open-able sliding door under a shaded space completely open on one side and connected to the terrace of adjacent apartment on one side. The common terrace is approached through the common staircase and is bounded by parapets on all sides.

DECREASING LEVELS

Fig. 7.18 Organization of spaces around terraces

Fig. 7.20 Movement towards terraces

B. Composition The form of the building is a result of subtraction of mass from a cuboid and gets functional levels. The voids formed become private open spaces.

2

3

3 1 4 2

1

Fig. 7.19 Axonometric View showing the terraces

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VERTICAL MOVEMENT

DIRECTION OF MOVEMENT

D. Enclosure Terrace 1 The terrace is enclosed on all its sides in some way.

Double height walls on three sides encloses it, one with full opening on the lower floor allowing its view from the terrace, one blank double volume wall and one with sliding door on lower floor to access the terrace and an overlooking window above it. Parapet of the upper terrace further increase the height of walls.

The fourth side is enclosed by a railing and framed column and beam allowing the user to view outside.

The flooring is garden with growing grass and the top is having a very thin pergola also supporting the glass.

The exposed columns and beams makes us realize the volume of space.

a b

c

d

Fig. 7.21 Structural elements (left) and Additional elements (right) constituting the terrace 1

Terrace 2 The top is partly covered by a thin pergola. The terrace is enclosed by a long wall on side also containing the door to the terrace.

On one side is the semi open space through which the terrace is approached after coming out from the inside. The semi open space has a window maintaining the elevation of building from outside and behaves as an extension of the room as well as the terrace. Other two sides have railings with the structure being continued to frame the views.

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h f

g

Fig. 7.22 Structural elements (left) and Additional elements (right) constituting the terrace 2

Terrace 3 The terrace is enclosed by a wall on one side with a small opening for ventilator.

On the shorter side is the wall with fully open-able sliding door through which the terrace is accessed with a small overhang above it.

One wall has a screen on the side of the wall to form an interactive surface with the neighbor of the adjacent terrace. One side has railing which is divided into three parts and at the end towards the door is a fixed glass between the floor and the overhang to restrict the sunlight.

j i

m n k

l

Fig. 7.23 Structural elements (left) and Additional elements (right) constituting the terrace 2

•Floor Modulation The flooring texture changes from inside to outside as one moves towards a terrace. The topmost common terrace is mosaic flooring requiring less maintenance whereas the terraces of penthouse are gardens having grass growing and plants and one having wooden textured tiles giving a smooth surface and edges of black granite.

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c

d

b

a

e

i

n

j

g

f

k l m

h

Fig. 7.24 Plan showing the common terrace and the terraces of the penthouse below

•Edge Elements The vertical elements on all sides vary in each terrace. So they have been classified to study the character and properties of each.

Edge a

Edge b

Edge c

Edge d

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Edge e

Edge g

Edge f

Edge h

Edge i

Edge k,l,m Fig. 7.25 Pictures showing edge elements of all terraces

200

Edge j

Edge n

Terrace

Classification of floor on the basis of material treatment

Classification of floor on the basis of form

Classification of floor on the basis of texture and pattern

Terrace 1

Natural The floor finish is grass becoming a terrace garden

Uniform The floor is not modulated but the plants cover parts of it breaking its homogeneity.

Rough The grass creates a rough texture which has a grip for human postures.

Terrace 1

Classification of edge element on the basis of material treatment Artificial The edge element is a plastered wall with glass openings.

Edge a

Edge b

Edge c

Edge d

Classification of edge on the basis of height

Classification of edge Classification of edge element on the basis element on the basis of of volumetric use mass and void

Extended The double height wall is an edge element forming the entrance to the terrace.

Recessed The columns and beams protrude from the wall or wall is set back giving it a three dimensional character though it does not become an element of utility.

Hollowed out The mass has been removed from the wall in the form of openings, a door entrance to the terrace and an overlooking window on the next floor. It interacts with the inside spaces through the openings Artificial Extended Recessed Composite The edge element The double height wall The structural frame The glass between is a plastered has a glass wall on the is visible as the wall the living area and wall with glass same floor and opaque setbacks on the upper the terrace becomes a opening. plastered wall above. floor. transparent partition The wall separates and with the solid wall connects the living area above. The structural from the terrace due to frame continues the presence of glass. around the glass opening.

Composite Below eye level Extended Framed The edge is a metal The edge element is a The volume of built The railing has railing letting the framed metal railing edge element is not horizontal and vertical user to view the protecting the user important here but members with space in surroundings. and at the same time the plants becoming between to give view of The plants extend providing view above another zone after it the outside from far off the edge and through it. extend it. the edge.

Artificial Extended Recessed Solid The edge element The double height wall The structural frame The edge element here is a plastered wall. secludes the space being is visible as the wall is a solid wall which opaque and acts as an setbacks on both separates it from edge element. floors. surrounding spaces and makes it another space.

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Terrace

Classification of floor on the basis of material treatment

Terrace 2

Artificial Uniform The laminated wooden The floor is not flooring becomes the base modulated. of terrace

Terrace 2

Classification of edge element on the basis of material treatment Artificial The edge element is a plastered wall with door as entrance.

Edge e

Edge f

Edge g

Edge h

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Classification of floor on the basis of form

Classification of edge on the basis of height

Composite The height of the wall is extended with the parapet of upper terrace initially and then drops to the ceiling height of the same floor.

Artificial Above eye level The edge The semi open space element has a wall at the other is a semi side and connected to open space a terrace through an connecting imaginary plane formed the inside by the ceiling of semi with terrace. open space and the two side wall.

Artificial Below and Above eye The edge level is a metal The edge element is a and glass framed metal railing railing letting protecting the user the user to and at the same time view the providing view above surroundings. and through it. The The structural column and the beam beam defines take space before the the space. sky becomes visible. The two become different enclosures.

Artificial Below and Above eye The edge level element is The railing protects the a metal and user and provides view glass railing. through it and the space The structural between the railing beam defines and the beam is also the space. framed to give views.

Both elements become important differently.

Classification of floor on the basis of texture and pattern Smooth The floor is finished with smooth laminated finish.

Classification of edge Classification of edge element on the basis element on the basis of of volumetric use mass and void

Recessed Solid The structural frame The wall is solid and opaque is visible as the wall secluding the space. setbacks. The recess is used to hang things.

Extended The edge element being a semi open space can be seen as an extension of the terrace.

Hollow There is nothing between the semi open space and the terrace making them a single space and having a single edge which is the wall at the other end of the semi open space.

Widened The railing does not occupy a visible volume but the beam and column occupy space extending terrace outside.

Framed The railing has horizontal and vertical members with space in between to give view of the outside from far off the edge and glass on the frames does not stop the view but becomes a transparent barrier. On the top and sides is the structural frame, framing the views.

Widened The railing does not occupy a visible volume but the beam and column occupy space extending terrace outside.

Framed The lower edge element i.e. the railing is framed in itself and the railing with the column beam structure becomes another frame opening to views.

Terrace

Classification of floor on the basis of material treatment

Classification of floor on the basis of form

Classification of floor on the basis of texture and pattern

Terrace 3

Natural The floor finish is grass becoming a terrace garden

Uniform The floor is not modulated but the plants cover parts of it breaking its homogeneity.

Rough The grass creates a rough texture which has a grip for human postures.

Terrace 3

Classification of edge element on the basis of material treatment Artificial The edge element is a plastered wall with a ventilator opening of the bathroom.

Artificial The edge element is a wall with a big glass sliding door.

Classification of edge on the basis of height

Classification of edge Classification of edge element on the basis of element on the basis of volumetric use mass and void

Extended The height of the wall is extended with the parapet of upper terrace.

The wall allows the user on common terrace to view a personal terrace of penthouse.

Extended The wall with the glass opening becomes an entrance to the space.

The overhang gives shade below and extend the edge above which then become parapet of upper terrace.

Widened The bathroom wall coming out of the edge increase it volume and create a recess of the wall becoming non linear.

Solid The wall is solid and opaque secluding the space. The users can not see beyond the edge.

Hollowed out The big opening for the door is a result of removing the mass from the space allowing insideoutside interaction.

Edge k, m

Composite A glass and metal railing is the edge element. The plants extend the

Below eye level The edge element is a framed metal railing protecting the user and at the same time providing view above and through it.

Extended The edge element makes the space shaded through the overhang, can be seen as an extension of the terrace. It prevents direct view inside the house from the common terrace above.

Extended The volume of the edge element is not important here but the row of plants create another zone before one reaches near the parapet.

Edge l

Artificial The edge element is a solid plastered parapet.

Below eye level The parapet with stone coping protects the user and provides view above it. It connects the two metal glass railings.

The volume of the parapet does not become important here.

Edge n

Artificial The edge element is a solid plastered wall with a screen.

Above eye level The solid wall with the screen allows to interact with the neighbor and also acts as an enclosing element.

The volume of the parapet does not become important here.

Edge i

Edge j

Framed The railing has horizontal and vertical members with space in between to give view of the outside from far off the edge and glass on the frames does not stop the view but becomes a transparent barrier.

Solid The parapet is an opaque element of short length.

It makes the terrace comfortable by being a solid element in between.

Composite The porous screen allows the user to interact with neighbor and the solid wall separates the neighboring terraces.

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•Shelter Elements The size of terraces is quite small to accommodate shelter elements. The space is mostly shaded due to high walls or the semi open space through which it is entered.

Terrace 2 has a semi open space with windows opening into it and allowing the view of outside. It connects the inside and the terrace as the door opens to it and becomes a part of transition of space from inside to outside. (Fig. 7.26)

Fig. 7.26 Semi open space, Terrace 2

Terrace 3 has an overhang after the sliding glass door connecting inside to terrace. It provides little shade at the entrance but it is not enough to be called as a shelter element. (Fig. 7.27)

Fig. 7.27 Overhang, Terrace 3

E. Landscape Elements The two terraces of penthouse are terrace gardens with grass and a lot of plants and even the third one has plants placed at raised level on the corner. They make the terrace a pleasant space and connected to nature. The quality of space is enhanced with the appropriate placement of plants and grass.

Fig. 7.28 Terrace 1, 2 and 3 (from left)

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F. Scale And Proportion Terrace 1 is a double volume terrace overlooked by the upper floor of the penthouse.

Terrace 2 and Terrace 3 are single volume terrace which can be overlooked from the terrace above.

The terraces with the human figures show that only a few people can be accommodated as per the requirement of a house. Terrace 4 is a big common terrace where a larger group can come together to perform activities.

Volumes of small terraces of penthouses are defined by the continuity of the structure itself whereas the common terrace has parapets defining the boundary.

Fig. 7.29 Section showing terraces 2 and 3

Fig. 7.30 Section showing terrace 1

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7.4 NOTIONAL AND FUNCTIONAL ASPECTS The basic function of the terraces inside the penthouse is to sit, relax, interact, etc.

(The sketches have been produced from the description of user and observations.)

7.4.1 Terrace 1 Terrace 1 is used to sit in afternoons and evenings as it provides peasant environment being shaded throughout the day. It allows the user to satisfy the need of adding an element of decoration on the wall and place comfortable sofas receiving shade on the terrace.

The use of terrace changes at the time of an event and on regular days as shown in ( Fig. 7.32 and Fig. 7.33).

Fig. 7.31 Additional elements on the terrace

Fig. 7.32 Guests and owners sitting in evening

Fig. 7.33 Decoration using artificial lights on walls and lamps on railing during owner’s daughter’s wedding

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7.4.2 Terrace 2 Terrace 2 is used to sit after dinner to enjoy the breeze in summer nights. The semi open space adjacent to it has a book rack and the terrace is also used to read.

(Fig. 7.35) The swing seat hanged becomes a permanent furniture in the space. The blank wall is used to hang works of art and electrical fixtures for comfort. (Fig. 7.34a and Fig. 7.35b).

On the occasion of marriage of owner’s daughter, the beams were used to hang artificial lights and all the terraces extended living spaces to accommodate the guests. (Fig. 7.36) Fig. 7.34a Additional elements

Fig. 7.35 A girl siting on the jhula and reading.

Fig. 7.36 Terrace decorated with lights on occasion of marriage

Fig. 7.34b Additional elements

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7.4.3 Terrace 3 Terrace 3 is used as a pleasure garden outside the bedroom and also connects to the adjacent terrace of the other house and helps to interact with neighbors.

(Fig. 7.37a and Fig. 7.38) During the occasion of owner’s daughter’s marriage the common wall was changed to partition wall with inclination on one side, and the rest covered with idols and images of gods and goddesses so that the space could be utilized to pray. (Fig. 7.39) Fig. 7.37a A porous edge element becoming a medium of interaction

Fig. 7.37b Additional elements

Fig. 7.38 Interacting with neighbor and enjoying views

Fig. 7.39 Converting terrace to place of worship

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7.4.4 Terrace 4 The common terrace is used to gather on festivals such as Uttarayan, Sharad Poonam and to dry blankets or pickle, etc by the families of all the apartments of the block. It is also used as a storage space for HVAC ducts, dish antennas and water tank permanently. (Fig. 7.40a and Fig. 7.40b)

Fig. 7.40a Common terrace as storage space

Fig. 7.40b Common terrace as storage space

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7.5. QUALITATIVE ASPECTS 7.5.1 Views

Fig. 7.41 View of the auda sport complex and surrounding bungalows and apartments from terrace 1

Fig. 7.42 View of the other apartments of the society from terrace 2

Fig. 7.43 View of the next apartment and the far off bungalows of the city from terrace 3

Fig. 7.44 View of the society from the common terrace

Fig. 7.45 View of the surroundings towards south west from common terrace

Fig. 7.46 View of the surroundings towards north west from common terrace

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All the terraces provide varied views of the surroundings.

Being at a height is an advantage to these terraces with no building of similar height at near distance. View of the city is possible from these terraces due to existing majority of low rise houses and only a few high rise apartments. All the terraces of the penthouse can be overlooked by the upper common terrace but the high parapet of the upper terrace does not encourage the same. Terrace 1 of the penthouse is overlooked by the windows of the 12th floor ( second floor of the same apartment) and the window of the drawing room.

Moreover views from all the terraces are framed by the beams and columns .

7.5.4 Territoriality The topmost terrace becomes a space for communal activities, as it is accessible by all.

The terrace 1 being on the first floor of the terrace is accessible by all family members and guests while the other 2 terraces become private for their use is restricted to family members due to its location.

7.5.2 Safety And Security The character of terrace on 11th and 12th floor itself makes it secured. The parapets of appropriate height ensure the safety of person using it. The accessibility to the terraces is easy to the lower terrace of penthouse and hence maintains the privacy of upper terraces of the same apartment. Location of terrace near bedroom make it more personal and near living room make it welcoming for the guests.

The security of the common terrace is ensured by the high parapets and lockable doors.

7.5.3 Noise Control The location of the society itself reduces the noise from the traffic and hence all terraces have been provided by peaceful environment.

Fig. 7.47 Traffic map showing fast traffic or less noise around it.

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Classification of terraces Sr. Name of terrace No.

Classification of terrace on the basis of its form

Classification of terrace on the basis of its situation in building

Classification of terrace on the basis of its accessibility

Classification of terrace on the basis of its use

1

Terrace 1

Subtractive

Interlocked space

Private

Cultivation, Multifunctional plane

2

Terrace 2

Subtractive

Extension

Private

Multi-functional plane

3

Terrace 3

Subtractive

Adjacent spaces

Private

Cultivation, Multifunctional plane

4

Terrace 4

Planar

Topmost plane

Public

Multi-functional plane ( Includes storage, drying and ceremonies)

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213

CHAPTER 8- CASE STUDY III- AGASHIYE (THE HOUSE OF MG AND CG)

The building is located opposite Sidi Saiyad Mosque in Lal Darwaza area in the walled city of Ahmedabad. The house is a part of bigger complex which sits on the axis of Nehru Bridge. It is in close proximity to the Bhadra Fort and teen darwaza. The location itself introduces the new city to the old city and the heritage of the city.

Agashiye is a Gujarati word meaning terrace. It is the terrace restaurant, part of House of MG, a heritage hotel serving tradition Gujarati food. It consists of covered and completely open spaces for dining on the terrace. The terrace splits itself into many parts and levels to accommodate various functions and varying accessibility.

History In 1920’s, the building consisted of house of MG, house of CG and office and bank owned by the family. All three of them were interconnected. House of MG and house of CG stand for houses of Mangaldas Girdhardas and Chimanlal Girdhardas.

Till 1940’s the house was used as a residence but after

NEHRU BRIDGE

SABARMATI RIVER

Fig. 8.1 Location of Agashiye

214

the family expanded they shifted to other side and the complex stayed empty.

Between 1960 an 1995, through the years the complex was divided into pieces and shares were sold to the different people using it for different functions like boutique, private offices, government offices, doctor’s clinic and bank, etc. During this time the condition got dilapidated.

Abhay Mangaldas, great grandson of Sheth Mangaldas Girdhardas was a major share holder having two rooms on ground floor, entire second floor and the terrace under his possession. In 1996, he started a traditional Gujarati terrace restaurant called ‘Agashiye’. During this time he bought other shares and started a hotel called House of MG. By 2006, parts of house of CG were also bought and the hotel expanded. The terrace for both the houses combined to form a terrace restaurant.

The terrace was hardly used before adaptive reuse and

SIDI SAYED MOSQUE

HOUSE OF MG

sign boards were installed. Later, this part got converted to terrace restaurant with small kitchen and room for indoor dining. The tent erected in front is used to sit but reduces the area of terrace.

Before

After

Fig. 8.2 Plan of Agashiye, before and after adaptive reuse

215

Fig. 8.3 Terrace plan, Agashiye

216

Fig. 8.4 Section AA

Fig. 8.5 Section BB

217

1 Waiting area

2 Area between waiting area and closed dining

3 Main dining terrace

Fig. 8.6 Axonometric view of Agashiye

218

4 extended dining

5 After dining and relaxing space

6 vegetation

7 overlooking terrace with solar water heaters

8 paved terrace with plants

9 terrace garden

10 extended terrace garden

11shore gravel terrace with water feature

12 terrace garden

219

13 terrace gardens connected to hotel rooms Fig. 8.7 Images showing each space in Agashiye

Fig. 8.8 Axonometric view of Agashiye with additional elements

220

14 terrace gardens connected to hotel rooms

8.1 ENVIRONMENTAL ASPECTS 8.1.1 Topography The topography of the site has helped for the terrace restaurant to be an easily approachable one. Separating the old city from the new is reached through Nehru bridge and is opposite to Sidi Saiyad mosque The terrain is flat with low rise buildings all around .The character of the terrace changes as one moves from the roadside to inside. of the building are placed at such a height to benefit the user through the views it offer.

The combination of the location and existing topography gives a great synthesis. The direct approach makes it visible from far and being a traditional haveli, can be distinguished from its surrounding

Fig. 8.9 View of Agashiye from far

Fig. 8.10 Agashiye and the existing topography

8.1.2 Landscape The existing landscape around the restaurant makes it and the landscaping of the society is considered while building the apartments.

The terrace has the view of surrounding landscape from all sides. and the existing trees on the site occupy viewer’s attention when seen from eye level.

8.1.3 Climate

( Refer page 190)

221

8.2 SPATIAL ASPECTS A. Organization The roof of house of MG and house of CG consist of pitched roof and terraces. This consists of combination of open terraces with built spaces in between. The terraces built are at different levels connected to each other through steps or staircase or to a covered space through which another terrace is accessed. The transition to closed space from a terrace happens through a semi open space. Variations in parapet design

Fig. 8.11 Organization of spaces in Agashiye

222

and height encloses terrace. Each terrace is complete in itself but suggests continuation through paths or levels.

B. Composition

C. Movement

The form of the terrace can be seen as a plane splitted into parts or various planes coming together getting connecting through other planes and some closed and semi open spaces popping out to break the monotony of the space. Since the terrace is of the haveli, there have been many modifications on it and the difference between the original and additions can be seen clearly.

This has led to a kind of randomness in the form but it continues to be used for the quality of spaces it achieves.

The presence of built space define the movement of the space. The level of terraces continuously decreases from the level of terrace at the entrance descended through the steps.

Different staircases and lifts connect the terrace to the lower floors as required. Movement around a terrace can happen through a semi open space or the terrace on other levels.

DECREASING LEVELS MOVEMENT AROUND TERRACE VERTICAL MOVEMENT DIRECTION OF MOVEMENT

Fig. 8.12 Movement in Agashiye

223

D. Enclosure Most of the parts of the terrace are complete in themselves bounded by changing parapets, walls of closed spaces or a colonnade and are connected to other spaces through paths that are also open to sky.

The approach to the entire terrace is a path from the entrance till the end with spaces in between varying in proportion based on the functional needs.

The waiting area is enclosed by the sliding door facade of the closed sitting area , parapets on two sides, a corner water feature at the entrance, storage under the pitched roof and extended till the staircase on one side.

(Fig. 6.160) The main dining space is enclosed by varying parapets

Fig. 8.13 Entrance space, Agashiye

Fig. 8.14 Main Dining space, Agashiye

224

on two sides, walls of closed dining on one side and the kitchen and small closed dining on other side and three paths through the terrace connecting to other terraces. ( Fig. 6.161) The next part of terrace is enclosed by storage space on one side, parapets on two sides and a colonnade of dining space on one side, extended path to connect to main dining terrace.( Fig. 6.162) The terrace gardens are split into various levels enclosed by walls parapet and extended through steps or staircase. The corner most terrace is enclosed only by parapets and the density of built mass increases towards inside. (Fig. 6.163)

Fig. 8.15 After Dining/ relaxing space, Agashiye

Fig. 8.16 Terrace gardens, Agashiye

225

Surroundings The surrounding buildings of moderate height also act as an enclosure to the terrace.

Fig. 8.17 Agashiye and its surrounding context

226

•Floor Modulation The terrace can be seen as a big terraces splitted into levels and differentiated through the textures and patterns.

The diagram shows the level changes, varying textures of grass, mosaic work, tiles, shore gravel flooring, etc.

Many terraces with mosaic work or the tiling pattern are bordered by different kind of pattern of mosaic or tiles demarcating boundary of the space.

throughout adds to the quality of space and give each part its own identity.

The mosaic work of the main dining extends above the parapet giving a curved joint between the two plans and not a right angle. It appears to start from the edges and vanishes towards the center giving an introvert space.

The terrace garden is not restricted to grass but has brick paving near the edges similar to normal gardens.

The variation in the flooring pattern and texture m’ m’ m’

12 p’ n’

11 q’

o’ 10

l’ r’

k’

j’ i’ 9

h’

u’ g’

d’ b’

8

13 x’ s’ w’14

f’

c’

t’

v’

e’ n

a’ 6 y

z

p

m

3 q t

x

o

u w

4

5

l

r

k j

v

s

2

h

d e

i

a

b f

1

c

g Fig. 8.18 Floor modulation throughout terrace

227

•Edge Elements The design and height of edge elements change continuously suggesting the quality of space depending on the function. The change in material and design also show what was before and after design intervention.

The old parapets are solid with voids to reduce the mass and the new are the steel railings and at places fences are added to increase the security. The height changes in order to maintain the facade elevation and giving variations in space.

High parapets or walls with low parapets and fence in between and continued low height of parapet enclose the main dining terrace. ( Fig. 6.165)

Fig. 8.19 Enclosing edge of the dining space, Agashiye

Fig. 8.20 Enclosing edge of the terrace gardens, Agashiye

Fig. 8.21 Enclosing edge of the after dining/ relaxing space, Agashiye

228

Massive and light parapets enclose terrace gardens showing attempts of design at different times. (Fig. 6.166) The columns act as the immediate layer of enclosure befor the wall on side of a terrace. It becomes a backdrop for the terrace enclosing it. The semi open space around the terrace is the colonnade allowing the user to be inside at the closest distance to the terrace. The terrace used to sit after dining or as a pleasure space is enclosed by the columns and parapets and the staircase to upper terrace. (Fig. 6.167)

Terrace

Classification of floor on the basis of material treatment

Classification of floor on the basis of form

Floor 1,2

Artificial Finished with tiles and bordered with different tiles and mosaic.

Stepped The level of floor 2 and is lower than floor 1 linked to it through a canopy and a few steps.

Floor 3

Artificial The mosaic pattern covers the terrace.

Floor 4

Artificial The mosaic with border pattern covers the floor.

Floor 5

Composite The mosaic pattern of the previous flooring continues and then is the flooring of natural stones.

Floor 6

Natural The grass covers the terrace.

Uniform This part of terrace is flat but has its own texture.

Rough Due to its natural flooring it is rough in appearance.

Floor 7

Artificial The mosaic pattern covers the terrace.

Uniform This part of terrace is flat but has its own texture.

Rough Due to mosaic finish the terrace flooring appears rough in finish.

Floor 8

Artificial Uniform The tiles in a grid cover This part of terrace is flat but the floor. has its own pattern.

Floor 9, 10, 11, 12

Natural Grass and natural stone are the major materials covering floor in this area.

Stepped Floor 9, 10 and 11 are linked with steps , further getting connected to floor 13 via staircase.

Floor 13

Natural The major material is grass with bricks in between defining walkway.

Uniform The floor is connected to another floors through terraces but itself is not modulate.

Composite The grass and brick in between make it appear rough in appearance.

The brick path suggest walking through it being communicative.

Floor 14

Composite The vegetation in the center and the paving around cover the floor.

Uniform The modulation in the floor is through texture which changes from natural to artificial

Composite The flooring of paver blocks around vegetation suggests movement around it.

229

Classification of floor on the basis of texture and pattern

Composite The border around the terrace defines its shape and space it occupies. The distance between the opposite border suggests the proportion of the space which becomes narrow in floor 2.

Uniform Organic This part of terrace is flat but The texture is because of the mosaic has its own texture and pattern which looks rough. The change to make it a different space. of color from blue to white, from outside to inside, and the spiral pattern is evident giving importance to the space.

Uniform Composite This part of terrace is flat but The border around the terrace has its own texture and pattern defines its shape and space it to make it a different space. occupies. The different texture from adjacent terrace suggests a different space.

Uniform Composite There is no modulation in The continued flooring pattern form but a separate space is shows continuation of space in a formed with natural flooring. terrace. The change in pattern shows change in space. There is a threshold and a border in between and not a sudden change.

Geometric The flooring is composed of tiles in a grid reached after coming down a few steps.

Rough As major flooring is grass and a floor covered with natural stone, the floor is rough in finish.

229

Edge elements on the entire terrace

Edge a

Edge d

Edge c

Edge b

Edge d and e

Edge f

Edge g

Edge h

Edge i

230

Edge j

Edge k

Edge l, m

Edge p

Edge n

Edge q

Edge r

Edge o

Edge s

Edge u

231

Edge t

Edge v

Edge w

Edge x

Edge y, z, a’

Edge f ’

232

Edge b’, c’, d’

Edge g’, i’, j’

Edge e’

Edge h’

Edge m’

Edge p’ , l’

Edge r’

Edge t’

Edge n’

Edge k’

Edge q’

Edge s’

Edge v’

Edge x’

Edge w’

Edge u’

233

Agashiye

Edge a

Classification of edge element on the basis of material treatment Artificial The edge element is the semi open space providing entrance to the terrace.

Composite The edge element is a low parapet wall with a fence above. The next layer is of bougainvillea

Classification of edge on the basis of height

Classification of edge Classification of edge element on the basis of element on the basis of volumetric use mass and void

Above eye level The edge element is a semi open space with staircase connecting to ground.

Extended The space enclosing the terrace is a transition element between the circulation and the outside.

The imaginary plane lying between the two walls and the ceiling encloses the space.

Composite The actual height of parapet is below eye level which is then extended with fence and at the corner is a solid element of an intermediate height. The branches of Bougainvillea also come inside above the fence.

Artificial Above eye level The edge is solid The height of the wall plastered wall. changes because of the sloping roof over it. It encloses the space an separates terrace from the other side Composite Below eye level The fountain The solid parapet changing and the plants its direction forms the built along with the edge. The plants become built form the another layer occupying edge corner.

Extended The immediate edge is the built parapet extended with fence. It is extended with the foliage of Bougainvillea.

Edge f

Artificial The edge element is the side of the canopy which is made of metal frame and glass.

Above eye level The sliding doors of the canopy become the edge element of the terrace creating connection between the two

The volume of the edge element does not become important here.

Framed The glass between the metal frame is translucent which does not allow the view to the canopy completely.

The sliding helps to open the space as and when required.

Edge g

Composite The built parapet is extended with fence. The second layer is of tree foliage.

Above eye level The parapet is hollowed out and balusters occupy the space. The opaque part rise high at the center and the foliage of trees growing below forms another element of enclosure

Extended The edge element becomes extended due to the presence of foliage of trees after the built parapet.

Composite The edge is a mix of various elements built or natural, varying in height, texture, volume and porosity.

Edge b, c

Edge d

Edge e

234

Composite The parapet below is hollowed out and is extended with the fence. The next layer of enclosure is Bougainvillea coming from ground acting as a buffer.

Solid The wall has a door opening to the storage inside, but as it remains closed, it can be considered as a solid element.

Extended Composite The volume of the edge The edge is a mix of is formed by natural various elements built elements the fountain, or natural, varying in plants and built height, texture, volume parapet. The mural of and porosity.

Ganesha makes further enhances the quality.

The volume of the edge element is not important here.

Agashiye

Edge h

Edge i

Classification of edge element on the basis of material treatment Composite The edge element is a wood and colored glass facade with an opening and extended with big and small plants Artificial The edge element is the side of the canopy which is made of metal frame and glass extended with steps.

Classification of edge on the basis of height

Classification of edge element on the basis of volumetric use

Classification of edge element on the basis of mass and void

Above eye level The edge element is a partition wall separating the terrace and the staircase. The plants allow to see the wall but the wall does not allow to see beyond.

Extended The built element is extended with many big and small plants transforming the built edge and shape of the terrace.

Above eye level The sliding doors of the canopy become the edge element of the terrace along with steps creating connection between the two spaces .

Extended The edge can be seen as a combination of sliding doors of canopy and the steps in front increasing the volume of the edge.

Composite The partition wall has colored glass but can be considered solid as it does not have transparency. The porosity between the plants allow view of the built edge.

Composite The glass between the metal frame is translucent which does not allow the view to the canopy completely.

The sliding helps to open the space as and when required. The steps in front are solid which occupy bottom of the edge.

Composite The parapet is solid below but becomes hollowed out above and remains completely solid where height increases.

Hollowed out The edge element has carved out openings though filled with glass but allows visual connection but is an environmental barrier.

Edge j

Artificial The edge is solid parapet with an opening above filled with balusters.

Above eye level The height of the parapet changes at certain places like at corners and in between.

The volume of the edge element is not important here.

Edge k

Artificial The edge is a wall of the closed dining space with glass in door and windows.

Above eye level The wall is high but transparency of glass in windows and door allow to view inside on standing close to it.

The volume of the edge element is not important here.

Edge l

Artificial The edge is formed by a wall of closed dining, semi open kitchen and the passage in between

Above eye level The height remains above eye level though the character of the element changes being hollowed at the kitchen to the closed dining with variations in the extent of visibility through it.

Extended The volume of the edge is extended with the passage in between the two. It allows to see the extent of the terrace by displaying the length of the passage.

Composite The edge is composed of different elements including hollowed out facade of kitchen and closed dining space and the gap between them

Edge m

Artificial The edge element is a parapet with fence above it..

Below eye level The parapet is extended with fence above giving protection to the user an the same time complete views of surroundings.

The volume of the edge element does not become important here.

Composite The parapet below is a hollowed out form with a wire mesh fence above giving additional protection to the user.

235

Agashiye

Edge n

Edge o

Classification of edge element on the basis of material treatment Artificial The edge element is a parapet becoming a bench and a wire mesh fence above throughout.

Classification of edge on the basis of height

Extended The parapet is extended with fence above giving protection to the user an the same time complete views of surroundings. It can be considered below eye level based on the visibility it allows.

Artificial Composite The edge element The edge element is the parapet becomes high and low varying in giving enclosure and at height, porosity the same time allowing and changing the view of the road. direction.

Classification of edge element on the basis of volumetric use

Classification of edge element on the basis of mass and void

The volume of the edge element is not important here.

Composite The edge is a combination of hollowed out parapet a solid bench with mosaic finish and wire mesh fence above.

Recessed The edge element can be seen as a recessed one as by going in and out it creates recess which broadens and narrow down the space.

Extended The edge element is extended with a lot of plants breaking the geometry of the terrace.

Composite The edge element is solid at the ends. The central part is a parapet having opening near its upper edge filled with balusters and fence above.

Composite The edge element is a combination of wooden columns, a solid wall, a partition wall with colored glass. The plants extend the edge.

Artificial The edge is a wall of the closed dining space with colored glass in between and an overhang.

Above eye level The height of the edge element remains above eye level separating the terrace from its surrounding.

Extended The wall is extended with the parapet of the terrace above and the picture of Ranchhodlal Chhotalal and Mangaldas.

Widened The edge element is widened with the wooden overhang projecting out.

Edge r, s

Artificial The edge is formed by a parapet with a metal handrail above it.

Below eye level The height of the parapet is slightly extended using a thin metal handrail supported on the parapet below which does not disturb the view and gives a hold to the user.

The volume of the edge element does not become important here.

Edge t, u

Artificial The edge element is a row of columns and a parapet.

Composite The columns allow to see the wall with openings and path going to other part of terrace through it.

The parapet allows to view surroundings

Extended The edge element is extended with the semi open space between wall of closed dining and the row of columns.

Edge p

Edge q

236

Composite The edge element is a combination of wooden columns introducing to next space, a solid wall and a partition wall with colored glass and plants being porous, showing the next layer of edge.

Composite The edge has various elements including colored glass between the wall and the hollowed out parapet of the terrace above varying the porosity.

Composite The edge element is a hollowed out parapet below with a handrail consisting of continuous horizontal pipe with vertical supports becoming a frame.

Composite The parapet below is a hollowed out form and columns and roof form horizontal and vertical frame to see space at the back.

Agashiye

Classification of edge element on the basis of material treatment Composite The edge is formed by a parapet with a metal handrail above it. A row of plants extend it.

Classification of edge on the basis of height

Below eye level The height of the parapet is slightly extended using a thin metal handrail supported on the parapet below which does not disturb the view and gives a hold to the user.

The plants partly hide the parapet.

Edge w Artificial Above eye level The edge element Above the wall is a cutout is a wall with of two persons sitting, a big door in depicting sitting space and the center and along with graphic on wall a cutout of two becomes an element of persons sitting on display. top of wall.

Edge x Composite Above eye level The edge is The height of the parapet formed by a is slightly extended using parapet with a a thin metal handrail metal handrail supported on the parapet above it. Big below. The plants and plants and bushes bushes form the next extend after layer visible above parapet parapet. hiding the view at the back.

Edge y, z, b’ Artificial Below eye level The edge is The height of the parapet is formed by an low to see the view beyond opaque parapet. but is interrupted by the Big plants and plants of the other part. bushes are seen beyond.

Edge v

Classification of edge element on the basis of volumetric use

Classification of edge element on the basis of mass and void

Widened The parapet is widened with plants occupying uniform area along the parapet increasing the distance of user from the edge of terrace.

Composite The edge element is a hollowed out parapet below with a handrail becoming a frame. The layer of plants in front are porous hiding the parapet partly.

Extended The door opens into a storage space which when closed becomes a planar element.

Solid Though the door is a result of hollowing the wall out but it remains closed, hence it can be seen as an opaque segregating element.

Extended The edge element is parapet extended with a lot of plants and bushes occupying volume and greening the space.

Composite The edge element is a combination of a built hollowed out parapet with plants and bushes acting as next porous surface.

The volume of the edge element does not become important here.

Solid The edge is a solid parapet allowing to view the surroundings from above it.

Edge a’

Artificial The edge is nothing but air conditioning ducts kept in a line in certain part.

Below eye level The ducts only occupy a small volume, so do not define the entire edge and the edge is free to views of the courtyard below and surrounding parts of terrace.

They occupy certain volume in the space in a part of terrace affecting the spatial quality

Composite The edge element nothing but a storage of objects on one side and the left is open to corrugated sheet extending the floor surface.

Edge c ’

Composite The edge element is a row of plants on a slightly raised edge with the sloping roof side at back.

Suggestive element The row of plants act as a suggestive element to the terrace introducing user to look into the courtyard below through net.

The volume of the edge element does not become important here.

Composite The row of plants is a porous edge which converts to a triangular solid wall under adjacent roof.

237

Agashiye

Classification of edge element on the basis of material treatment Artificial The edge element is a high parapet and the edge of adjacent closed space wit sloping roof.

Classification of edge on the basis of height

Classification of edge element on the basis of volumetric use

At eye level The level of edge element is till the eye level but allows transparency through it.

Near its end the wall and the sloping roof become the edge segregating it from views in that part.

Above eye level The semi open space with wall containing a door and a roof above is the edge element along with a covered passage on its side.

Widened The edge element is widened with the protruded lower part of it giving space to put small pots of plants.

Edge h’

Composite The edge element is a triangular shaped edge supporting the roof of the adjacent space with row of plants in front.

Composite The height of the edge element becomes maximum at the center and minimum at the ends. The plants are low to make part of the edge element visible.

Widened The row of plants increase the volume of the edge element.

Edge k’

Artificial The edge element is a parapet of short length.

Composite The edge element is a parapet which is along the steps and the floor accommodating the heights of the connecting lower and higher parapets.

The volume of the edge element does not become important here.

Edge d’

Edge e’

Edge f ’

Edge g’, i’, j’

238

Classification of edge element on the basis of mass and void

Composite The parapet is solid from below which is hollowed out on the upper half allowing the user to see through and at the end becomes solid triangular surface.

Artificial Extended Hollowed out The edge element The edge element is a The edge element allows is a semi open space in itself acting interaction between the space showing as a shaded space closed space and terrace wall at the back around terrace. It through the medium of and roof on top. opens to terrace and door. allows interaction between closed and open Artificial Composite The volume of Composite The edge element The part with railing allows the edge element The edge element is is a railing with the user to overlook the does not become a combination of a the built wall terrace below and the part important here. framed railing with having small with built wall and roof wooden handrail and openings and roof obstructs view but allows wall hollowed out above inside outside connection. for window allowing interaction between two spaces.

Artificial Below eye level The volume of Hollowed out The edge is The height of the parapet is the edge element The edge is a parapet parapet bordering low to see the view beyond does not become hollowed out to see the terrace from above it. important here. through on bending.

It offers transparency as compared to solid parapet.

Composite The built edge element is a solid wall whereas the row of plants in from are porous to make the built edge visible and at the same time breaks the continuity of floor and wall.

Hollowed out The edge is a parapet hollowed out in the form of oval openings occurring in the middle of its length being opaque at ends.

Agashiye

Edge p’, q’, l’, m’

Classification of edge element on the basis of material treatment Artificial The edge element is a metal railing.

Classification of edge on the basis of height

Classification of edge element on the basis of volumetric use

Classification of edge element on the basis of mass and void

Below eye level The level of edge element is below eye level. It allows to interact with surroundings above and through it.

The volume of the edge element does not become important here.

Framed The metal railing is composed of horizontal and vertical members allowing the users to view through them from far allowing transparency.

Composite The built edge element can be seen as a solid opaque element but the foliage is porous edge allowing the breeze to flow.

Composite The edge element is solid from below and becomes porous due to plants growing and has a wire mesh fence at the back offering another transparent layer of enclosure.

Hollowed out The edge is a parapet hollowed out to see through on bending.

It offers transparency as compared to solid parapet. The wall is again a hollowed out element with a door opening.

Composite The edge element is a hollowed out wall with opening for door on the same floor but on the upper floor is the railing and the colored glass between the wooden frame that makes the edge important.

Hollowed out The edge is a parapet hollowed out in the form of oval openings near the upper end and on the same floor has openings making the edge an interactive surface.

Composite The edge element is a metal railing covered with jute fabric. It is further enclosed with foliage of tree.

Composite The edge element in itself becomes a space to grow plants.

Extended The built edge element is a railing but the edge becomes volumetric due to presence of tree foliage beyond.

Composite Widened Due to the natural growth The volume of of plants the height of the edge element the edge element is not is increased as is fixed. It offers views of a group of plants surroundings in between growing on the edge and cuts off at places. bounded by wire mesh on other side.

Edge s’

Artificial The edge element is a combination of a parapet and a wall.

Composite The height of the parapet is low to see the view beyond from above it. At the same time the wall provides more enclosure being high till parapet starts.

The volume of the edge element does not become important here.

Edge t’

Artificial The edge element is a wall with two windows on same floor and getting triangular on the upper end to support sloping roof.

Extended The height of the edge element becomes maximum at the center as it is extended with the edge of upper closed space. It allows inside outside interaction through openings.

Widened The chhajjas over the windows and the protruding walls on sides extend the volume of the surface.

Edge u’

Artificial The edge element is the enclosing wall with openings extended with parapets of upper floor.

Above eye level The edge element here remains a wall with openings and parapet of terrace above extending it and allowing to observe continuously this terrace from the upper ones.

Extended The edge element is a wall going zig zag connecting the upper and lower terrace and following the profile of closed spaces.

Edge n’, o’

Edge r’

Above eye level The railing with jute fabric is a low height element but the foliage of tree is another layer of enclosure rising high.

239

Agashiye

Edge v’

Edge w’

Edge x’

Classification of edge element on the basis of material treatment Artificial The edge element is a wall with openings into terrace and a metal railing on top.

Classification of edge on Classification of the basis of height edge element on the basis of volumetric use

Extended The height of the edge element is extended with the wall of next floor and railing above it. The high wall makes terrace a segregated but enclosed space.

Artificial Above eye level The edge The edge element here element is the remains a wall with enclosing wall openings and parapet of with openings terrace above extending extended with it and allowing to parapet of upper observe continuously floor. this terrace from the upper ones.

Artificial Composite The edge element The height of the element is a wall under the gradually reduces along staircase reducing the staircase giving most in height. enclosure near one end and least near the other

The volume of the edge element does not become important here.

Extended The edge element can be seen as an extended element as it shows the inside spaces from its arched openings.

Widened The edge being a staircase is a space in itself allowing people to look into terrace, standing on the steps.

Classification of edge element on the basis of mass and void Composite The wall of the same floor and the floor above has openings into terrace and the parapet above is a framed element though not felt when on the terrace.

Hollowed out The edge is a parapet hollowed out in the form of oval openings near the upper end and on the same floor has openings making the edge an interactive surface.

Solid The edge element is a solid wall but reduces its height continuously giving view of the outside near one end and separating near other.

•Shelter Elements The canopy with sliding glass doors on all sides and a gradual pyramidal roof appears near the entrance.

It separates the rest of the terrace from the one at the entrance. To get to the other parts one has pass through the canopy. (Fig. 8.22)

Fig. 8.22 Canopy near entrance

Fig. 8.23 Semi open space outside dining space

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The semi open spaces around the closed dining are C-shape in plan with two purposes. It allows transition of user from terrace to closed space and gives a shaded path connecting different parts of terrace. It lies between wooden columns in a row, with parapet near edge and the wall of closed dining. (Fig. 8.23)

E. Landscape And Water Features Various plants kept at the corners or edges break the geometry and the rigid boundary of the space and make the space more pleasant to be in. The growing bougainvillea from the ground till the terrace enhance the quality of the terrace. The presence of a plant growing in the center of the terrace garden suggests its importance.

The trees growing on ground enclosing a terrace

Bougainvillea coming up from ground and other plants on terrace occupying corners

Plants at corner giving direction for movement and breaking rigid geometry

Plants between the floor and wall to avoid a direct right angled plane.

Water feature near the entrance to the terrace restaurant with Ganesh believed to be auspicious

Fig. 8.24 Landscape and water features on terrace

F. Scale And Proportion The upper terrace overlooks the terrace on lower level. The diagram shows human proportion in the space and how the facade of closed and semi open parts define the volume of the same. It also shows the proportion of the terrace which is enough to occupy hundreds of people on the whole.

Fig. 8.25 Section showing the human scale and volumes of terraces

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8.4 NOTIONAL AND FUNCTIONAL ASPECTS Main activities

Additional Elements on terrace

Fig. 8.29 Different kinds of furniture on different parts of terrace

Fig. 8.26 People dining on terrace

Fig. 8.30 Wall with sculpted siting people on top indicating similar activity

Fig. 8.31 Light through colored glass adding essence to the space

Fig. 8.27 Solar water heaters

Fig. 8.32 A big wind chime

Fig. 8.28 Storage

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Fig. 8.34 water container for birds

Fig. 8.33 hanging lanterns

The basic function of the terrace is to relax, dine and spend leisure time being guests of hotel or restaurant visitors.

Other functions include storage use of solar energy through water heaters and connecting space. The storage for furniture and other materials is provided on the terrace itself. The kitchen is semi-open and is visible to the visitors.

It allows the users to put various physical elements of decoration or use. The terrace of the haveli has the character of tradition of Gujarat. The involvement of various elements on the terrace make it more comfortable and pleasant experience. The maximum use of terrace is in evenings and nights of summer and during afternoon and night in winter.

During Day

During Night

From observation, Agashiye being a restaurant is used at nights more than day due to climatic reasons. During the day people preparing food and sometimes guests of the hotel occupy the place. At nights it is full of people who come to eat mainly occupying the front part excluding the terrace gardens. In peak summer time, terrace is not in use at night.

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8.5 QUALITATIVE ASPECTS 8.5.1Views Agashiye offers various kinds of views of itself as well as of the surroundings, the bridge and far off important buildings. The character of it changes depending on the exposure to surroundings and enclosure.

Fig. 8.36 View from waiting area

Fig. 8.37 View from after dining space

Similar but not the same views are offered from different areas on the same side of terrace.

Fig. 8.38 View from extended dining towards north

Fig. 8.39 View from extended dining towards south

Views of parts of same terrace and building from different positions are observed.

Fig. 8.40 View of Nehru bridge at night from terrace on west

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Fig. 8.41 View of school behind agashiye on east from terrace garden

Fig. 8.42 View of lower parts of terrace and bridge from upper terrace

Fig. 8.43 View of lower parts of terrace and surroundings from upper terrace

Fig. 8.44 View of lower parts of terrace, roofs and surroundings from upper terrace

Fig. 8.45 View of surroundings from upper terrace

The visibility of what one can view increases with increase in level

8.5.2 Safety And Security

8.5.5 Artificial Lighting At Night

The character of terrace on a low height with appropriate parapets on every edge makes it secured ensuring the safety of person using it. The accessibility to the terraces is easy being a part of restaurant and hotel . The privacy is felt at the terrace as it is not enclosed by and high rise overlooking it but by low rise buildings with small openings.

Lighting up the space during night plays an important role as maximum guests visit the space during night for dinner for convenience. The terrace has different kind of lighting lamps, the level at which they are placed and the intensity which create a variation in each space also being affected by the surroundings.

8.5.3 Territoriality The use of terrace is restricted to the guests of the hotel, visitors of the restaurant and the staff which is ensured by the authorities. It belongs to the owner but is available for use by the public for it being a commercial.

8.5.4 Noise Control The location of the building makes it vulnerable to the noise from the traffic as well as from the school during particular hours. An effort to reduce the noise is made through a lot of plants and trees around.

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Fig. 8.46 Noise from traffic

Fig. 8.47 Plan showing different intensities and number of lightings in different parts of terrace.

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Classification of terrace Sr. Name of terrace No.

Classification of terrace on the basis of its form

Classification of terrace on the basis of its situation in building

Classification of terrace on the basis of its accessibility

Classification of terrace on the basis of its use

1

Stepped

Topmost Plane

Public (Ownership is private)

Multi-functional plane (Includes cultivation, storage, amusement and ceremonies, energy generation)

Terrace 1

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Inferences from case studies In case of City Palace, Udaipur, terraces exist in the form of upper level courtyards, varying in scale and proportion depending on its use. They can be seen as subtracted form where mass is taken out forming terraces interlocked between closed and semi-open spaces. The use and accessibility of terraces varied with the height, upper ones becoming more private.

Miniature paintings give evidence of the use of these terraces for administrative gatherings, celebration as well as a romantic space. The terraces become more important or useful when they lie between the other spaces than as topmost single plane.

Each terrace has edge elements varying in height, material treatment, porosity and its volumetric use; and varying flooring patterns defining the character of the space and volume of the space as well. These edge elements range from walls of adjacent spaces with or without jharokha peeping into the space, semi open spaces, pavilions, small parapets, jaali walls and even their combination extending the edge determining the interaction of space with neighboring spaces. The use of appropriate edge elements improve the spatial quality of the terrace.

Use of ornamentation, mosaic patterns, landscaping with plants in different terraces again differentiate the character and define its identity.

The penthouse of Indraprastha 8, Frangipani, terraces exist on two floors, the one on lower level being a double volume terrace remaining in shade for the whole day.

The height of the terrace and the existing topography gives distant wide views from terraces. The terraces, here bring the open space very close to the residents, increasing the accessibility and satisfying the need.

All the terraces of penthouse are separate and behave independently accommodating a few number of people i.e. the residents and sometimes a few guests. The upper common terrace allows the residents of the block which may hinder the privacy of lower terraces sometimes.

The scale and proportion of the terrace varies with its use and the type of building(if) in which it exists.

The terraces are extension to the living spaces and are interlocked between the closed and semi open spaces, exist as topmost plane of the building and adjacent to the neighboring terrace to enhance interaction.

Double height walls on three sides of lower terrace enclose the space and directs to the side open to views.

Walls with openings into the terrace connects as well

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as separates the inside and outside. The columns and beams protruding out from walls as well as bounding the open edges of the terrace define the volume of the terrace. A terrace can also be contained by its edge element.

Additional elements such as plants, furniture, objects of religious importance by residents further describe the spatial quality of the space. The architecture has to hint the users as to where and what kind of additions they can do to make the space better.

The terrace of the house of MG can be seen as various spaces differing in character and proportion coming together or a terrace split into various spaces modulated differently on the same as well as varying levels. The terraces.

Though the main purpose of the terrace is to dine but is used by the guests of the hotel as leisure space or space to relax during evenings. The various additions on terrace during different times are visible by the differences in material of the railings and parapets. A function decides the quality of terrace to some extent but the quality and design of terrace give rise to multiple uses apart from what it is designed for.

The movement on the terrace is defined by the closed boxes and levels. Different areas of terraces are enclosed by combination of different kinds of edge elements ranging from, plants, small parapets to row of columns and walls of closed rooms leaving a gap or steps connecting to the other space of the same terrace.

Change in flooring patterns, levels and materials further define the quality of subspaces.

During the day the flooring, plants and the objects of cultural importance dominate the space whereas during night, the lighting using different kind of lamps dominate the space. The time of the day when the terrace is used becomes crucial to take design decisions.

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CONCLUSION Potential A terrace is a potent space which is being ignored and not exploited as it should be. Roof or the shelter is an inevitable aspect by its structure which gets manifested according to the climate and geographical location. The terrace becomes a floor without roof simultaneously being a shelter. The function of it being a ceiling is taken care of whereas the attribute of being an elevated open space is not paid much attention on at the time when the land is scarce. So it becomes important to revisit and the studies throughout the thesis show how the resource can be used spatially, functionally, formally, climatically and culturally to satisfy human needs.

Role of elements of terraces The elements of a terrace play a major role in making it a useful space, as a terrace in itself is an unused potential. A user may permanently inculcate them in a terrace design or a part of it is definitely a part of design, based on user requirements. The combination of these elements together makes the terrace functional and define the character of the same. Enclosure of terrace is an important aspect defining privacy, relation with the surrounding landscape and hence the spatial quality.

Edge elements play an important role, becoming a bench, providing a break , becoming high and then again low, from opaque to transparent. These variations allow the use to be maximized. Gaudi animated terrace through modulations in floor and edge elements,etc. In Indian Palaces high jaali walls, chhatris and pavilions created silhouettes in addition to enhancing physical character of the space. Raj Rewal used these concepts with modern materials and forms to achieve spatial character of the space.

Flexible and versatile nature The type of building also does not restrict the use of a terrace. In mornings and late evenings and nights, this place is more pleasant than the indoor. So it works well as a restaurant, a cafĂŠ, a part of the office and residence.

An office building could be a happening place with a terrace coming in between to come out and relax from the digital world. A terrace being used as resource, is seen in slums as well as luxurious apartments. The way it is used may be different depending on needs, emotions, social behavior,etc and hence a terrace caters to diverse demands of a society.

A terrace has to be architecture in response to landscape to function well leading to evolution of new forms.

Just like on the ground open spaces occur in different shapes and forms, like a passage, a courtyard, a street, etc. these could be taken to a height to form a terrace. ‘Function may be a product of an existing programmatic requirement, when interpreted in terms of associated

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emotions, becomes the active force which expresses image of the form.’ In many examples terraces act as substitute of ground by providing a cultivable space.

Le Corbusier used it as a garden, Chitra Vishwanath used it to grow rice in her own residence. Mughal and Rajput Architecture show it being used as a courtyards, linking passages serving as romantic spaces, spaces for entertainment, festive gatherings, administrative gatherings etc.

A terrace like any other space can cater to all genders and age groups with the proper design of edge elements ensuring the safety of kids differentiating in scale and proportion depending on the number of people it has to accommodate at once.

Elevated/ upper level space The instinct to climb up to some high place from where we can look down and survey our world brings us to a terrace from where we can see our lives on the ground but vice-versa is not possible. Just like a hilltop gives the view of the valley a terrace of a tall building gives the view of the city. The picture of ourselves on ground becomes clear from terrace. Depending upon the height it allows to see area occupied by different activities on the ground. The same is difficult for the elderly as climbing is difficult for them so a need of a terrace next to door arises.

Views of ground, sky and surroundings is an important attribute of terrace. The view changes at every position on the same terrace. A part of it may be visible when one is in the interior of it and becomes vast near the parapet edge. Parapets also play an important role in framing the views by differing in form, height and material. Also placement of terraces at particular level and in a direction can control the views and climatic conditions.

Spatial considerations People need green and open spaces to interact with nature and it becomes possible if the space is near.

Usually the terraces are the topmost planes of the size of the footprint of the building with some space occupied by the lift/ staircase shaft bounded by a parapet. So these are a result of a building and not part of a design.

Due to such treatment remain unused, waste and a dead space. People use a space only if designed as a positive space. Open spaces require a view to look at, some green spaces and something to sit on. Also the space become positive if it lies somewhere between the building than the top surrounded by the building wings, plants, arcades, shaded paths getting some kind of enclosure.

Lack of space on ground due to a lot of space covered by buildings arises a need of a place where public could gather and socialize. This space can be a large terrace which can serve as a meeting space and at the same time people should feel comfortable being in the space.

Communal activities such as eating together, sleeping together and even celebrating together are possible on the terraces.

A terrace is not a 24 hours- to- be- in space. Depending on the season, during certain time period of day it becomes an important space to interact, to eat, to sleep, to just be there, etc.

Central element on a terrace can play a role in spatial utilization and making a movement pattern. People also tend to sit in corners and not in center so it usually remains unoccupied. A large plane with nothing on it becomes uncomfortable and instead small divisions could help to make the space more useful. Overlapping of activities is a benefit as certain functions can only be performed during day and certain during night .

The examples used in the thesis show how terraces were used in the past and present. The design and use of terraces is in practice since long. The availability of new material and technology has reflected itself in new architecture however the roots lie in the history.

The voice of Terrace Need sun in winter, climb the steps and come to me, Need breeze in summer, raise your steps alternately and come to me, Bring your umbrellas, or come without them, Stretch your arms, and collect the gems.

I was nothing before you crafted me, I was nothing before you garnished me, I would not let down the labor and hopes of mirth, But I cannot calibrate the movement of the earth.

I don’t need, to clean me a hundred hands, I catch the tears of clouds before they reach down the lands Save bulbs and tubes for the closed rooms, The sun and moon constantly fill me with bloom.

Open your doors towards me and I shall herald the next, Push me out and I will introduce to the world of motion and rest.

Feeling lost on ground amongst the crowd, See your world from the top and shout loud.

When you were busy flying the kite, A part of me held you and another kept you protected When you had secret love moments, A part of mine rose high to keep you enclosed.

Want to know where the worlds meet, Growing tomatoes and rice is with what I can greet A journey of a hundred steps within the vicinity, Ends into the expanse of infinity.

All I do is for what I am generated, My occurrence can be accelerated but not debated.

Objects and devices find their position, A human, a bird, a flower can all find admission without acquisition.

-Neha Arora (author of thesis)

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Glossary Badshah- Master king (Persian origin) Bangladar roof- A curved roof used over pavilions in Rajput architecture Brahmin-Prestigious people belonging to high class specializing as priests, teachers (acharya) and protectors of sacred learning across generations.

Caravan Serai- an inn, usually with a large courtyard, for the overnight accommodation of caravans Chhatri- Elevated dome-shaped pavilion used in Indian architecture Darwaza- Door/ Gate Diwan-i-aam- Hall of audience where the king received general audiences to hear their greivances Diwan-i-Khas- Hall of private audiences where the king received courtiers and special guests Gokhda- A Jharokha with carved jaalis Haveli- traditional Indian Mansion Jaali- perforated stone or latticed screen, usually with an ornamental pattern constructed through the use of calligraphy and geometry Jharokha- overhanging enclosed balcony Kathiawad- People belonging to Kathiawad region Kotha- a living room to receive guests Macchi Bhavan- Fish Palace Mahal- Palace Maharana- denotes king of kings Mandir- Temple Mardana- Part of palace reserved for men and guests Mehfil- gathering or evening of courtly entertainment of poetry or concert Nagars-oldest of the Brahmin groups found primarily in North India Parandah- a place to keep water Rajpurohit- community of people living in western Rajasthan Talao- Lake Tulsi- An auspicious Indian herb Zenana- Part of palace reserved for the royal women

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Fig. 4.9, 4.10c, 4.11a, 4.3d, 4.12e, 4.12g, 4.12i, 4.13c, 4.13d, 4.14a, 4.14d, 4.14e, 4.14f, 4.14g, 4.14h- https://www. google.co.in accessed in 2015- 16 Fig. 4.10a, 4.10e, 4.10f - Mathew, John V; Balsavar, Durganand U. (Guide) Building and topography: a study of three cases in Mandu.

Fig. 4.10b, 4.10d, 4.12a- Michell, George. Royal palaces of India. London, New York etc.: Thames & Hudson 1994.

Fig 4.11b, 4.11c, 4.11e, 4.11f- Girisha Gajjar Fig. 4.11d, 4.11g, 4.11h- Singh, Manvendra; Nagarsheth, Snehal. Particularism in palace making: a study on Rajput palaces of Amber, Bundelkhand and Indergarh. 2009.

Fig. 4.12b, 4.12c, 4.12f- Raina, Rahul S; Jain, Minakshi (Guide). Mughal and Rajput harem architecture (15501750). 2011.

Fig. 4.12h- Shah, Siddhi. Sense of order in Mughal palace complexes :study of Diwan-e-Aam and Diwan-e-Khas of Agra Fort, Fatehpur Sikri palace complex and Delhi Red Fort. 2011.

Fig. 4.13b- Kalyanwala, Khushroo; Agrawal, Binod C. (Guide). Evolution of Indo-Islamic tombs (1231-1753A.D.) Delhi, Agra, Sasaram. 1983.

Fig. 4.14c- Soni, Sachin; Chhaya, Neelkanth H. (Guide). Understanding order and play through grammar of architectural elements in Fatehpur-Sikri.2004.

Fig. 4.14b- Brand, Michael; Lowry, Glenn D. Fatehpur-Sikri: selected papers from the international symposium on Fatehpur Sikri held on Oct.17-19, 1985 at Harvard Uni, Cambridge. Bombay Marg Pub. 1987.

Fig. 4.15a, 4.15, 4.15c - Chavda, Rajnikant M; Varkey, K.(Guide). Structure and order in the built-environment: an appraisal of the desert citadel of Jaisalmer. 1976.

Fig. 4.16a, 4.16b, 4.16c, 4.16d, 4.17a, 4.17b, 4.17c, 4.17d, 4.17e-Marfatia, Kavita. Architectural components and their socio-cultural meaning, case study: Bundi, Rajasthan. 2000.

Chapter 5 Fig.5.1a, 5.4b, 5.5c- Rainer. Gaudi: 1852-1926: Antoni Gaudi cornet: a life devoted to architecture. London: Benedikt Taschen 1993.

Fig. 5.1b- irbarcelona.org/ accessed in January, 2016 Fig. 5.1c. 5.3d- https://prezi.com/ accessed in November, 2015 Fig. 5.1d- arch-inetto.blogspot.com/ accessed in October, 2015

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Fig. 5.2a, 5.2b, 5.2c, 5.3a, 5.3b, 5.3c, 5.4a, 5.5a, 5.5d, 5.6d, 5.7b, 5.7d, 5.7e, 5.8a, 5.8b, 5.8c, 5.10e, 5.11a, 5.12a, 5.12b, 5.12c, 5.12d, 5.21a, 5.21d, 5.22b, 5.22c, 5.23a, 5.23b, 5.23b, 5.23d- https://www.google.co.in accessed in 2015-16 Fig. 5.2d (screenshot)- https://www.youtube.com/ accessed in December, 2015 Fig. 5.2e, 5.2f- http://www.urbipedia.org/index.php?title=Torre_Bellesguard accessed in January, 2016 Fig. 5.5b- https://commons.wikimedia.org/ accessed in January, 2016 Fig. 5.6a, 5.6b, 5.6c, 5.7a, 5.7c- Baker, Geoffrey H. Le-Corbusier: analysis of form. London: Van Nostrand Reinhold (International) Co. 1989.

Fig. 5.6f- http://www.fondationlecorbusier.fr/ accessed in January, 2016 Fig. 5.7b- Klaus-Peter Gast. Le Corbusier. Paris — Chandigarh; With a Foreword by Arthur Riiegg pp. 50-63.

VillaStein. Birkhéiuser— Publishers for Architecture Fig. 5.8a- https://arch523-baixue.wikispaces.com/file/view/precendent+case+study.pdf accessed in February, 2016 Fig. 5.8b- Boesiger, Willy. Le-Corbusier et Pierre Jeanneret : oeuvre complete. Zurich: Les Editions Girsberger 1957.

Fig. 5.9a, 5.9b, 5.11b, 5.11d- Shukla, Nirati A; Pandya, Yatin (Guide). Study of design decisions influenced by climate and strategy formed by them. 2008.

Fig. 5.10a, 5.10b- Steven Park. Le Corbusier Redrawn: The houses. 2012.

Fig. 5.10c-Riddhi Panchal Fig. 5.10d- Drashti Patel Fig. 5.12a, 5.12b, 5.12c, 5.13a, 5.13b, 5.13c, 5.13d, 5.14a, 5.14b, 5.14c, 5.15a, 5.15b, 5.15c, 5.16a, 5.16b, 5.16c, 5.16d- Frampton, Kenneth. Charles Correa. Bombay: Perennial Press. 1996.

Fig. 5.17a, 5.17b, 5.17c, 5.17c, 5.18a, 5.18c, 5.18d, 5.18e, 5.18f, 5.18g, 5.18h, 5.19b, 5.19c, 5.19d, 5.19e, 5.19f, 5.20a, 5.20b, 5.20c, 5.20d- Taylor, Brian Brace. Raj Rewal. Ahmedabad: Mapin Pub. Pvt. Ltd. 1992.

Fig. 5.17b, 5.18a- http://www.rajrewal.in/ accessed in January, 2016 Fig. 5.21b, 5.21c, 5.21e, 5.21f, 5.23a- Safdie, Moshe, Ed. by Diana Murphy. Moshe safdie I. Australia: Images Publishing Group Pvt. Ltd. 2009.

Fig. 5.23c, 5.23d- http://www.archdaily.com/ accessed in January, 2016 Fig. 5.24a, 5.24b, 5.24c, 5.24d, 5.24e, 5.24f, 5.25a, 5.25b, 5.26a, 5.26b, 5.26c- http://www.biomesolutions.blogspot. in/ accessed in July, 2015 Chapter 6 Fig. 6.1, 6.2, 6.24, 6.35, 6.37, 6.46, 6.47, 6.68, 6.69, 6.83, 6.84- https://www.google.co.in accessed in 2015-16 Fig. 6.4, 6.7-6.16, 6.99- Shukla, Kartik Y; Jain, Kulbhushan B.(Guide). Palace complex. 1976.

Fig. 6.18- 6.23, 6.39-6.43, 6.65, 6.66, 6.67, 6.78- 6.82- Documentation of Mardana at City Palace, Udaipur,

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Drawing by CEPT Uni., Ahmedabad Fig. 6.93, 6.94, 6.95, 6.96, 6.97- Topsfield, Andrew. Court painting at Udaipur: art under the patronage of the maharanas of Mewar. Zurich: Artibus Asiae Pubs 2.

Chapter 7 Fig. 7.1, 7.47 - https://www.google.co.in accessed in 2015-16 Fig. 7.2- www.deepgroup1980.com/ accessed in July, 2015 Fig. 7.6, 7.7, 7.8 (redrawn by author)-Hiren Patel Architects Chapter 8 Fig. 8.1, 8.46 -https://www.google.co.in accessed in 2015-16 Fig. 8.2, 8.3 - Esha

The rest of the images used in the thesis have been self-taken.

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